Quinvy

How he hell does anyone dance to that E J Rush 45? It's not a northern beat.

Very sorry for your loss Pete. Phil.

That hilarious, the first person on would crank the line fader up to the top as a matter of course. Then the next one would turn the gains up.

How do you know?

Sorry mate, must have miss read your post.

I'll give you £200 anytime. Not seen one go for sale for a long time, but judging buy the incredible prices at the moment, somewhere between one and two grand. Manship would probably get more.

Plenty of boots out there, the original is quite hard.

When was the book printed twenty years ago?

I was lucky in that I had Karl to advise me. He had been gigging with his band for many years and he knew about PA. The first time he came to my little soul night at Burnley Cricket Club he told me in no uncertain terms that my speakers were crap. I was very upset, but he brought a set of Peaveys over one day and we set both sets up in the venue. My God I was embarrassed, mine sounded like sub woofers. I went straight out and bought some Peaveys.

Nearly as disappointed as I was when I eagerly clicked on the thread in freebasing that read "show us your bird"

I agree that the room can make a big difference to the sound. But I always had my top speakers set up high so the sound went over the crowds heads and was crystal clear to the back of the room. Because I am a perfectionist I once made the mistake of listening to a so called expert who told me my Technics mixer didn't have any mid range adjustment. So I went out and bought a very expensive mixer which also needed all new cables with XLR's. What a disaster. The mic was so loud that it was either off or blowing the speakers, and one Chanel was louder than the other (couldn't sort it all night), and it fed back all night. Sent it back the next day and went back to the Technics. If it ain't broke don't try and fix it. You can have the best gear in the world, but if you haven't got the ear to set it up properly it'll still sound shite.

I just can't understand why you need so much complication to play records? Surely the record has been equalised in the studio, why do you need to equalise it again? I always worked on the assumption that simple is best. Less is more.

What does balanced outputs mean?

The first and only time that I get four questions right on University Challenge.

whopps, posted in wrong place.

You won't be disappointed mate, good luck. I had three of them at on time.

JM had a couple from the big find a few years ago. They were stone mint. Don't know how many he had, but I seem to remember around three on his auction? The copy I saw was so mint it was scary.

Please click on the link: SALES LIST 638

But why do you want a four channel mixer for two turntables? It just causes confusion and isn't necessary.

But for a pair of turntables playing sixties vinyl I found it perfect.

There isn't anything to touch one of these: https://www.ebay.co.uk/itm/1-x-Technics-World-DJ-Championship-2-Channel-Mixer-Model-No-SH-DX1200E-K-/361190058685?pt=UK_Sound_Vision_Mixers&hash=item54189aeabd

Yet some do Geoff.

In my experience they mainly fiddle with the gains, because they think they are volume controls. The mixers have green and red lights. If it's in the green it's safe, if it's in the red it f*****g isn't. Turning the gain control up is like driving a car at 70mph and slamming it into second gear.

Exactly. But what about if you had paid thousands of pounds for them. Would you still play them?