mike257

It's an interesting concept, especially after reading that interview. I'm more excited by the cleverness they've built into the speakers than by the mixer, although the whole system is clearly well thought out. I don't think they'll convert any traditional sound engineers quickly with this approach (the X32 is going to grab the techy market at that price point) but it does provide an interesting proposition if you're not used to driving a mixing desk. The ability to build a small but workable system just from chaining two 'intelligent' speakers together is great though.

Johnny Shredfreak sell an own branded power supply that is actually the same unit as the Diago and a good few quid cheaper. I've had one powering my guitar board for a while now with no issues, its a bargain!

[quote name='The Cooler King' timestamp='1348397606' post='1813056'] Just out of interest what was wrong with the deluxe memory boy ? Curious as they are relatively new pedals and ive just picked up a used one. [/quote] I'd also picked mine up used, turned out to be a few small things causing problems - a pot, the DC input and a bad termination or two on the board. He was very thorough in finding them all and insisted on giving it a couple of days solid bench test to be certain he'd fixed an intermittent problem. It's a great pedal, I feel like I barely scratch the surface of its capabilities, you'll have fun with it!

I know you've said you'd prefer a frame type, but just in case you do look at the Stagg fold-up suitcase one, I've had the 6-guitar version for almost ten years now and it's been to absolutely tons of gigs, bounced from practice rooms to lock ups to vans to home countless times and is still as solid as the day I bought it. Defo got my moneys worth for the £45 it cost me.

No worries mate - I've only used him the once, but he was great. It was on recommendation of a mate who's sent a few pedals his way and always had good service, so thought he was worth sharing. Hope you get sorted!

[quote name='spinynorman' timestamp='1347983794' post='1807671'] That's an interesting disclaimer. I'm surprised that stands up. [/quote] I imagine most companies find it more valuable to have their products effectively advertised for nowt ("The real one must be ace if they've gone to all this trouble to model it!") on thousands of units worldwide, rather than kick up a stink over it and not have that extra visibility to a massive audience of potential customers. Except Backenricker. They don't want you to even know they exist.

Haven't got direct experience with the Trace switch, but it's likely to work. There's only so many ways to wire up a two-button switch on a TRS jack, so you'll usually find most are compatible. The main difference is often whether momentary or latching switches have been used, and if you've got the wrong type you can probably change them cheaply enough if you don't mind getting the soldering iron out!

Owen Electronics in Manchester - Martin fixed my knackered Deluxe Memory Boy and did a very thorough job of testing and fault finding, picking up a few things that were potential future problems too. Very knowledgable and professional, kept in touch throughout and great prices too. Also makes some very nice pedals of his own. Happy to take stuff via post, that's what I did. [url="http://owenelectronics.co.uk"]http://owenelectronics.co.uk[/url]

Wow. Just got home from playing this and I'm blown away by it. The Anglican Cathedral with its 15 second reverb was a perfect choice of venue and the sound of the whole ensemble together was breathtaking. The sight reading wasn't very heavy at all, most of the score was information on cues and changes, the parts were generally very simple, with groups group of Soprano, Alto and Tenor guitarists each restrung for specific open tunings. The piece was all about the effect of these many small, simple parts coming together into one enormous wall of sound, and was structured at points so that chords literally spun around the room (the musicians surrounded the audience on three sides and were divided into four sections). I'd love to have been in the middle of the room hearing the full effect of it, but even from where I was sat it sounded incredible. Really pleased to have been a part of it, it'll make my return to bog standard wedding gigs tomorrow feel like coming right down to earth with a bump. Will take something really special to top it! Some of the musicians had travelled from far flung corners of the USA, South America and across Europe, as well as from all over the UK, and all seemed completely overwhelmed by the experience. It brought together players from all different background and levels of ability too. If any BC'ers get the chance to get involved in something like this, I'd say go for it, even if you're not a confident reader (I'm certainly no expert). You'll be glad you did. An incredible night. I'm still on a high.

I love the idea of wearing a suit on stage, but once I start playing my body heat seems to rise to a similar temperature to a small forest fire so it just doesn't work for me. If we ever have to play a black tie do I'll be a dripping mess long before we reach Mustang Sally In the function band I'm usually dark kecks, black or white shirt and a black tie. I'll crack out a waistcoat too if it doesn't make me look too much like the waiters, after an embarassing evening where I was dressed exactly the same as them. Prefer the all black look at the moment. For original band gigs, it was usually jeans, converse and either a check shirt in the Americana band or a fitted tee shirt in the rock bands. Anything more than that and I'm melting. I live in my beenie hat and have occasionally tried to wear it on stage, but as soon as I start rocking out it either goes backwards and off or forwards and over my eyes, which looks a bit soft either way!

[quote name='BassHavoc' timestamp='1346791112' post='1793404'] Btw is it true Matt Tuck's girlfriend/wife/whatever came up with the name as a joke? [/quote] AxeWound = coarse and lewd term for ladyparts (see also: Hairy Axe Wound) so somebody was definitely having a laugh when they came up with it. On the topic - this is a really sh*tty move to pull, but having looked at the label roster, I'm familiar with a couple of the bands, and one local to me who I share a few mutual mates with have (as far as I recall) never even publicised that they're affiliated with these guys. Whilst I'm sure they're decent blokes with good intentions, I doubt they're providing anyone with life-changing career making opportunities right now, and a quick look at the profile and current activities of the bands they represent suggests to me that you haven't missed out on much that couldn't be achieved with a bit of persistence and DIY effort. Chin up and on to the next one!

Just bought a pedal tuner from Jon - top bloke, kept in touch, nice and easy to deal with and posted it out to me super fast. Thanks for helping me get our frontman in tune Jon!! Mike

[quote name='stingrayPete1977' timestamp='1346572184' post='1790583'] We do have to pay unfortunately although I have a practice on Monday for a wedding dep gig, we use an empty pub where we are allowed to lubricate ourselves [/quote] Is it not a bit tricky playing bass when you're covered in KY jelly?

[quote name='Bobby K' timestamp='1346240488' post='1786825'] I'm just glad it's over - it was a logistical nightmare with all the streets cordoned off and the bollards raised etc. Our gigs were great on the Sunday and Monday - just wish we could've been beamed in and out of there, Star Trek stylee!! As for the cancellation thing on the last day - very odd [/quote] Glad your gigs went well - I used to play with Liam, he's a guitar wizard! I've got to agree with the cancellation - I was setting up a rig for an outdoor event in Runcorn and when the weather kicked off we insisted to the organisers that it be moved inside. It just wasn't safe, for the performers, large crowds, or our PA kit that got very soggy very fast! Apparently there were 35mph winds coming in, and the stage was drenched and a slippery nightmare within about 10 minutes of the rain starting. Wouldn't like to be on the receiving end of an insurance claim if somebody had gone on their arse or fried themselves on our stage!

I think these magazines seem to run out of ideas and feature the same names over and over - probably worse in the guitar magazines. I have an occasional flick when I see them on the supermarket shelves, but Slash, Vai, Eric Johnson and a bunch of old blues guys just seem to take shifts doing the covers for them all. I think there's far more value in the real human opinions and input you get from discussing the topics on a place like this, I can't see those kind of niche publications lasting much longer unless they can offer something unique that isn't available elsewhere. When you can interact directly with a lot of big name players through social media, listening to them trot out the same formulaic interview to a magazine just isn't appealing.

I find I prefer heavy, hammer-action keys when playing piano type parts and sounds, but feel restricted by the weighted feel when getting my synth on - something about those light touch keys feels more 'right' for bouncing synth parts around. You're doing the right thing by looking for a keyboard where the action is comfortable for you, but look for something that suits all of the playing styles/approaches you need. For what it does, I don't think you can go far wrong with a Nord Electro, I've never heard one played and been disappointed by it. The laptop/controller route is also a good option, and not a massive hit on the portability front. A MacBook will do a decent job for you (pick up a used one and save some dollar!) and is lightweight enough - you'll never run out out of options for sounds and can pair it with whichever controller feels best for you. You could even pick up both - get a Nord Electro, use it for the awesome old school keyboard sounds, and MIDI it up to your laptop to control soft synths for everything else. Winner. If you want to go small, there's tons of info on the web's various pro audio forums about using netbooks for audio tasks, so you should be able to find which ones are recommended and exactly what they are and aren't capable of. Have fun!

[quote name='Ancient Mariner' timestamp='1345016243' post='1772257'] I'd just like to understand where 'jaw-droppingly great' sits. Does it have the kind of playability and tone that PRS and the Gibson custom shop can only envy, or is it more (as I suspect) a decent working guitar that plays well and sounds good for that type of instrument? I've a feeling I've played a GS once or twice, and they seemed OK, but somewhere between a Shergold I once owned (uh-ho) and a JJ (nice) I still have. For the price I'd say they are good, but I'd like to hear how you're making that assessment. Not tying to be contentious or argumentative, just to understand. [/quote] Sorry AM, only just spotted this, hectic work schedule has meant infrequent BC visits lately. I would put it at least on an even standing with the Gibson Custom Shop 335 that the guitarist in my next band owned, for both tone and playability. You could tell it was built with real attention to detail, the fit, finish and setup were superb, and the tone was fantastic. It certainly didn't feel like there were any compromises made in its construction or choice of parts. It was a pretty early build though, and apparently a prototype from before the Galaxy model went into regular production, so I don't know how much difference there would be in a brand new one. A beautifully made guitar though, that I wouldn't hesitate to put alongside the better offerings from the 'big' names. The same guy also owned a second Gordon Smith (a Les Paul DC-style) which he kept as a backup. Whilst not as mind-bendingly lovely as his Galaxy, it was certainly a well made instrument and from the little time I spent playing it and hearing it in action it seemed to be a quality piece of kit that probably fell under your second category.

I'm a tapdancer with my guitar board, and the more it grows, the more I'm tempted to pick up a Line 6 M-series to make my life simpler. Like many others, I'm not totally sold on the drive sounds yet, but keep coming back to the idea of an M9 to replace all my mod/reverb/delay effects. I think I'm too attached to my Deluxe Memory Boy to take the plunge yet! I think I'd have to live with one for a while and see how I felt before replacing all my drive pedals with it too - but I couldn't afford one without selling them first, so I guess I'm stuck with the giant board of doom for now!

I've skirted around the edge of Mathew Street this weekend on sound engineering duty - ended up behind the desk in the Krazyhouse for an AC/DC tribute band on Saturday, and a 6 band punk show on Sunday (part of a three venue, weekend long "F**k Mathew Street" festival run by a local label as a backlash to all the tribute/cover acts on the main fezzy). I escaped a few miles south for an all-day charity festival in Runcorn on the Monday, where the heavens opened just after we'd rigged up fifty grands worth of PA kit on an outdoor stage. Luckily (unlike Mathew Street) we managed to quickly reshuffle the event indoors, and proceeded to rattle the windows of a sports club function room with an absurdly powerful (and thoroughly over-specced for the venue swap) rig! Heard mixed feelings about Mathew St - many (most) guys/gals in local original bands look down on it as another example of the local council/tourism crowd overlooking new local talent in favour of cabaret shenanigans, but a mate of mine in a Pearl Jam tribute band had a blinder of a show with a massive crowd on the main stage and understandably loved it. How nice the view is all depends where you're sitting, I guess! I was just happy to be probably the only sound engineer in Liverpool to have a full weekend of work booked in over the festival weekend yet not hear/mix a single Beatles song! Not that I don't like them, but christ, for those three days you can't escape them!

I'm doing two or three decent paying function gigs a month at the moment and about to pick up a second function band. Also got on the list for a few dep slots, so things seem to be picking up at this end. The 'give up the day job and play music' plan is slowly taking shape!

[quote name='GarethFlatlands' timestamp='1344946525' post='1771433'] I'd 2nd this. I picked up a GS Gypsy on here a couple of months ago and I'm sold on them. [/quote] And a 3rd - guitarist I've worked with has a pre-production prototype GS Galaxy and it's a jaw-droppingly great guitar.

I guess they're saying if you can't fit one in there comfortably without the pre-amp, you've got no chance of doing it once its fitted. There's so many little variations in jazz-style bodies, the rout for the controls won't always be the same depth, have to see how you get on with shoving a Duracell under your current control plate!

I've got a set of ER20 and they are a lifesaver, especially when I'm doing sound and there's a DJ blaring metal through the club system while I'm setting up/down on stage! Definitely want to invest in moulds though. Drummer I work with has a set of moulded ones, you can swap out 15 or 25 db filters or IEMs - he ordered online and they made an appointment for him to get moulds at the audiology dept in our local hospital, do that might be another option for anyone struggling to find a local ear-plugging establishment!