tayste_2000

Very tempting, but mainly for my guitarist who is always having problems, my Overwaters have neutrik locking jacks, no way they are coming off.

[quote name='cheddatom' post='970336' date='Sep 28 2010, 08:37 AM']It makes sense to always be prepared though. I'm not criticising, just wondering.[/quote] Same here, I'm currently gigging about 10 - 15 times a month in an originals band and the margin for error on the venues part goes through the roof. We've got to places with no xlr's, or mic stands they do oddly have mics though.

[quote name='pantherairsoft' post='970127' date='Sep 27 2010, 10:04 PM']Yup! You can't trust venues to have working gear, or knowing how to use it correctly. You CAN trust yourself to provide good fully working equipment. Makes sense to me![/quote] But can you trust yourself to use it properly?

Oh and to expand on my previous post here is a good story. Just last week I did a support show with Reckless love at Moho Live in Manchester. Reckless love were borrowing cabs from the main tour support who are also on the same label as them, they are also rent/given amps to use through their endorsements to Marshall and Ampeg. We get to the gig and none of the cabs are there as the main support won't be getting their till later, a few hours go by and we end up putting our equipment on as the backline won't be there in time. The guy from Reckless Love decides he wants to use his SVT and my Matamp GT200 into my stereo 8x10, not an issue. I hook it all up. My GT200 sends the signal post everything to a Radial JDI, this works perfectly. Reckless Love's bassist is given a venue di and plugs his bass into that and then into the SVT (Bit of a waste if you asked me) So he trying it out and it appears only half my cab is working, no signal from the SVT so I try it without the DI box and viola works, venue changes the cable between the DI box and amp still doesn't work, so they change the DI and then finally it works. Now this took 15-20 minutes while the soundman was running around doing a million other things, we spent the night making his life easier, other bands used our gear, it all worked, we set it all up, soundman was greatful to us at the end of the night and we came away with some great contacts with 2 big touring bands. Hope this makes sense

[quote name='cheddatom' post='969601' date='Sep 27 2010, 03:57 PM']But can anyone tell the difference when it's going through the PA with everything else? I suppose you can else you wouldn't bother, but it's not as though you're monitoring your DI is it, you have your amp for that.[/quote] Maybe not but I run mine out of a 1/4 inch out on my Matamp so its part of my rig, I don't have to adjust the output for each venue because their DI boxes are hotter than the ones I used the night before, also I then have confidence in my gear so if for some reason my bass signal isn't getting to his desk he can check his connections and his xlr's before coming to my amp. Also I subscribe to the view of if you need it to play then you should own it and take it to the gigs. Also I have the Radial JDI as I can use it as a speaker DI on some of my vintage tube heads. FYI I've been at plenty of gigs where they haven't had enough di's for all the bands because the headliner has 4 keyboards and backing tracks and a drum machine and this that and the other, so it does happen. Just out of interest Tom how often do you gig?

[quote name='cheddatom' post='969593' date='Sep 27 2010, 03:48 PM']Why do people take their own DIs to gigs? Most amps have a DI output, or at least a pre-amp output or an effects send. Also, every venue i've ever played have had their own DI boxes....?[/quote] No venue I've played has a Radial JDI, if you want quality you better put it in your gig bag

[quote name='Wolverinebass' post='968727' date='Sep 26 2010, 07:40 PM']I then turn up and go for a jam. The guitarist says I'm playing the "wrong" notes as I'm playing the D an octave higher up. I could go on about this but if they had told me they wanted someone who had a bass with only 1 string I would have said "no thanks." It's not about scores or whatever, it's about people saying one thing and doing another.[/quote] Some would argue that you can put your own stamp on the track, just in the correct register it was written in. I'm currently working through some songs for a band that have a heavy dropped tuning and lots of open string riffage, very similar to Tool but it evolves all the way through the song instead of being a fairly repetative unison riffage. Now I'm learning it note for note from the notation they supplied even down to playing the notes on the correct string for example their tuning is GCGCF and I'm riffing away around the 5th and 7th fret on the higher G string then suddenly I have to jump to low down on the lower C string then up to the 8th fret on the low G String, now I could redo this so my hand is in a pretty static position but it doesn't sound right using thinner strings for these particular notes. It may sound pedantic but it works for what they are doing and they are very tone concious. When I go to the audition I'm going to take my 8x10, 200w tube head, Overwater 5 string tuned GCGCF and my Rickenbacker 4003 Tuned CGCF now it maybe I end up retuning the Overwater to GDCGF as apparently they have songs in this tuning but so far I've not come across them. I will likely end up using a smaller cab in future but I've done my research and its very likely they are massively loud so I'm making sure I take the right tool for the job, I'll also be taking my Line 6 M13 with a bunch of FX I've preprogrammed up to suit their music but it will only be getting stepped on if they ask me to, i.e something is pointed out as missing to my sound. It sounds like your auditioning for the wrong things initially and secondly you aren't willing to just play what is required to get the job done, I mean are the songs you are learning for the audition the only songs they do? Will they never do anymore ever? What's to say if you like the people and like the music that you won't get to put your stamp on it in future writing sessions? When we auditioned 2 new guitarist both of them had to play the songs note for note, why? because they were the album tracks from the album we released in Japan, it is what it is and it's essentially set in stone. However since they've been in the band we've written the 2nd album and its massively different, much heavier. much more the direction we wanted to move in and they facilitated this in the music they brought to the band and neither of them were told what to play or were told to play things simply. Hope this helps

Bit of a tweak to make the pt jr more workable with the m13. Basically it sits in the loop and depending on the scene the loop moves. The boss expr can be used as an expr on the m13 or when just using the pt jr I just add a patch lead between it and the Prometheus and voila volume pedal. Signal chain is Bass - M13 - M13 Loop ( Kimbara/Shin Ei Wah - Fredric Effects Unpleasant Companion - Subdecay Proteus - Subdecay Tomato Fuzz - Mojohand 442 Red - Subdecay Prometheus) - Out of M13 in stereo - Left to amp passive input, right to Trace Elliot TVT9 Or at home into the different channels on the Dynacord MV15 I use for home practice, but basically all effects into a clean channel and a dirty channel at the same time. Some times I'll place a volume pedal before the dirt pre so I can blend it in and out of the signal. Having a lot of fun with this at the moment, got a lot of oddly placed dirts and mod effects.