BigRedX

Only one tone? How boring!

[quote name='Prime_BASS' timestamp='1500125718' post='3335781'] As curiosity, what is YouTube doing that others aren't? [/quote] Being subsidised by Google who can afford for it not to make a profit.

[quote name='lowdown' timestamp='1500066889' post='3335492'] There was a reached agreement with PRS, but I am not sure if it was successful, or indeed honoured in any way. I suppose it will all come out in the wash. [url="https://www.prsformusic.com/press/2015/prs-for-music-and-soundcloud-reach-a-multi-territory-licensing-agreement-ending-legal-proceedings"]https://www.prsformu...gal-proceedings[/url] [/quote] Which is what I implied in my original post. Soundcloud only just worked financially when they didn't have to pay royalties for their content. Now that they do the books no longer balance.

That's what happens when your business plan relies on not having to pay performance royalties to your content creators.

What is the ultimate purpose of your recordings? Are they simply for your own amusement? Demos to show your band how the songs should work? Or would you like to be releasing them on CD/Vinyl/Download?

[quote name='dannybuoy' timestamp='1500022670' post='3335148'] 3rd jack socket is for the expression pedal, power is on the side. [/quote] It's rather confusing that it says 9V DC just above the "expression pedal" socket then, isn't it?

How on earth can you tell which control is which on your average stage? Also it appears to use a standard 1/4" jack socket for the power. Surely that can't be a good idea?

Time for a respray! ;-)

In the past on here there have been a lot of posts from musicians who agonise over every tiny mistake that they or their band mates make at gigs. What I (and a lot of others are saying) is that while it ought to be one of our goals to strive to reach the point where we don't make mistakes, it is far more important that you learn to play through them, don't pull a face if you make one yourself and not to pointedly look at your band mate who has. A mistake at a gig is gone in a second and since none of us can travel back in time to correct it, don't worry and concentrate on putting on a good show. For me there will always be at least one song in the set that is close to the limit of my technical ability. Sometimes I'll make it all the way through without error and sometimes I won't. My aim is to make sure that every time I play that song at a gig I am less likely to get it wrong. At some point I'll be able to play it perfectly almost every time, by which time there will probably be another harder song in the set. I have the same attitude to the others in my band making mistakes. Play through it, don't telegraph it to the audience and work on your playing so at the next gig you are less likely to make the same mistake.

I was going to suggest looking at the battery too as the source of the corrupted presets. Generally the instrument needs to be plugged in and powered up periodically in order to preserve the battery. If it has been sitting unused since 1986 I doubt whether the battery will have survived. Also IIRC the DX7 should come with 2 ROM cartridges each holding 64 sounds in 2 banks of 32.

[quote name='Musicman20' timestamp='1499937698' post='3334600'] I was interested as a guitarist and not so much as a bassist with this set. I don't tend to pay any attention to eBay as it shows how over inflated these things become, and doesn't tell the complete story. Yes, I understand a mint original with packaging will be expensive and a collectors piece. Will this new set be the same? Or will it lower the value of the old versions a little? Who knows. £750 is a lot of money. I was very interested but I just don't think I can justify that for three basic pedals. [/quote] I won't be either, especially when I can get a Line 6 Helix LT for only a couple of pounds more. I was just pointing out that when you compared the price of this set with what people were actually getting for the original pedals, there wasn't a lot of difference. And I suspect there a are quite a lot of people on here who have 3 boutique devices worth a combined £750 on their pedal boards. I don't think either of us are the target market for this kind of thing.

[quote name='hiram.k.hackenbacker' timestamp='1499924176' post='3334491'] I'm not sure I understand the view that the only people that will notice are probably musicians anyway, so it doesn't matter. Surely they are the people we aim to impress, aren't they? [/quote] IMO other musicians are almost the last people I want to impress. They are a tiny part of the average audience an entertaining band should be able to pull in. I want to impress "ordinary people" who might want to buy a CD/Record/T-shirt at the end of the evening if the band was sufficiently entertaining. Also IME punters and most musicians will only notice mistakes if the band make a big deal about them. If you play through any minor or even major errors as if they had never happened, no-one except the most die-hard of your fans will ever notice. That is what makes a band professional to ability to play together as though any mistakes never happened, not to never make any mistakes. [quote name='blue' timestamp='1499941046' post='3334649'] What Punters Notice At Gigs is a good topic, but has absolutely nothing to do with my thread IMO. Blue [/quote] IMO they are one and the same.

I don't see what the problem is. A quick look at completed listings on eBay shows that if you wanted second-hand versions of the original edition pedals that these are copies of, you could be paying nearly as much. In the world of guitar tones technically improved doesn't always mean a better sound.

IME trying out amps and cabs in a shop is about as much use as perusing the specs published by the manufacturers - almost none at all. The only way you'll know if a cab is suitable for you needs is to use it in the context of your band at a couple of rehearsals and gigs.

You don't need much of a shim to create a significant change in the neck angle.

I tend to use the 5-string equivalent of 40-100, but IMO the E and Low B strings in these sets nearly always feel to flexible and are definitely much lower tension than the other strings. My ideal set would be something like: 40, 60, 80, 105, 135. That for me would deliver a much more consistent feel between the strings.

I don't go to a lot of big gigs, but I can't help but think that genre has a lot to do with it. Most of the big gigs I've been to in the last few years have been late 70s to mid 80s bands (or new bands influenced by those eras) and without exception the sound has always been excellent and near perfectly balanced. In particular at the WGW the 8 bands playing in the main hall at each event have always sounded great no matter where they are on the bill and what instrumentation they are using. The one exception to this was HIM in London a couple of years ago. Massively loud drums, and everything else except for the upper-range vocals reduced to a undefined sludge. This kind of mix might work in the studio where it's possible to spend ages fine tuning the separation between lots of down-tuned instruments all competing for a limited sonic space, but live it simply doesn't work. Many of the songs were unrecognisable until the higher pitched chorus vocals came in, because the indistinct mix meant that almost no actual notes were discernible from any of the instruments or the lower range verse vocals. The opening band had a perfectly good mix, and the sound for the headliners - Fields Of The Nephilim was great despite the fact that Carl McCoy vocals are close to the lowest pitched "instrument" in the band.

It is perfectly fine to use "Mic" cable to make up unbalanced instrument leads. If the two shielded conductors are twisted together then you should connect one to earth along with the screen. Convention dictates that the conductor with the red sheath is "hot" and that is the one that should be soldered to the tip terminal of the jack plug. However it doesn't matter which of the two is connected to the tip and which to the sleeve along with the shield conductor so long as you make sure you do the same at each end of the cable. If the two shielded cables are not a twisted pair then connect both of them to the tip and just connect the screen to the sleeve. HTH

Are the keyboard sounds going to be sequenced, or will someone actually be playing them? What laptop do you have?

Just to throw a spanner in the works I'm liking the sound/feel of G natural on the way up and G# on the way down. Fits very nicely if I play along with the album version...

By the time you've taken the wall-wart transformer into account it's not really that small and compact. Also check that said wall wart comes with a UK plug on it rather than the one pictured, as you'll be messing around with adaptors and that won't make for a very reliable PSU.

[quote name='Mossiebass' timestamp='1499176195' post='3329702'] A fender style neck for me, particularly maple. It's all about the aesthetics [/quote] But then which one? A P-neck or J-neck? or is it all about the headstock shape in which case copyright would most likely mean that there are no production Fenderbirds.

What is more important in a Fenderbird? The fact that it has a "Fender-style" neck (in which case which one because there are at least 2 different ones) or that fact that's a bolt-on neck as opposed to the through neck of the Thunderbird?

You need to break down you pedal board to its separate components a build it back up on device at a time until the noise comes back. Work slowly and logically otherwise you'll never track down a permanent solution.

Each mains socket is rated at 13 amps. At UK voltage of 230 volts you can power equipment up to 230 x 13 = 2990 Watts. That is more than enough for the average home studio. Each piece of equipment should have the power requirement on the back where the mains socket is (or on the PSU where it is external). Add them all up and that is you total maximum power requirement. Unless you have some very high power amplifiers you are unlikely to even reach 1000 Watts. In fact in the days before low powered light bulbs and high powered audio amplifiers, the average home studio probably used more power to light it than all the studio devices in it put together! Also the ring main will most likely be rated at 30 Amps so if you really need more than 3kW you could simply run the rest of the studio off a second (and third) 13 Amp socket on the wall provided than you didn't exceed 6.9kW over all the sockets in the ring.