tel_nobody's forum posts 734

The dark side is easier...

Why do you have a Yoda sex doll Boom?

Yay for the Peter Murphy show. I saw him while I was riding a wild fever in a converted backpackers hostel with broke AC... trying to find the strength to laugh at the 21st century new wave goth revivalist support band not only sweating through their makeup, but having the dye run out of their hair /clothes. They will look back on that night and try to remember Murphy above the day their credibility died.

I hate that I walked away from that post with pity for your balls. Your small, green Yoda balls.

I recorded for nearly 4 years in the upstairs bedroom of the townhouse in the cul-de-sac. Gated communities that don't deserve the status of being gated are the worst. Having the guy drinking something cheap smelling in a ripped lawn chair on his driveway as you walk to the pool say "heard you playing music, man, sounds like you've got a lot of gear up there!" Really cuts into your swimming time.

I should count my current situation lucky.

... You are like Yoda.

I just spoke to one neighbour this morning. He said... play whenever you want... however loud... if I hear you I might grab a beer and come over.

This option sounds cheaper. Now to win over the other 8. Downside to living in a cul-de-sac!

It's funny.

I posted this question without really considering an answer. What makes for a most memorable gig?

I loved the gigs we would get to, just to find bump in is up two flights of stairs.

Or cramming two guitar amps, a bass amp and a keyboard amp, assorted guitars, basses keyboards and stands, crate of vinyl, camera gear, a keyboardist, guitarist, DJ/ Manager and photographer into a '75 Chrysler Valiant to get to a gig.

Or having the bass player ecstatic that he has just bought a Hofner F hole hollowbody bass and will be gigging with it first time that night, but finds out at the gig how much it howls with feedback ( he played distorted on a few songs) and having him end up with two 20 foot cables stretched from amp to pedals from pedals to bass, and him standing in front of the crowd... 40 feet to side of stage!

Or turning up to a venue to find either the support, the headliner, or ALL other acts have pulled out since first billing, would we be able to give 4 x 45 min sets? Can only pay what you were originally quoted, plus alcohol. (Complete the new revision of the booking under new terms, finish pleasantly drunk and taking home a supply to last a week).

Where I live, there were a few small pub style venues and then there was the jump to the two international venues: The Playroom and the Patch, that saw Rollins, Sonic Youth, Motorhead (the Infamous 5 song show! in 1991), Pop Will Eat Itself, Carter USM, The Cure, The Buzzcocks, INXS, Bloodhound Gang and thousands of others grace the stage over the years.

While we were a regular mainstay at one of these venues (The Playroom: with the Manager often calling me at work because a band had fallen through, could I please fill the bill that night?), but it was on a night when we turned up to a show at the Patch to find the headliners had pulled out, and THEY were supplying the PA, sound engineer and lighting rig, that we performed a very intense intimate set to around 600 - 1000 with only stage amps and a mic (that the DJ used for onstage announcements) performing under a single blacklight, that some fans refer to as our most riveting set ever.

But perhaps my favourite though was a night our rhythm guitarist could not make the gig (sick or heading out of town). We relied on his guitar sound to compliment mine and his sweeping flanger was a mainstay to many of our tracks. We raided his house and that night his full rig was on stage, his guitar resting in a stand, flanger on and a desk fan on a barstool blowing across his strings to give us the sweep all night, being toggled on and off by the keyboard player.

Sure there were nights when all bands and members turned up, you played your heart out and the headliners came up and loved your sound or songwriting enough to actually tell you, but I find it is the quirky moments, where the night could have been a disaster but you made it through smiling that stick in your head the most.

Whatever it is, keep playing keep building those memories and share them with others... so they can feel inspired to get out there, play the gigs that almost don't work have the time of their lives, tell others about them, so that the new ears feel inspired to pick up tools and get on stage and keep this beautiful cycle of inspiration and dreams alive.

A bit heavy over breakfast but it really does make sense. Thanks.

I watch videos that have some pretty amazing sound deadening qualities using baffles in a more advanced version of the type used by Joe Bonamassa. The ones he uses on equipboard, have a link to a page and there is a more advanced version including a solid acrylic enclosure then a foam insert of some description and a lid. Admittedly to the ear it sounds disgusting but he has it miced so maybe that would preserve the sound that I like in a recording mode.

Wicked! I think getting a 212 will be a better solution in the long run.

I hope to fire up the studio later this week, still doubling over in coughing fits from the throat and chest infection, but should lay a scratch for Try by early next week for your tick or cross.

I will also record my "clean" sound from the Marshall with a few different guitars just to let you hear the sound I have fallen in love with.

With luck it will strike familiar with something you have heard.

I am just gonna grab a quick nap.... Been up just on 21hrs, should be back in about 3. Talk soon!

Glad to see you are still about. How's playing going?

Hi Gang,

I see a lot of talk about wanting categories.

I might have a temporary solution.

I have trialled them on my Equipboard page (click my name to get there).

I have copied most of the icons from the Equipboard site artist pages, relabelled, resized and shaped and have submitted some of them under the search titles of: "My Bass", "My guitar" etc. to split my personal Equipboard into categories.

You still add items normally, and still need to push them through the items on your Equipboard one space at a time until you have it where you want it as normal, but it sorts them a bit.

I tried to do a blank, or a "more gear coming" submission ... just so you can have a new category on a new line each time, but have not submitted yet.

I have not submitted them all yet, in case there is a better solution available, but have logos ready for AMP, BASS, CYMBALS, DAW, DRUMS, EFFECTS, GUITAR, HEADPHONE, KEYBOARDS AND SYNTHS, MICROPHONES, MORE GEAR COMING, OTHER GEARS, SOFTWARE AND VST, STUDIO EQUIPMENT and STUDIO MONITORS. I will add the rest under the search title of "My ______" when I get time.

I hope this is ok, and I hope some find them useful, until a better solution is written into the site.

It's OK James.

We learn by asking questions. Some learn quicker than others. I play what appeals to me, without knowledge of theory or the ability to document what I do.

When I ask questions therefore, it must be impossibly frustrating to people who speak the language.

Personally though, I ask questions to get some kind of answer. Does not matter if I understand or not, I can use the information to search deeper and deeper on my own , where nobody can see me struggle, until I find a way that makes sense. then I can rebuild everything I have been told, back to the point where the OP has been answered.

So when I ask, and people answer, when YOU answer, it means a lot. I may not respond straight away in a way that makes sense... but I have taken the information and gone away to a quiet place to digest it.

I get the post above. My nonsensical answer (that makes sense to how I think and construct music), is that there are no spacey/ psychedelic chords. Those terms are styles of playing. What they play has little true impact. It is the technique.. the gentle, low attack arpeggiating of fingers in positions that complement others to add to the overriding theme of the way you are assembling arrangements of notes.... and does not rely on chords or rigid formations. They are a building of a soundscape that can be minimal or of understated complexity, delivered in a way that suggests relaxation and surrendering to the sound.

Using that description, I would be able to piece notes together to create a spacey or psychedelic feel.

tempted to save the $500 odd and tackle the build myself.

I love how your posts grow... you read them, you reply to them then realise they have sprouted another head... so you reply to that... and there's another head!

Don't mind me.. I'm a little nuts. It's cool... I use this to my advantage. Helps me create!

sweet I will go check it out. There is a clone called Mojotone... http://www.mojotone.com/kits/TweedAmpKits_x/Mojotone-Tweed-Pro-Style-Amplifier-Kit_2

Are they worth checking out?

I apologise for my inadvertent disrespect. As advertant as it sounded, I only mouth for what I believe is right.. even though my perceptions sometimes send me face first into walls.

Basic Tracking. Instrument guitar/ bass (with pedalboard), Synth, drum machine, mics -> USB interface (Komplete Audio 6.. have them all plugged in and ready) ->Laptop running DAW (Cubase) into external HDD -> use Guitar Rig for DI and for a wide range of amp and effects emulations on any instrument -> VST instruments.

Monitor, record and mix through headphones for 24 hr access.

Use the mixer in Cubase on a second monitor screen.

For better quality, mic up amps with 2 - 3 mics instead of gtr/ bass straight into KA6.

Upgrading to include Nektar Impact LX49+ to use sliders for analog feel to mixing.

Vocal isolation booth from acoustic foam lined milk crate mounted to mic stand with washers. Does the trick!

Thanks so much! filled my head. so patient! I have relatives in California, considered the option, but geographically out of the question for a quick drop in at any point.

Owe you beer.

1, 2 and 3 10" then?

are the three effectively (after a quick goog) 1x12, 2x12 and head and cab respectively?

straight or reverb?

ridiculously unclear. I love my sound, but cannot have my sound due to volume constraints. I do not want to keep her just for keeping her, if she doesn't get played she is missing out. But I cannot bear losing her. not even in a hoarder way.. she has me trapped.

Maybe I need something else, maybe I will go see my old boss, see if he has a tweed pro laying about. He owned a gorgeous two storey music shop, back when I was too young to know exactly what I was doing.

He got a guitar in on consignment, had it up for $800, told me I could buy it for $400, but someone bought it before I could commit. Little double cutaway Les Paul junior, tobacco burst. Seeing the prices on them nowadays kinds makes that hurt a bit more.

His keys room had a Juno in it and a few others that made me drool by voice alone, had a room full of cases filled with drool guitars. He recently has opened a vintage vibe store, I think I need a visit.

little in common with a marshall in potentially the same way my dialling down a marshall with fender speakers has little in common with marshall?

Sounds like a job for ears. I am too far off formula to be considered typical.

Is the Deluxe reverb too far removed? 22w... still furking loud I know.

and I guess this swings back to the OP. Maybe a Fender is what I want, for the sound the speakers are delivering, because I am not using the amp to get the amp sound...? maybe?

It seems almost silly I know. Like having a muscle car for groceries shopping, or a trophy wife for her cooking.

But the honest reality is, The Jazz Chorus covers my sweet cleans, the 2203 just sets me up for the next level.

Nobody thinks of a 2203 as a clean amp, it never really will be, but given just the slightest hint of colour (probably with this speaker combo too) this amp has a sound that makes people listen.

We supported the Buzzcocks and their guitarist/ vocalist approached me during soundcheck and said "OK, what is she?" we talked for a bit and he played her a bit, then asked me if he could use her that night, and gave me his Tele as a backup. Try as I might, slamming my guitar as hard as I could, my strings stayed solid that set and I couldn't justify picking up that Tele just because it was there.

Yep. This gives me a beautiful shattery breakup through the Fender speakers. Like rattling a tray of broken glass across the speaker grill.

That is why I colour with pedals... (or discolour). I get a wide range of sounds out of it, which is probably what confuses people when they see my rig then hear my rig. It looks like they are in for a wall of noise, which I can definitely stomp in, but there is light and shade... which I love.

I used to play the Marshall about 4 1/2 master live with only the slightest hint, like 1 1/2 - 2 pre amp in 5000 seater venues and the sound guy sometimes ran me outside the mix... against a fully mic'ed kit. She knows how to be loud. The point where volume becomes audible (1/2 - 1) is considered too loud for my neighbourhood at most times.

So just dropping to a 2x12 and switching impedance wont serve any real difference? She is a great amp... don't want to mod her.

Maybe I just buy a few more amps.... over the next few years

you wil of course devalue a somewhat valuable amp,

Now there's the real trick isn't it.

Awesome. Appreciate the advice.. as always. I will hit up my tech when I get a bit of coin.

yep. Far too loud to appreciate in home environment.

Cool. Thanks. Makes a lot of sense.

I run my Marshall (JCM800) through a custom 4 x12 cab with three Fenders and an EV.

It has gotten a lot of comments over the years from many who like the sound I get and want to buy it from me.

I have been looking recently into a downsize, but I do love this sound. Thought process led down the path of toying with amp and speaker combos. Was not sure how much impact the change in speakers REALLY has.

When you watch online reviews or when you are looking for a new amp, what is it about the sound that you want? Is it electronics, or the cabinet and speakers? Or is it a marriage of all three that make an amp be that amp?

For example, Fender Deluxe Reverb are considered a great pedal platform, while an AC30 may not be the wisest choice for pedals, working more with natural overtones. But would dropping the Fender through the speakers and cab of the Vox, or the Vox through a Marshall 4x12 change the relationships?

What governs this?

Are we listening to the way the electronics react to pedals, or is it more a case of how the speakers present the sound we are driving?

I know changing speakers changes voicing, but could they impact the relationship of your sound to the point of how the overall presentation (to the audience/ recorded product) deals with pedals?

The answer seems obvious. Amp is amp. Speakers are speakers... but is that it? endgame?

http://medias.audiofanzine.com/images/normal/hofner-guitars-president-bass-500-5-1972-205129.jpg

sounds legit

Forgive the Australian... compulsory voting here.

So America has an election, but Americans can choose not to vote.

Those who vote, vote in Trump. Then everyone sits back and screams "oh what a mess!"

This. Sounded. Avoidable.

So now we have to wait til end of term, so that your nation can tear down so much more than a physical wall that has divided the world.

Hey Boom... any conspiracy theory hardening a scheduled presidential offing?

https://s-media-cache-ak0.pinimg.com/originals/aa/3a/b9/aa3ab9311b3148aec224b95d51d10b41.jpg

You are looking at a Hofner President Hollowbody bass.

Pickups do not look factory.

I would like to feel confident in denying that... It did sound good, but I remember one recording session having slap it repeatedly after several run throughs left me foot humping this poor plastic pedal to try to get it to turn on.

When it came time for the song to be recorded (actually the song Jellybean on my soundcloud...) you can hear it fail at the start of the third verse. It did it on the other songs that demo too. I think I switched then to the DOD Thrashmaster or maybe the TS10.

Yeah that is horrible. Theft of any sort is nasty low business, but someone's gear... that extends to a much more personal level. I heard of people back in the day "finding" gear in alleys... which sounded like they were alleys behind venues, probably where a van was having gear loaded into it.

I was at a Seether gig a few years back, after the show the singer came out and started Left of stage in the area between the crowd control barrier and th estage, shaking hands, signing stuff and saying hello. He had a swarm of security guards around him, but was being genuine and treating his crowd well. Roadies were packing up on stage.

Some moron jumped the security barrier at the other end of the stage and grabbed the singer/ guitarist's pedalboard with both hands and was obviously going to try and steal it.

Before roadies or security could react, five guys from the crowd jumped the barrier and beat this guy to the ground.

I guess they don't like thieves either.

I hope my gear's new owners found some displeasure from their actions.

Onyx Telecaster. "exchanged" by a bandmate who wanted it, gave me an atrocious Quest Atak 2 in return. I didn't like the idea, and one day I got home from work to find it in my room, and all my dad would say was "let's not talk about it". Technically: recovered item... not lost.

Onyx Precision bass in Silverburst. Equally as well built as my beloved Telecaster. Loaned it to my keyboard player who lived a city away, kept meaning to return it and confessed some time later to it being sold.

Onyx Jazz Bass, ALSO in Silverburst. Purchased on lay -away from a local music store. Went out there to make final payment, the store was empty and they had skipped out.

Boss OD-1. Just the right amount of bite for a Jazz Chorus, Went to jam at ex bass player's house, other guitarist was trying it with his rig, I said he could use it and I would get it back next week. Next week never came, entire band deny ever seeing the pedal.

Dunlop Cry Baby Wah - modded pot to give extra treble. Loaned to Bosses son. They sold business and son had moved interstate.

Ibanez Tubescreamer Soundtank TS5. I simply didn't have this pedal anymore... just gone.

DOD Thrashmaster - Yes the Flouro Pink one. Lost this to a bass player who liked to paint things. Painted a swirling mess of thick paint that clogged it up and disabled pots. He was left with it.

Boss Volume Pedal - The singer of a metal band who was sharehousing with a guy I was jamming with wanted to experiment with this, offered me $50. I said no. Realised at next gig the pedal wasn't in gig bag. Singer denied any action.

1 x Unloaded 4x8 Fender sound column. Left at parents home when I moved out. Folks moved house, This didn't.

On Stage stands Boom mic stand... my baby, I travelled every gig with this one. Lost when the Theatre Restaurant I worked at caught fire.

... then there were about 4 mics that went with me and others came back.... brands gone, beyer, I think a sennheiser... no name specials etc