cheddatom

Tauzero, I did read it, and it's interesting, but doesn't really define what the "valve sound" or "heft" is, or what it's actually doing to the sound wave. Some are compressing, others are not, and yet there's some mysterious factor which all all-valve amps have which SS amps don't

If the voltage sags when an extra loud transient is played, then I guess that would make this part relatively quieter, which would be easy to replicate with a compressor Maybe there's some research on this but i'm struggling to find it. What I'm after is some sort of quantifiable evidence of the effect a big valve amp has on the input signal. From everything I'd read previously, I'd assumed it was a fairly subtle and fast compression

Went to watch another local gig last night, kick drum in the chest again. I swear I read about this causing a heart attack in Koko in London? If so why is it not illegal yet?! Put the ear plugs in and the mix wasn't awful, but as usual, could not hear the bass, only feel it through the subs. ARRRGH

[quote name='discreet' timestamp='1428355816' post='2740593'] ...As I understand it, 'sag' refers to the reduction of the power supply voltage in response to large transient signals which lends an important dynamic 'feel' to the amp that is not found in solid state amps... [/quote] What is the actual effect? What happens when you give the hefty amp a large transient signal (I guess you mean lots of fast attack?). Surely this can be replicated with a compressor?

As always, there's good and bad. I was at a local festival last year. There was a band with an electronic drum kit. For the first 4 songs of their set, no-one could hear the drums at all, and clearly the singers were struggling to hear themselves. They kept asking for more in the monitors but there was almost constant feedback. They abandoned their set after 4 songs. I think they were supposed to play an hour This guy gets a lot of local gigs, and clearly people think he's doing a great job!! I wish you did all the local gigs Matt

[quote name='thehillscorporation' timestamp='1427379964' post='2729646'] ...then it's an increase of four times, not 400%... [/quote] Same thing, surely?

Well i'd normally blame the bassist. The guy from Monuments was clearly a great player, but I figured he had a totally scooped tone as I could hear the occasional clank, and some subs, but nothing else. But yeh, I couldn't possibly blame Jon Stockman, he's always had such an immense sound. I was stood right in front of the desk, so maybe it was my fault, my density blocking the path to the engineers' ears

I don't think we can generalise about all sound engineers at all, I thought we'd moved past that in this thread a while ago. I just thought I'd bring it back to share my frustration with the sound on tuesday night. Other than the rhythm section it was pretty good for Karnivool. I still had to have my ear plugs in, and at one point I think my heart was struggling with the kick drum vibrations, but still an enjoyable night Anyway, a band on that sort of level probably takes their own sound engineer so I've no idea how they managed to get it so wrong

yeh, for sure, sounds like he needs to work on his synergies

[quote name='discreet' timestamp='1426792295' post='2722080'] I see no emoticons so can't tell if you're joking or not... if not, then you've obviously never played a gig with an Ampeg SVT and 810 on full song. It's like having a very large, heavy, sinister rubber ball bouncing on the stage behind you in time to the music. That's heft. [/quote] I can get that feeling from any rig that goes loud enough, so I'm still totally confused (and yes i've played through an SVT and 810)

Yes, you're right about that HH. To use it to switch between two instruments, you'd have one in return A, the other in return B, and your amp plugged into the output. It would allow you to set separate volume levels for each instrument, but that's about it, no option to add an effects loop on top

I went to The Ritz in Manchester last night to see Karnivool. I've seen them 3 times before, and each time their sound was just incredible, but just to focus on the bass, he is always very clear, you can hear every note, it sounds fat, and then when he kicks on his distortion I can't stop grinning Last night was a different story though. It seemed there was a massive scoop in the low mids. It wasn't that the bass was too quiet, as when he kicked on his distortion, the upper mids were cutting through just right. Perhaps the low end was too quiet, I'm not sure as obviously the kick drum has to be overpowering everything down there, but yeh, 200-400 Hz was just missing, and so you couldn't "feel" the bass. It was still a great gig, but I was pretty dissappointed with the sound. He had a mic on his 8x10 and I wonder if the sound man had a low pass set too low on the DI, or the high pass set too high on the mic, or both The sound for the support band (monuments, who were ace) was even worse. Loads of kick, almost no snare, a bit of guitar, and some subs from the bassist.

Haha, if you're struggling for cash I would get a cheap AB and invest some time into your zoom pedal! But the temptation can be strong. I have well over 60 pedals

So, language is constantly evolving. Big deal. I'm good with that. In fact I'm all set. Totes. 110% And at the end of the day, if you want to turn around and call me an idiot, I could care less

I'm not sure I can explain what a buffer does very easily. It's there to prevent noise over long signal chains. There's a buffer in your zoom, and it's always on. This is why it's not "true bypass".

I think you're a bit confused about the bright onion pedal. It's not a recorder, or phrase looper. It's loop is just an effects loop. It doesn't have a clean blend on it though, so you'd have to ask for that to be added, but other than that it looks perfect for what you want. God knows why it has a footswitchable buffer either. Who would need that?

You should be able to set up a patch on the zoom with a clean blend, and still use the pedal as a volume control, I've definitely done that on my B2.1U before If you're instruments are well matched, then any old A/B box will do, such as the one linked by Danny above. If you go to something more complicated in the future, you could always move on a £20 A/B pedal pretty easily

My head hurts trying to understand this! To switch between two instruments, a simple A/B switch would be fine. However, you might want to be able to set the volume of each instrument, in case one is louder than the other. If so, you would need something a little more advanced. I believe the pros use a ToneBone or something? But I would use a boss LS-2 Regarding the effects loop, you just want a clean blended loop, right? And will this have it's own footswitch? Or did you want it connected somehow to the A/B switching? Your Zoom pedal should be able to blend some clean into the effected signal. I wonder if a simple A/B switch going into your zoom would do for now, and then when you get more interested in playing about with effects, make some new patches on the zoom with a clean blend? Sorry if I totally missed the point

[quote name='Conan' timestamp='1427191701' post='2726849'] Totally agree. But some people seem to think that I can't possibly hold that view without being wrong! [/quote] To me, it sounds like it could be a faulty amp and people are trying to help you figure out if it is or not. Obviously we all have our own perceptions of these threads, but I didn't think anyone was saying that your views are wrong

I've tried most of the rooms around stoke, and they're generally pretty bad, however, my good friend and business partner Ant runs Riff Factory rehearsal rooms in stoke and the PAs are ace. Whether or not you like the bass rigs is obviously subjective, but the fact that it's clean, has a ladies loo, and decent, loud PAs, makes it better than everywhere else locally IMO

I love a good bit of orchestral music! The main difference for me between good classical music, and all other forms of more modern music, is the repetition. You don't get so much repetition in classical music, and when it's there, it's done with great effect. There is a lot of experimental jazz and prog-rock and the like without so much repetition, so for me, this would be the most comparable contemporary music.

[quote name='Musky' timestamp='1427156963' post='2726654'] ... Waynepunkdude. His banning was something of a watershed for many of the recently 'disappeared' on here who find it difficult to believe that someone who had helped out dozens -literally dozens and dozens - of people on here has suddenly become [i]persona non grata[/i]. He'd spent a lot of time and money helping people he'd never met and occasionally got his fingers burnt, and yet still offered to help others. That his presence was somehow detrimental to the community is difficult to understand - impossible in fact... [/quote] Yeh, totally agree I respect the mod's desire to keep private conversations private, and I really respect the way this forum is moderated, so I think I just have to accept that the mods were right, however impossible that is to understand.

I particularly like the photos

[quote name='Drax' timestamp='1427107891' post='2725740'] Patronise is a verb, a 'doing' word. It means 'to treat with an apparent kindness that betrays a feeling of superiority'. [/quote] Lol

Are you giving the soundman a clean DI as well as the effected signal? If you start trying to use compression to squish the louder setting to match the quieter setting, you could end up with a load of feedback, which would then require a gate. I think the suggestion of a pedal mod is a good one. It's a bit sh*t that the pedal has the option to switch presets, but doesn't let you set the level of each preset individually