cheddatom

[quote name='Stuart Clayton' post='69580' date='Oct 4 2007, 04:59 PM']Funny, I tried the SYB-5 and thought it sucked compared to the SYB-3. I only use it for long sustained sci-fi noises though, nothing too quick - I know nothing tracks like a Deep Impact... Ashdown Envelope filter is ok, only that. I also have a DOD FX25 whcih may take it's place soon. It is a big pedal. Whammy is indeed at the end of the chain - wasn't sure where best to put it, but it seems happy enough there. Cheers Stu[/quote] I have to say that on paper, I agree with Kev about the order of your chain. If I put a whammy after distortion, without any nice dirt/OD after it, it will give me nasty tone indeed! Also, I find it weird that you would only use delay on it's own. Stick your delay at the end of your chain, and then fill up the delay with effects! It's fun. Whenever i'm at gigs, people ask me how much my board cost, where did I get all the money etc, and it really winds me up! I've been broke all my life, and not just because I buy gear. I buy used cheap crap of ebay, and then make it sound good. I did spend £110 on a wah probe, but, that was totally worth it. That's my most expensive pedal. Kev - Where do I get a deep impact cheap then? I'd love to play with one, I don't really like the synths on the zoom I have.

I tried the SYB-3 and didn't like it at all. I tried the SYB-5 and loved it, so, just a suggestion, if you haven't tried it yet, you should! What's the ashdown envelope filter like? Is it worth all that space on the board? Do you have the whammy at the end of the chain? It's so cool to see so many interesting boards on this thread. I've never played a gig where a bassist from another band has more than one pedal!

It should be easy enough to unsolder the components and wire them instead. I love the sound with the octave on, it's a great pedal. I only use it for one song of my band's though. I'd like to use it more, but, it doesn't fit that well with our sound. My board at the moment, is mostly the same as this, but all crammed onto the board.

That's a fiendish board Joe! I love the DJ13 too, I have one. I'd like to rehouse it though, and i'd like a footswitch for the octave. Maybe one day i'll make the effort!

Are you doing something to the sound of the input? Any plug-ins or the like would create some latency. There should be a control panel for the ASIO driver, where you can increase the in and out buffer sizes. Maybe try a different ASIO driver. It may seem stupid, but are you sure you're using USB2? 'Cos I know people who thought they were using USB2 but weren't.

What are the differences? I've never used flats, or ever looked into them. I was aware of their existence, but never knew why!

I have a bespeco one on my AW-3 but the range is a tad short. I'd like to know the specifics of why that is, and if there are better pedals out there. When I first bought it, I assumed all exp pedals would be the same, to a "standard", but, maybe not?

I like most of Les' work. There are some tracks that i'll skip, but they tend to change each time I listen to each album. I really like oysterhead. Something interesting I found with Primus was that I loved their original (not first, unusual) sound on the Brown album etc. Then Antipop seemed miles away from that, sound wise, but I loved that sound too! I thought it sounded quite commercial and thought they should have gone for more exposure for Antipop, but I guess that would have been rather ironic!

Listening to anything by Dream Threatre will give most people a headache!

I have blended compression before, as a send rather than an insert, in the studio. It does work well, if that's the sound you're after. Sometimes people just have the attack time on their comp too short, which would get rid of most of the "OOPMH". I like to have a compressor at the end of the chain, even if I have some blended compression before that, just to make sure there are no mental peaks, which can sound bad, whether you have the headroom or not. It would be better if I didn't play them, obviously, but, work with what you've got! In reply to the top post - I would put it in the loop, 100% wet, play with the compression settings until you like them, and then blend in some dry until you've found a sweet spot.

I'm waiting for them to grow back, and then i'm going to try this nail strengthening stuff they put on ladies long nails, so, i'll report back when I get some results from my experiment!

Arrrggh! That happens so often and is so annoying! I tend to use the voice recorder on my phone if it won't interrupt the flow.

Heh, thanks for all the comments. I think there are some mastering issues on most of our stuff, 'cos we don't spend enough time on it really. It seems everyone thinks we're not far off though, which is good, but, the new cd will sound a bit different I think! Kev - Start a band, book a gig, get us to support you!

I agree whole heartedly with The Funk. When playing live, all you need from the kick drum is attack, a nice thumb for the audience to feel the beat.

If you buy a CD lable applicator, which really is useful, then you'll get some lable designing software. Or you can just buy lables, and use trial and error and publisher or something similar, until you get the lables bang on. I do have the privalage of using colour laser printer at work though, so maybe it's not great value for money for everyone!

You could just send the high frequencies to the monitors, giving the kick more presence could fool him into thinking he can hear it!

You are talking about a notch EQ at 250, rather than a high pass, yeh? I would have thought a slightly higher notch, 300 or 350 would have been more appropriate, but perhaps the kick drum is tuned very low? What part of the kick drum sound is he missing? What about it is making him unhappy? I find that when you're playing live, it's nice to have a great sound on stage, but not essential. If he can hear enough to stay in time, and so can everyone else, and it sounds good coming out of the PA to the audience then, leave it be. Is it that he can't hear the kick drum because your bass is overpowering it? Try rolling off some low end on the bass? Pointing your cabs away from him etc... If it's changing from venue to venue, and sometimes it sounds good, try observing what the differences are between the venues and the positioning on stage. I don't know really, it's an interesting problem though!

[quote name='Paul_C' post='66531' date='Sep 27 2007, 06:04 PM']so you're saying you become regarded as an artist once SOMEONE ELSE recognises your work as art..[/quote] Yes, but given the fact that it takes some artists a long time to be regarded as such, we have to assume that there are many artists never regarded as such, and so you don't have to be regarded as an artist at all, to be one.

[quote name='fleamail' post='66520' date='Sep 27 2007, 05:43 PM']I was misunderstood! What I tryed to say is that the volume of the right channel is louder that the left and that breaks the stereo image. The panning is great![/quote] Hmmmmm, what song is this? I would have thought I would have noticed that! Erroneous :-(

[quote name='Paul_C' post='66509' date='Sep 27 2007, 05:17 PM']I'm sure most don't care, but how do you define them as musicians ? Because you've seen/heard them play ?[/quote] Just because I would have to hear someone play to believe that they are a musician, doesn't mean that if I don't hear them they're not. The operative word being beleive. So I think my definition of a musician is someone who makes music, which is rather broad, but, y'know.... I am a driver, but I don't have to prove that to you. You would need proof to beleive me, but I don't care if you or anyone else believes me. Even if the only time I ever drive is the only time when there are absolutely no cars or pedestrians on the road, i'm still a driver. It's like, how do you define an artist. You don't have think think of yourself as an artist to be an artist. No-one else has to either. You could be dead 100 years when someone finds the doodles you made on your notebook at school, calls it art, makes you famous etc. Edit: Just a point about band names before I go home - I think edgy/bordering on offensive is the way to go. I am playing drums for the "Premature Ejaculators" and most people seem to love the name.

That's a fair point, though I'm sure there are musicians out there who don't care if anyone knows it, or beleives it.

I don't know if this is helpful, so, sorry if not, but When we make our CDs to sell at gigs, or send out as demos, we print the lables for the discs ourselves. Most of these disc lables have extra lable spaces on them, so we print sticker designs onto these bits, giving us the disc lable, and stickers!

I think you can be a musician and not a performer. There are loads of people who just play at home alone, but are really good with their instruments, and I don't think it's fair to say that they're not musicians.

Heh, maybe i'll do two different mixes, one for the bassists and one for the guitarists!

It depends. My band are really committed and have gigged loads, but, after a while it gets to you, turning up to empty venues, never getting paid, burning diesel and energy every time, and for no real long term benifit. We have decided to stop doing so many gigs for a few months, to concentrate on trying to get some high profile gigs, or gigs in london, and also trying to market ourselves to lables and managers and etc. So, while I do get kicks from gigging, I can totally understand people who are tired of it.