tel_nobody's forum posts 734

They fill up quick enough. Good that you have thought ahead. I am thinking I might need to try the Swamp one... A guy who makes pool fences I know offered to make me a pedaltrain shaped board to my design that would be way cheaper than a pedaltrain, but when I showed him the Swamp and he saw the price... he laughed and pointed and said JUST BUY THAT! He said it was cheaper than what he could do it for. I just got 4 new pedals (for Christmas... who knew Santa was a roadie!) and so I have a major re design to do. They don't fit... and while it is excessive, I like my one stop board.

Congrats! Make sure to upload a pic of the completed board to your gear porn section of your equipboard. Keen to see it all done. (keep that pic a good size though, I tried to post large res pics, didn't work.

http://equipboard.com/forums/general/topics/identifying-the-gear Post or repost this question there. This post where we are now is about someone choosing a pedalboard, and will not receive the responses you require, because nobody is looking for it here.

I have steered away from KRK because they are bass favouring, and primarily recommended in reviews toward dance and electronica.

I play guitar based stuff and find they would not be as suited to my needs.

Work with the size of your room to decide if 5's or 8's are the call. You want to give the monitors something to do, not be playing back at such low volumes that they do not get to use their design... but you know this.

I am working toward either Yamaha HS5 or Fluid Fader F5 in my build, and will make that final decision when I get to A/B them in a showroom. They come in 8's if you could manage more headroom.

Prices on this page are AUD$ but the read ups are there.

https://www.storedj.com.au/products/YAM-HS5

https://www.storedj.com.au/products/FLU-F5

I lack the technical and theoretical background Jimmarchi1 has. What I do have is an ear that knows what it should listen for and can detect when things don't quite sound right.

Have you ever been watching a movie and during the scene when they are about to kiss, there is a sound like a duck looking for its ducklings?

Or have you ever watched a chase scene and heard the tinkling of a wind chime?

No. You haven't. Because the composer/ score writer understands what they are doing and what should/ shouldn't be included.

Be or BECOME aware of the sounds you choose. They should never DETRACT from what you are hoping to achieve. They should never COMPLIMENT what you are playing. They must BE the music.

The drums in this track require and deserve a presence. In this example you have provided, drum sounds are so low in the mix, poorly equalised and so haphazardly dropped in that they sound less like drums and more like the sound of the people in the apartment above you moving heavy furniture... they lacked rhythm and purpose.

And that nasty untreated cymbal!!! Horrific sounding piece of trash. Promise you will never use it again in an orchestral piece!

Think about the ACTUAL BAND that would be playing all of this music. Rows of violins, some straight backed cellists, there would be percussionists with large timpani drums and all sorts of glorious instruments... all playing to create this incredible wave and flow of sound. Where on earth did the idiot who owns that cymbal come from, how did he sneak into the auditorium and who let him stay long enough to ruin the track? To be THAT prominent in the mix and still sound so weak and thin, I almost wonder if you added this JUST to get people to react against it. Never let music be your pawn.

Hint: Choose another cymbal, pull it lower in the mix so that it integrates, detune it to make it sound richer and deeper and if all else fails, drop a flanger across it.

No instrument should be included for the sake of inclusion.... you are a solo artist... you do not need to write parts to give the distracted lesser musician in the group something to do other than scratch their privates on stage!

Your arpeggiator has a tempo... it oscillates through its cycle in a continual pattern. When you add drums, quantise or synchronise (or both) so that they are in time with the oscillation. It is horrifically distracting when they drop out of synchronicity.

In short:

Give the drums some guts! They deserve it in this piece.

Match tempo with arpeggiator

Construct a drum track. Do not just thump drum sounds in.

When you listen to the piece, no one instrument should sound out of place. They should all happen so seamlessly that you are able to smile and think "nice cymbal velocity" or " those drums build so well... so suspenseful."

No Classes or books can teach this. This is about feel. and place. and belonging.

Get the feel right, place everything correctly and make it all sound like it belongs, and you are on the path to making listenable music.

Agreed! TC are the reverb masters.. Strymon are lush and all but the average punter in a crowd will not pick the difference for all the extra $$ you lash out. Earthquake Devices also ... but choose wisely.

it cannot be February soon enough.

Boom is telling you to start with your hands... Jim is telling you to get your lips on it. Dirty lads.... The simple truth is the stuff you write will tell YOU the instrument it belongs on.

When you pick up the guitar and say, "ok this will be the guitar bit", put the guitar down and walk away. Not natural.

Do you have a smartphone? Grab a free microphone app... I use MicPro on apple http://www.downloadcollection.com/graphics/largeimages/mic_pro___recording-501510.jpeg I use this ALL THE TIME. If I am out and about or just playing with a few minutes downtime, when I stumble across some magic I slap the app and record a chunk for when I have more time. Sometimes I just acapella that riff into it.. hum or scat or bad beat box.

I was taking the fam on a bike ride one day and I got a solo in my head for a piece I had been working on, recorded it by mouth and got home an hour later and the pitch I had hummed at was perfect and it became the solo for that song.

Writing is personal, even riffs... how do you write an original song? You find some combo of notes that sounds good to you, that doesn't sound like anything else!

Sometimes noodling around will give you a riff, sometimes using a particular effect or effect combo will trigger something. Sometimes a capo or a drop tuning, or a weird tuning that you just happened across. Try a new chord, a new timing, or just follow a thought pattern. There are endless ways to write songs...

Inspiration by a particular song, and emotion, an event, a sound you created may become a focus. You may replicate the sound a vacuum cleaner makes, or a grinding machine, a bird whistle, a video game sound.

Writing isn't about writing. It's about being able to hear what isn't there yet, decoding clues that aren't given and bringing something to life that never even knew it was going to exist.

Magic is a cliché word.

Don't write. Just be aware of what you have done and wait for what you haven't thought about doing yet.

It isn't about making sense. It is about making music.

From this, write your own stuff and get that mixed in with the other stuff.

So who is to say you don't take a crack at the traditional music, and MODERNISE it? The melodic riffs that are traditionally violin or tin whistle could be replicated on guitar, with a bit of gain and reverb or even slide, some decent riff wrangling to be had there, while the percussive bass notes from both drums and acoustics that I have heard could be filled out with some palm muted chugging. It may not be ideal, but if that is all your town has, and nobody has done it before, it may just be that they have not thought of it. I am sure if you show some friends what you have in mind, that they could start picking up instruments and join up with you! Hell, 13 - 16 is birth of adventure! get creative and get good then get out there!!! Play at markets and fairs, community halls, hire a football clubhouse and throw a party... if there isn't a scene, MAKE ONE!!! hahahaha

God I hope you've replied to the wrong forum...

Onyx Telecaster

Absolutely. My delivery window is still February. No music til then.

Someone has recently updated the image for the Fender Jazzmaster. The image now shows a hardtail model. This is not a standard image and should be changed to reflect the Floating Trem system that these guitars are famous for.

How do musicians evolve?

In 1985, Dire Straits took me out of listening to radio friendly pop and made me pick up a tennis racquet, pretending I could play a guitar. This practice got me interested in music, and gave me an understanding of the sensibilities of tone, pitch and timbre... learning how to identify what instruments are playing what parts by ear alone. There was a music library a short ride from my house and you could hire cassette tapes from there. Dire Straits, INXS, Paul Simon, Genesis, Talking Heads... the library was free and the range was not large. But this led to The Cure.

While Dire Straits made me think about music and learn to isolate instruments in my head, The Cure made me fall in love with music. MTV gave them exposure and their rich soundscapes, smothered in effects were too hard to resist. My neighbour showed me some basics and I started playing guitar.

I listened and learned. I switched to bass and played a lot of covers for a lot of local bands. But I practiced guitar at home. The Cure led to other Goth staples, Bauhaus, Sisters of Mercy/ The Mission and modulated delayed guitar riffs became my zone, with the occasional guitar solo dropped into the mix. All songs were learned by ear, as I could not read or write music. I became Lead vocalist and Lead guitarist for almost every incantation to follow. I started songwriting using two cassette decks to lay guitar, bass, keyboard and vocal parts in continually deteriorating quality with each additional take.

One day I walked into a record shop in 1987 and heard a cover of a Cure song called Just Like Heaven. It was a twisted cover, stripped and rearranged into a brutal aural assault that was as abrasive and wailing as it was melodic and jilting. The band was Dinosaur Jr. This taught me to push myself and let the guitar take over...

The following year, Sweet Child o mine was released and Slash taught the world how to feel through guitar solos, playing what feels right and telling his own story. Dinosaur Jr released their third album at about the same time and I felt so much more in his music than the Roses could deliver.

Through Dinosaur came Sonic Youth, Nirvana and Mudhoney, then through grunge and out the other side again, the movie The Crow grabbed me and dragged me back into the darker corners of music, bringing me to create a band of puppet musicians, teaching them how to play their instruments, so that they could only play what I showed them became a populated series of solo projects (with live playback band).

Nine Inch Nails, Helmet and Machines of Loving Grace brought me into the Industrial Evolution, With Ministry and Klute awakening a need for more electric engagement in my tracks. The Spawn Soundtrack revisited Filter and Stabbing Westward.

Every evolution brought a change and a constant. For each twist I took musically, a female vocalist provided a counterbalance to my everyday. From Bananarama to Jewel, Transvision Vamp to Juliana Hatfield, Letters To Cleo to Sophie Ellis Bextor, the female band offered a shift in what I was hearing and brought new light.

My current musical evolution is an amalgamation of all the styles I have experienced. My goal is to challenge my writing style and reinvent my playing technique with each track, in an attempt to create a diverse collection of tunes that do not conform to genre and meet people from many paths on many layers. My writing process attempts a new direction with each song. Sometimes the songs are written around a technique, or a playing concept.

First guitar: telecaster

Second guitar: stratocaster

Still have both. Still use both. Have loved both and treated both like crap. These guitars survive

Hybridise.

LISTEN to what exists locally, (this is what is accepted, what people know). THINK about what you play. (What you like and WHY you like it). HYBRIDISE what exists and what you like. This allows you to play what you like while playing what the people like. If you do this well you bridge a gap and create something where everybody wins.

So, I guess the answer is that the tone achieved on this particular muse song is a dc30 or cranked ac30 with vol 5 and tb on, that does not rely on pedals. His humbucker may be running a bit hotter than yours, so tweak in post if you are recording this, or maybe use the eq to flesh it out if playing the song live. Bellamy does use a lot of pedals, but if you have an amp that you KNOW and FEEL, you can build a fantastic strong base jump in point for just about anything. It is entirely likely that he may just be driving the amp throughout the song and simply colouring and flashing with pedals.

Australian site, but check those prices against local... http://www.swamp.net.au/?rf=kw&kw=swamp+pedal+board Large is same dimensions as the Classic Pro

I really do. Keeps them safe. If something drops on them in transit, even in the car and snaps a knob off, where are you then?

I have a Russian Big Muff.. quite a tall pedal. Make sure a case will still fit with pedals on it.

You are trying to match the sound of an amp that is called matchless, meaning it cannot be matched. I find humour where most don't.

Two boards means your signal chain is compromised without one. I currently run a prototype of a board approx this size. It puts you in the vicinity of 10-15 pedals. Mine is melamine and ply and you need to consider the weight of all of your pedals PLUS the weight of the board. The pedal train seems the best choice to me. The creation seems neat at the sides and I love contained jack plugs etc but the slots above limit positioning somewhat. The holey will not allow for cables under as not all jacks fit through the holes. Pedaltrain seems the best option for a large scale pedalboard.

... matching a matchless....

Choruses at different rates and settings almost constant with delays and verbs to get a wash, With the phasers used to accent phrases. I also have the phasers set up before and after dirt and uses pedal. choruses between delays as well as amp. Mess with your chain to get unique results.

Your compressor is going to squish the highs and lows out of your sound and blur a lot of 'pick attack' sounds and make everything flow a lot nicer. Ambient is smooth etc etc

Look at Matthew Bellamy equipboard page. He uses neither but you might be able to draw your own comparisons by listening to YouTube demos of his amps vs yours. Sounds a bit clean for an 800. Even on really low gain there is a bit of snarl in it. Maybe the more modern 900 would provide the cleans you will need and allow for that little bit of breakup. Maybe it is a matchless or AB switching between a Jazz Chorus or a Vox and something heavier. Or knowing Muse it is several amps on several tracks.

https://www.amazon.com/Fender-Mini-Stratocaster-Gig-Bag/dp/B001U3W2B6

I would maybe see if it fit in a standard coffin, then pack out the 'butt end' of the case with cushion foam cut to an approximate shape that fits your mini snugly, that will stop the mini from bouncing around, and maybe cover that foam with a bit of velvet or crush velvet from a material shop if you want it to look prettier... even if that piece is just a 'cushion' that fits inside your case, you can remove if you want and not have a damaged case.

I use two chorus and two phasers two delays, reverb and flange with compression. Throw on all that and still be ambient. Or musical.

Well including a couple that arrived a few days early that I could not be bothered wrapping, I am now the proud owner of: Soul Food; Ditto Looper; Soul Press (Wah/ Volume/ Expression mini pedal); Spark Mini Booster; DCCore 10 power brick; 30 pancake plugs; 5m of guitar cable; Soldering helping hands station ; 2 f to f 1/4" feed through adaptor (with panel mounting);

This takes pedal board configuration to 14... Mwah ha ha haaaa

Now to redesign my signal chain!

http://data.whicdn.com/images/120370002/large.jpg

Merry Christmas 'Boardmembers!!! It is 1:06am Christmas morning, I have drank the beer, nibbled the carrot, eaten the cornchips, brought in the santa key, written the santa note and placed the santa present. In the morning I wake up to hopefully find my subtle hints manifested into useable gear!

There is talk of what I am getting but I will hold off two days because talking about it makes it bigger.

Would you settle for a screenshot of a guy with a side fringe in a mock feather suit or a onesie playing a VST of it? The emo emu emulator emulating an emulator II with an emulation could be arranged....

Or emulated.

...amp isn't making penis any bigger....

Anything larger than 1/4" is a waste!

I was just reading through one of the other forums about everyone getting amps that are louder and louder. I am heading towards the final stages of a studio build (at home), and wanted to ask if anyone reading this has had any prior experience with building their own iso-boxes for guitar cabinets. I have got the loud amps, but want to be able to record them with a little bit of consideration towards my neighbours and my neighbours neighbours. The entire room will be insulated with Earth or rock wool, and the walls will be double clad with fire check drywall. There is another iso-barrier product which I'm also considering called insuboard which insulates temperature as well as soind deadens. I just want to know if you are using double layers of earth wall or Rockwall in the walls of your iso-cabs, whether you are increasing on additional layers of drywall, or whether you are using fibreglass sheets before you hit the interior surfaces with acoustic foam?

....In 16 years they shall rise again. A nation stands at ready, and cowers in fear.

http://cdn3.pitchfork.com/news/67681/8c167dde.jpg

Finished!...welcome to the fold.

I was born a poor black child.

....Have you faded?

FFS The Simpsons cannot be considered a reliable source of reference!!!! Sure! we have some unique animals... that MAY be slightly harmful, up to and including death, But we are the only nation that EATS its own coat of arms! We combat the kill or be killed with some very pretty scenery and a morbid sense of charging people abusive mark ups on musical equipment, where second hand gear seems to not depreciate in value through the eyes of the seller.... and we have quite a strong music scene. Admittedly I think there are currently about 17 live venues that still work with local music Australia wide, but we still keep at it.

Cannot deny the rest of the stuff though.

https://www.youtube.com/watch?v=eNEeq5qGh8I