cheddatom

wow, 51% on wet sales?! I wouldn't have thought it was that much! Having said that earlier in the year I played a local pub with my folk band, we brought a support act (30 mins) and then played 2 hours at the most. There could not have been more than 40 people in the pub in total, and yet he paid us £300 for the evening. The support guy and the band get £50 each, the bassist who brought the PA gets £50 for that. How the hell does this make sense to the Landlord? Surely he'd have lost money?

low end is so difficult... If you can persuade the soundman to use your own mic, you can probably persuade him to use a DI for the low end, and mic the cab for the high mids and top, in which case a SM57 would be fnie

When I used to gig on bass I'd be very nice to the soundman, get them to take a DI after my pedals, ask them to take the top off the DI and mic my rig taking the bottom off this mic. Most of the time they'd just DI and have me too low in the mix. Sometimes they'd oblige. You get used to it after a while!

I've never been in a band that'd take longer than 10 minutes to set up, whether sharing gear or not. Also, I've been referred to as "ched" before on this very site.

I put the ratio on full, start with the threshold all the way off (so clockwise) and then gradually roll the threshold down until I can feel it working. Then I back it off very slightly and I'm done If it has the "enhance" control from the boss pedal just keep this off. It definitely doesn't enhance anything

I would play in a more percussive way, hitting muted strings (or just harder) on all the snare hits, for example

I have a peavey combo which tends to shut down after a bit of abuse. I once played a gig, the headliner turned up just after we'd played our set citing traffic issues. They said they didn't have time to get their bass rig but I'm certain they didn't have one. Anyway, I said no problem, just make sure this yellow light doesn't come on on the amp. He completely ignored me, thrashing the hell out of it with the yellow warning light on constantly. I was standing at the back with a big grin on my face just waiting for it to cut out. Unfortunately the amp held out for the full 30 minute set

I know we all have stories about obnoxious soundmen, painful feedback etc, but the other day I think I found the winner PA company were still setting up the PA 5 minutes before the intended stage time. When we were supposed to go on, we were ready with gear, but the mics were on the floor and there was no DI for the acoustic guitar. We asked about the DI, and they said they'd just mic it. For lots of reasons this is less and ideal so we asked if he could get a DI. He said they'd actually forgotten their DIs so would go and get them. About 10 minutes later I asked about thieir mic stands and they said they'd forgotten these too! 10 minutes later someone leaves, apparently to get mic stands and DI boxes. He got back about 30 minutes later with stands, DIs, but no mic clips!!! He'd forgotten them! So, we went on stage about an hour late, no problem, but this was a "professional" PA hire firm hired by the local council paid god knows how much to put on the show, and they turned up without mic stands!!

It's been a while since I've done any electronics so thought I'd wait until I have a spare one. They're only £30 or so aren't they, I'll grab one when I'm back from my holiday

The one in Stoke had some KRK 6" monitors. The price looked good so I went to buy them, until I realised they were priced per speaker! I explained you could get them new online for the same price and he basically told me to f*** off!

Good points, just wondering if it's worth me doing this mod... If I get the time I'll buy another one and mod that I'm not the bassist in CJ, I just recorded it (well, and play drums, but that's not a real instrument is it!? I might as well be a guitard!)

[quote name='thisnameistaken' timestamp='1407880566' post='2525103'] I definitely noticed a loss of treble content when using an LS-2 as a line driver (with it in bypass mode). My board used to be based on an LS-2 with the only pedal that was always in my signal chain being the LS-2. The difference between going through that and going straight to the amp was really obvious. I replaced it with the Loop Logic and the difference is barely noticeable. I should add though I didn't ask Max to design the Loop Logic purely because of the LS-2's buffer quality. It was more because I wanted two stomp switches to control the two channels. I need to be able to switch each channel on and off independently and despite the LS-2's wealth of switching options that just isn't possible without two switches. And it's lovely that he built it in a Boss-sized box with the switches close enough together to stomp both of them at once. I really love that pedal and it's still the key unit on my board. I do still rate the LS-2 as a budget 2-channel mixer though. [/quote] Interesting! I play with loads of top end so should be able to notice but I've never done the experiment. I do have both pedals so may try it out at some point

[quote name='thisnameistaken' timestamp='1407792846' post='2524141'] Look at the SFX Loop Logic. I've got one, not cheap but it's a nice design. One stomp per channel so you can switch them individually, and top quality buffered bypass so it doubles as a great line driver. [/quote] Yep, this is a great pedal, but I still use my LS-2 too. I don't see why it would "kill tone"

I didn't notice it lacking much mids, but then maybe I love a scooped sound? This was just the BDI21 with a squire bronco and some parallel compression: https://soundcloud.com/rifffactoryrecordings-1/creepjoint-bass-invader

I will often forget the arrangement of a song because I'm thinking about something completely different. I wish I could concentrate on the music!

also parralel can be ace... like blending a clean signal with your fuzz tone, except the clean signal is a little bit dirty

try it both ways. I always thought I'd want fuzz before overdrive, using the overdrive like an amp-pre, and the fuzz liek a fuzz pedal infront of it. However, with my current pedals this combo is horrible and I have them the other way around

I can't think of any reason a mains supply would reduce the current your PSU can supply. It would cut out all together if it was overloaded as Howie said. I would say either way you want a better PSU which can handle your whole pedalboard

yeh, like I said, the customer should be told in reasonable time. 24 hours in my opinion

I don't think there's anything wrong with advertising products you don't have in stock. However, it should be made clear to you within a reasonable time from ordering

If my pickups are microphonic is this all I need to do? I thought I'd have to mess about with the winding?

I have some sort of repetitive strain which the doctor has told me can't be treated. I can play the drums fine, and use a computer all day long. The only effects of this are some tingling in my hand and tension in my wrist. If I play bass for more than 30 minutes I end up with serious tension and pain in my hand and wrist. So, I play drums in 3 bands but bass in none

[quote name='elephantgrey' timestamp='1406554131' post='2512356'] As someone with an almost exclusively digital pedalboard, its strange hearing 100mA as demanding… [/quote] Yeh I have a few pedals which need more like 400 ma. I use a Godlyke powerall on a daisy chain and still need more psus.

[quote name='Lebowsky' timestamp='1406561845' post='2512454'] well I'm new to the forums, so here's mine [/quote] that is very cool... got a video demo?

[quote name='uncle psychosis' timestamp='1406125988' post='2508568'] Businesses can afford to not insure stuff. When you're sending out thousands of parcels daily, the saving you make by not paying insurance premiums easily covers the few that might have required insurance. [/quote] In my experience businesses will have their own insurance to cover these things, rather than rely on the carrier who's insurance is always rubbish