NickD

I like both of those a lot. The bass tone is lovely on the second. I assume it's pretty much the same on both, but it's left exposed more on the second tune and really stands out. Like the crunch to the guitar too.

I bought an Octabvre from Paul. The whole thing couldn't have been quicker, easier or friendlier. Many thanks!

I had nothing but dark for the 1st 25 years... But I could never stand fret markers. Then the Elwood came along... Then I had a naked maple board on the Jake.... I can't imagine going back.

I had a Redwitch Factotum from Mark. Dead easy, quick transaction, with excellent friendly communication. Many thanks!

I'm after a similar thing, and have chopped and changed as I've refined. I use the bass fly fig with the Sansamp section always on with a bit of grit, then the boost set to pre, which gives it a little more grunt when any rhythm guitar drops out. Tiny bit of compression in front. For slower picking passages I'll put a little bit of chorus on if I'm further up the neck. Other than the BFR I have some song specific stuff, octave, reverb and delay. I find the octave useful for playing passages an octave higher than I would, and having it doubled underneath. It fattens things nicely and sounds cool on top of the dirty core tone..

Oooh... Harsh! 🤣

It's all subjective innit. I really like it, But Gaucho is my favourite SD album by a mile, which a lot of other people don't rate.

Oh I totally get that. It's just that in my case, at this time it's very close to a one unit solution, and would avoid the almost inevitable descent into Helix territory. Never mind, thanks very much for your advice, it's much appreciated. Congratulations on the BFR too, it's a great piece of kit.

Wow. Of all the replies I didn't expect... Thanks for chipping in. I do find it all useful with my current project, with the exception of the Octafilter section, which I can't make work well for me. It's that small flaw (purely for my needs you understand, I'm sure it does exactly what some people want), that led me to this question, so I could run out to my octave and filter, then back in.

It's been done!

Wierd! Mine is fine with pretty much whichever 9v supply I pick up first, and when on my board, with my TRex Fuel Tank Classic. The only problems I ever had in operation were before realising that my hottest output bass needed the pad switch pressed in to compensate, and when I inadvertently left the headphone switch in. Other than that it's pretty much silent in operation. It must be related to the supply.

I've been using a BFR for quite a while now, but it's lack of an effects loop annoys me, meaning I have to have my additional stuff (Octave, Delay, Reverb and Freeze) after it, rendering the DI pointless. I've tried alternatives, including the Valeton Dapper, but the core sound, boost and chorus on the BFR are closer to what I want. I want to look into the possibility of modding the BFR with an effects loop, even if it needs to go in a different box, and would appreciate a pointer to anyone who does this kind of thing, ideally who someone here has used before and had a positive experience with. TIA

Obviously date dependent, but I'd love to attend another Herts Bash if one came about.

See.... Hitler wasn't all bad!😂 (Just for clarity, this was a lame gag at the expense of jazz, and in fact Hitler was pretty certainly all bad)

Bagged some bargain strings from Andy. A dead easy, smooth transaction. Deal to door in 48 hours. Many thanks!

Had a pedalboard from this chap. Great communication, quick and easy. It arrived in great condition, we'll packed, and earlier than expected. Many thanks!

It may well be a complete clusterfvck, but you're kinda going along with that expectation, so anything better than that is a pleasant surprise. I tend to go into these things expecting the worst, but with the knowledge that If just 2 of us gel well, I've made a potentially good contact. My drummer now is the one person I gelled with in a shortlived band joining episode a few years ago, and if I'm short of a guitarist, I know 2 of the first calls I make will be to people I've made contact with in similar circumstances over the years.

While I'm always a little bit in awe of anyone who can play the bendy sex whistle, I wouldn't tolerate one of them telling what to play (unless satisfying amounts of cash were involved, obviously)

Bought a pedal from Pete. Deal to door in under 48 hours, prompt and friendly communication throughout, just like any deal should be. Thanks Pete!

This, all day. Treat is as a writing phase. An interface, a laptop and a few other instruments bought, blagged or borrowed, and the world is your oyster. I started between bands, and to be honest I probably find it more fun and less of a slog than the whole band thing. Having said that, we're going in to record a bunch of them, and then we (drummist and I) really fancy gigging them, so we'll be back on the treadmill, but it's been a fun, and educational period, and I reckon my playing has improved. Writing something you can't play makes you work, as does working out parts for instruments you don't usually play.

I found them really useful (thanks Kevin). I was initially concerned over misunderstandings and not being able to follow properly due to not being in the same room, but it didn't work out like that, things seemed very smooth considering the remote nature.

Many thanks Guys, much appreciated. I can help but think I'm overthinking it, they'll probably only be heard by me, and my neighbours whether they like it or not. I just want to do it properly, as there's about another 15 tunes apart from these, and if I can try to get into a position where the first batch subsidise the next batch a little, that would be useful. I'm also looking into registering with the taxman, if I can establish that it would allow any small income to be set against the development of further recordings, etc.

Any relevant, semi-relevant almost relevant, or irrelevant but amusing advice appreciated on the above. We're going in to start recording 10 original tunes this month and I'd like to protect them if I can. Not that I'm expecting any great interest, but I'd like to make sure they're mine, so to speak. I've been looking at registering as a writer with the PRS, it seems reasonable and appears they just take a cut of anything they collect after the initial fee. As far as releasing the songs we're planning on Bandcamp only to start with, would that cause conflict with the PRS, looking at Bandcamps T&C's it states that uploaded music is royalty free, I assume that's to get round PRS trying to collect from the artists own outlet? Also can anyone direct me to any useful articles about the relationship between writing and publishing, or am I correct in thinking that as a writer I own the publishing unless I pass that right onto someone else? It's completely new territory for me, and from the edge it looks like a minefield. TLDR - How do I get original songs out without getting ripped off? 🤣 TIA