lefrash

I love these rig rundown videos and this is one of my favourtes. Its really cool to see the guitar in detail too.

I wonder if any of you (more technical than me) can explain this. I currently run a harley benton Junior powering a mix of digital and analogue pedals and a seperate 9v addapter running a zoom ms60b. The reason i dont run them all through the harley benton is not giving enough juice to them all so it makes my ms60b cut out every so often. This has worked absolutely fine at every gig I've used it (around 15 gigs so far and of course a weekly practice). Last night, I plugged into the supplied extension socket at the front of the stage and 30 seconds into the gig my digital pedals started to flicker on and off rendering my board useless. I then plugged it directly into the wall socket and it done the exact same thing. Almost as if not enough juice was getting to it. Today I have tested this to the max, putting on my power sucking pedals, and in my own flat its been absolutely fine. The double socket which i was plugged into last night had an extension cable poweriing the whole backline. Is it very much a possiblility that it was the power source that was causing it rather than the HB junior and seperate 9v adapter? I have never experienced this before, and I must admit, the band before us had a massive pedal boards and didnt seem to affect them. Is this something I should worry about or was it likely the power source?

Multifx are immense live in most scenarios. Soundwise they are infinitely better than they were 15 years ago. The zoom b3 and ms60b (which I use) are both excellent units but are aimed at different applications so it's important to work out what you want from it. For example, even if you just use the ms60b as a tuner and as a single effect stomp box, phaser foe example, it takes up one space on the board and will cost you the same as purchasing the 2 pedals. But tomorrow if you want a chorus rather than a phaser, you have one there already. Often though some if the bigger ones put limitations on what you can use it for. I.e. You can only put one distortion in the chain. Or in the case of the b9.1ut, you can't gave fuzz on at the same time as an amp sim.

Nice. Didn't know that. Still bit of a faff though.

[quote name='tonyclaret' timestamp='1406962905' post='2516195'] It's been a while since I last checked this thread. Just wondered if anyone had any hands on experience with it now, thoughts etc. I'm going to pull the trigger very soon! [/quote] I've got one along with the hot hand. I must say, i still find the hot hand pretty unuseable. Its probably me rather than the actual unit, but I'm not getting on with it. The manta though is an oustanding pedal. I've had it a couple of weeks and gigged it 7 times. I use it for phaser and as a sort of glitchy synthy fuzz. Both sound amazing and are fully tweakable. It obviously does the filter sounds extremely well too, I just dont really have the need for them. One thing I do find it really hard to make minor adjustments. If I select my fuzz effect for example, but I then feel I need to blend abit more of the dry signal in, I press the option button until it gets to mix, but then I dont know where the mix blend is at the moment, so I need to basically start the mix blend from scratch. Easy enough if you have time and the space to play about with it, but not so easy mid gig. I've not explained that last point very well, but hopefully you understand. This may very well be the reason I'l be moving it on at some point. Soundwise brilliant though.

I wouldnt instantly go for effects on that kinda sound. A nicely rolled off tone control might get you closer than you think. A totally wet octaver (such as an oc3) and played higher up the neck may get you closer but from that clip I think my first suggestion will work just as well.

Well.... The answer to the question is no, an LS2 cant do this.

Billy Boyd of Lord of the rings fame has a band called Beecake. Pretty good. Played with them once and saw them a few times.

Yeah, that sounds immense, and totally useable live. Very cool indeed!

Yeah, you got it bang on. It's just a theory at the moment. The reason why I think it may work better is simply so that the normal bass sound (with compression, eq pre amp, dirt or phaser) will always constantly sound the same, no matter whether the octave is on or off. the output of the ls2 will still be running to the amp so I'll still get the blended signal, and that's just something I'll deal with as I am just now, but it will give the Foh a much bigger and more consistent sound. As I say though, it's just a theory at the moment, but if the ls2 can work like it, I'll rewire my board and test it through my rehearsal rooms pa. (where all my cables are). Oh and the point regarding the sound man not liking it, well our setup is not normal ( lots of percussion, no guitars) so getting 2 di's at the front rather than one at the amp shouldn't (and won't) be an issue.

I'm currently lookin at different ways of setting up my pedals. I run an boss line selector with two loops (one with dirt, the other with octaver) all running into my zoom ms60b which I have as compressor and amp SIM. Seems to be working fine but I'm finding the compression is perhaps taking the oomph off the extra layer when I kick in octaver. I've now tried to run the effected output of the octaver into return one, and all,the other pedals into return two. By putting a jack into the input socket I've now basically got two inputs going into one output. Thus results in loop a only kicking in when the octaver is on, and it's not compressed therefore feels more like another layer. I just plug the amp in from the output socket on the ls2. Perfect. My question to you all is, the two send sockets are not getting used, could I potentially use them two feed two di's to the pa allowing the sound man to mix the two as the room needs? Its an interesting idea as I'm finding sonetimes with the way I'm doing it just now, I just dnot get the thud I'd like when kicking in the octaver. I could try it myself but I've ran out of cables believe it or not!

My new version. This will do for the time being although the manta fuzz is so nice I may use that tor fuzz and move on my fredrics effects fuzz . At the moment I basically run the fuzz in one loop of thels2 and the octaver(digitech bsw) on another then blend them onto the other pedals, as I quite the layered effect I get, but After the gigs at the weekend I'm tempted to simply run the dry signal from the bsw into all thepedals, and then run the octave down directly into the ls2 meaning the octave down is 100 unaffected and not compress etc. That might work a bit better actually.

First I should say this was the most exciting bit of kit I've seen for a very long time. In fact its the only bit of kit for years that I felt I needed to own. I've had the full set up and used it for 3 hours tonight (but had the pedal for 1 gigs use). Heres my findings. The pedal : On its own, it has numerous different effects (phaser, distortion, gated fuzz, filters etc) and I find these. I set it up with one preset being a synthy style fuzz and the other a basic phaser. Both at the gig (a smallish outdoor festival) sounded aboslutely stunning. In fact I'm tempted to ditch my fuzz and use this instead. I also was looking out for some sort of filter pedal so the phaser works perfectly. Can be tweaked to your perfect sound as there is soo many options. The pedal is a keeper. Well built, low noise, and endlessly tweakable. After the first few hours of using the hot hand though, I find it not as easy to manipulate consistently as I'd like. Perhaps its down to practice, but I'm not convinced I could use it live, without looking like a twat. I'll certainly get back you all on this one, but the jury is out.

[quote name='arthurhenry' timestamp='1405803114' post='2505473'] I'm interested to know the type of event at which you'll be performing. Is it aimed specifically at musicians or fans of 90's rock? I can't imagine the general public being particularly interested, or even knowing who Extreme are. This is why my idea of performing the whole of Styx's "The Grand Illusion" or Night Ranger's "Midnight Madness" has never got off the ground! Of course, I hope it's a huge success for you. [/quote] You're right it will havea limited appeal, but the album has alot more fans than you first might think. Considerin it has the huge song 'more than words' on it, there was a wider fan base back in the day than just the general rock fans. My mates gran has the album! We're also doing it as a charity do, and the venue wont be big, so even if its just a night in the pub with 30 mates then it'll still be a worthwhile cause (and ticks off a dream of mine since I first heard it in the late 90's)

Cheers for the replies folks! (or atleast most of them). I will likely aim down the scooped GK with a slight grind route. Thats what I've naturally dialled in already to get the tone. I'm playing a P/J bass, and I'm a finger style player so playing with a pick is challenging enough. I just feel though that there seems to be just a bit of a honk (for want of a better word) to the tone of the recording. Might be more down to theproduction rather than Pats setup though.

I will be joning a few fellow (pro) musicians in doing an Extreme Pornograffitti night. WE will play the whole album (plus a few other tracks) all in aid of charity. I'm a massive fan so I know it ALMOST inside out. I will learn it pretty much note for note (which i can almost do but a few of the faster bits I just cant work out yet), but getting that 80's/early 90's tone is extremely important too. My board currently has an MS60b which has a number of decent preamp sims, so hopefully somone out there knows roughly what Pat does to get the Pornograffitti tone. Thanks for your help

I've got one of those harley benton things, and the cabinet is actually pretty big. That Hartke looks much smaller! If I was gonna go for a house cabinet, I would be looking at something ALOT smaller. Surely a single 1x10 would suffice? Saying that, it might be just as cheap getting the 2x10.

Alrighty folk, me and a few mates are gonna play this album in full for a a kind of charity night sometime close to Christmas. I used to play these tunes in a band when I was 16, but I just kinda jammed along with the guitar. Its really hard to hear due what he's up to on bass on the record (well it is to me). Does anyone know of any isolated tracks out there for the album? I really want to get the intricate bits too, and I dont think he just doubles up on the guitar alot of the time. Any thoughts anyone?

I've listened to very little of DT after the scenes from a memory album. I dont like what they have done with the sound. As others have said, its a bit like painting by numbers with them. Whereas the albums pre1998 were genuine genius. And the top two albums here are 2 of my all time favourite albums.

With no guitars too, as a bassist you have a lot more of the frequency range to play about with, so I've certainly been my most creative in a non-guitar band.

I play in a hip hop band which is just me on bass and some 1 finger keys. The rest is rythym. It does mean though that on bass you need to think of layers and dynamics. The boy from Royal Blood does an amazin job. He has some really interesting sounds out a single bass, but I dont think you need to go that far to get soundin BIG on one bass. As long as you're clever on the stuff you use, and you are precise in what effects you use, I think you can soud prety massive.

+1 on that. My rehearsal unit is our own space so the PA is our own. I recently had to send my amp back to get fixed so I fired myself through the PA as a short term fix. Sounds great, fills the room more evenly without having to turn up and give me a better idea as to how my set up sounds for a general punter. This is without subs (we have them but cant work out how to wire them and its never been a problem). I will likely continue this after my amp is back. No real need for an amp unless its for monitoring IMO.

I know nothing of electronics but I would have thought someone could knock up a fixed low pass filter pedal pretty easily and cheaply. I maybe wrong and there may be technical reasons why its not as easy as I'd think. As an addition, I find that if I use my digitech bass synth wah as an octaver but have it heavily balanced towards the octave down it gives me a lovely synthy sounding bass. Almost all my 'octave' parts have turned into synthy parts recently beacue of this discovery! haha.

Possible invest in a DI/preamp/amp sim kinda pedal? I've got 2/3 of these with a zoom ms60b and I'm delighted with the PA sound I get from it (and also how my other pedals react going through the PA). Overall band sound is much more important, The slight tonal differences we notice as bass players are hardly noticable at all when out in the crowd with loud music, so I'd say just ditch the amp, get a all in one DI/pedal thing and just enjoy yourself. IMO of course. I would also have thought that the amp would need to have a lot of volume if its to compete with the other instruments through the PA, and therefore making the onstage sound extremely uneven. I would have thought. Never played alongside an e-kit before.