Nothing is really free is it?

Board was thrashed, covered in dust. Broken knobs, the power supply cord was missing, and the faders felt like they were moving through broken glass.

I left it where it laid.

I never realised that Hill stuff was so shitty, then again, I've never worked with any of their stuff either.

ktone wrote:How Hill managed to pull off huge AD/DC tours with this stuff failing at 25% rates I'll never know.

Probably the same way that bands like Lynyrd Skynyrd were able to pull off tours with Peavey PA gear. The stuff that they toured with wasn't the production stuff that you get at a music store, they were using stuff that was hand built by their engineers, most likely one off prototypes that were too expensive for Peavey to produce in mass quantity at a low price point. --What happens with this, is that people hear the quality of the sound and associate the branded gear with that sound quality irregardless of whether the production gear is as good as the stuff they see on tour with a popular band.

Ive used Malcolm's gear for a while.. The company I worked for bought the old AC/DC touring Cabs, monitors, and amps... They held up well.. but I had never experienced his consoles...

The subs were in a separate cab.. but the tops could be used full range

He had been doing work with a new configuration the last time I checked, using 6 10's in his cabs now instead of 4 12's...

I worked a show with him in DC... I think It was Wayne Newton (HA HA) From working with him, I can truly tell you he knows his shit... (The funny thing was he was using Martin gear at the show!)