cheddatom

One year all my xmas presents ended up in the bin. Most were OK but a couple ruined. It's a bit of a wierd one. Leave them with a neighbour or something, but not in the bin!

Hmmm. I'd say I'm as obsessed with music as the OP, and feel quite guilty about it. Rather than feeling like people are patronising me, if they want to talk about music, I welcome it. Most of the time I feel like I'm boring people or frustrating them with my constant wibbling on about the latest drummer to come to my studio, or this new plug-in I found etc. etc. I'm not a "music fan". I never make the time to listen to music. I'm far too busy making it! So when my mate with 1000 records wants to talk music trivia, I don't feel patronised, I feel ashamed. Likewise I feel bad for not being more involved in the recording forum on here. I hardly ever go out to gigs either. It's pretty shameful behaviour for a musician!

I'm in a band where one of the members is a bit like this. He'll take any old gig, never paid gigs, and always put loads of pressure on to fulfil them, and to get recordings/artwork etc done RIGHT NOW. I'm trying to get my recording studio off the ground, so it's very important to me. I recently postponed a recording session because he'd sent me a load of characteristically sh*tty texts, pressuring me to do so, just for another unpaid gig. I found out a few days later that we'd not got the gig, but he didn't let me know and didn't apologise!!!! If I asked BC for advice I'm sure you'd all say this is awful and I need to leave, but the fact is this band is a hell of a lot of fun, so I just put it to the back of my mind and have a good time

I don't think it's the case that less people are playing music. Could it be to do with better insulation and double glazing etc? Plus all the electric instruments. I always wanted a drum kit when I was growing up, but my parents wouldn't let me due to the noise. If I'd been able to get an electric kit I'm sure they would have allowed it. Also maybe people are becomming more considerate? I know when I was a kid we'd play at full volume in a garage in the middle of a housing estate, and we got a lot of complaints

If you like the amp sim it might sound good going straight into the effects return of your amp, bypassing it's pre-amp. If it has cab sims I would not use these unless you don't use an amp/cab

I have 3 originals bands (playing drums) and then various jams with others (on bass)

I love it!

[quote name='dannybuoy' timestamp='1409785745' post='2543453'] This is not my experience, the pedal has TONS of low end on tap and can boost what your instrument is putting out in the bass department [/quote] This is the truth. I use mine on very low gain as a bass boost and I love it. I wouldn't use it for a high gain sound. It does play well with other pedals IME and I like to put a fuzz before it. In particular I like the Tech 21 XXL and the Red Llama for high gain dirt before the ODB3

I play with a load of different multi instrumentalists. I generally respect each bass player's style (I play drums now ) but will occasionally make a suggestion in a sensitive way, and I've not had an argument yet. Likewise if someone wants to sit down at the kit and show me a beat, I'll pass them the sticks and pay attention. My first instrument is guitar but I've never, ever asked a guitarist to play differently, unless it's my own tune. Maybe that's because all the guitarists I play with are ace?! What a lucky guy!

I always thought the point of being in a covers band was just to please the crowd, so the obscure album tracks are a bit weird. However, I saw you at the mill last time and recognised most of the stuff (super tight by the way, you're an amazing player!) If you have original material to work on, do that, but I don't see that this excludes you from staying in the covers band If you don't need the money and could do with the time, just leave the covers band, you're clearly a bit sick of it!

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!