cheddatom

Well on the graphic EQ I have the bottom fader (can't remember the frequency) right down, otherwise yeh, I don't see why not.

I've had it before when i've lent my bass amp to other bands and they run it too loud, the yellow warning light keeps flicking, and then at some point it dies with a big pop and the yellow light stays on permanently. You just turn it off and on and it works fine again. Well, last night I was playing for the first time in ages and it kept happening every few minutes, even though I wasn't loud enough to make the yellow light come on (until it popped). It only seems to happen when i've got my pedalboard on, but I do have a gate which totally gets rid of all noise between notes and all feedback etc (I have a lot of distortion and compression) so I can't figure it out! Is there a way my board could be sending a weird spike? Why can I not hear the spike? Can the amp be overloading from something other than input volume?

I have high and low on my peavey combo. My 18v schecter sounds good through high but better through low!

Well I went to audition with a nottingham band who got back to me the day after to say they'd let me know in a month or two, then a month later they asked me to do it. I decided it was too far to travel, but it was an organised decent polite band in nottingham.

Surely you could acheive infinite sustain with distortion and volume, and then EQ out the top end so it doesn't sound like distortion, just seriously compressed bass? I once had quite a nice synthy type sound using a french toast and a Black Liquorice with a hard limiter and a gate, and all the top EQd out. Perhaps I have the wrong end of the stick.

AFAIK (and someone will probably correct me) He has 3 rigs, one is always running, and it's clean, another is running most of the time and he chooses how dirty it is with pedals, another is switched in and out and is seriously dirty.

[quote name='endorka' post='620849' date='Oct 8 2009, 06:35 PM']They're probably not appropriate for acoustic situations such as the one in that video, and especially in the orchestra; it's not really a problem when everything is acoustic and relatively quiet, as you can hear yourself well enough to play in tune, and it's best to keep things simple - you just have to compensate for the different sound behind and in front of the instrument. IEM's for amplified gigs is something I've been thinking about though, do you have any experience of the various systems? Jennifer[/quote] No, I know nothing about them, I just thought it was a shame that you couldn't hear your true tone on stage and perhaps IEMs would solve it.

[quote name='Silent Fly' post='621407' date='Oct 9 2009, 10:46 AM']I am not sure I understand why you would like to run the effects in a second amp. Unless the the second amp has a very strong personality, from the sound viewpoint, you should be able to achieve the same thing with a blender.[/quote] Timmy C does it with similar amps doesn't he? There must be a reason for that.

I always thought what I needed to do was run a clean signal into a bass amp, and a dirty signal into a guitar amp. At first I couldn't afford, so got an LS-2 to blend instead. Then, my guitarist got a new amp, so I started using his old one. It sounded crap. Then I tried the guitar amp coming out of the crossover on my peavey bass amp, so after the end of my blended effects chain. That sounded amazing, and it's what I used for the next 3 years. I would imagine that the combination of both amps got me somewhere near the capabilities of a very powerful bass rig with amazing cabs with crossovers etc. The main thing I missed when running clean to the bass amp was the distorted low end!!

[quote name='endorka' post='620585' date='Oct 8 2009, 02:23 PM']It is really strange hearing the double bass from the listeners perspective, as it always sounds different from when I am actually playing it. Presumably being behind/above the instrument considerably affects the tone and volume, as I always perceive it as fairly thin and a bit quiet.[/quote] It might be worth trying some IEMs.

You need a pre-amp for each mic you want to record. These could be in a mixer, in a rack, or built into the interface you choose. Firewire is better than USB. I have PCI interfaces and use external pre-amps. It depends what you have already, and how much cash you have to spend.

I agree it's a great pedal, but it won't really help you sound like a guitar IMO.

When I play chords it sometimes sounds just like a very low huge guitar. I do that by blending clean with a very trebley attacking overdrive.

That's depressing!

[quote name='fatback' post='618589' date='Oct 6 2009, 02:28 PM']Thanks cheddatom. Unfortunately the work pcs don't let us use proxies. lll just have to go to Scotland to watch. hehe. Love the place, lived there for years. fatback[/quote] Oh the bastards. Befriend your IT man!

fatback - search for "UK http proxy"

If you want the octave up and you're going to distort it, a digitech whammy could be the answer. There are some new EH polyphonic octaver/harmonisers as well I think.

Have a look for a struggling industrial estate with a friendly landlord. That's how we got our practice WAREHOUSE!

If the effects loop on your amp has a blend, or send knob, then yes you could put it in the loop and use it to blend. If not, there's not much point putting it in the loop.

I love it when a player hums along. I really like it when george benson does it. The bassist for Ben Harper does it for a solo on the live DVD and it makes it so much more funky!! I can do it, but don't. When I play the drums I hang my jaw down like a fish and lick my toungue out occasionally.

[quote name='DanOwens' post='613522' date='Oct 1 2009, 07:30 AM']If anyone thinks they play better after drinking or smoking or anything else, record the gig and listen to your timing. If tightness is your thing, you won't want to repeat that experience! Dan[/quote] Heh, everyone's different. I've been in the studio before and been too stressed out to play very well, so every time I record now, i'm stoned. Check out myspace.com/nologorock for tightness.

If you want mental distortion and clarity then blending is the way to go. I would recommend you get a compressor to stick in one loop, and have it always on. Then have the other loop alternate between clean and mental distortion as you turn the dirt pedal off and on.

a compressor will only affect the dynamics of your sound, it wont affect frequency response. If you want to boost the high end, turn the highs up. Having said that, I suspect you will still like a compressor once you've got your high end boost sorted. I love compression.

[quote name='TheBlueFalcon' post='611033' date='Sep 28 2009, 05:23 PM']I think it really comes down to what quality is expected. A few years back I used my very decent Hi-Fi connected to a PC's on-board sound card's 3.5m jack input to put some vinyl on to CD. To me, the quality left a lot to be desired. Using a newer PC with a decent Creative Labs sound card made a huge difference. I would imagine that onboard sound cards have improved a little since then, but I would guess there can still be quite a difference in quality. Although I have never tried one, I can see how a dedicated off-board device with decent analogue to digital converters could improve the quality, just like a higher quality sound card would.[/quote] Ye, sorry, that does make sense, if a soundcard has crap converters then it will make quite a difference going to something better. FWIW I reckon most modern onboard soundcards will be the same quality as your creative card. I have m-audio delta 1010Lts which are nice.

[quote name='TheBlueFalcon' post='610976' date='Sep 28 2009, 04:41 PM']The quality of the sound card can make a big difference.[/quote] I think when trying to record an instrument or a mic it makes much more difference than when you're recording a line-level input. EG (and please tell me if i'm wrong) they sell these USB turntables for ripping vinyl, which seem stupid to me as you could just plug your turntable through a hi-fi amp into the lin-in on a standard PC sound card to get the same quality.