Wil

[quote name='Tengu' post='616616' date='Oct 4 2009, 05:02 PM']I also think it is odd that some consider backline not to include the head. Surely if you are providing both wouldn't you have connected it all properly when you did your sound check? Why would anyone else need to muck around with cables?[/quote] This is a fine theory, until you introduce the universal constant - at least one and most likely a large portion of the bands you might encounter on a tour will be comprised of either: a) teenagers b ) f***wits c) both.

It is a flaw, yep. That's marshalls for you! Great sound but flakey design.

[quote name='BottomEndian' post='615626' date='Oct 3 2009, 12:17 PM']Fair enough. I've never had a head that couldn't cope with having no cab connected. It's probably a good thing -- I'd have killed a fair few of my own by now if I had. [/quote] It's only valve amps you need to worry about, solid state heads are fine, but the fact not everyone knows this is another good reason I wouldn't be happy lending out my head as backline

[quote name='BottomEndian' post='615587' date='Oct 3 2009, 11:16 AM']I'd much rather lend out my head than my cab. Cabs are surely much more breakable? Mind you, if the person borrowing doesn't understand impedance, then it could be bye-bye head too...[/quote] Once we played a gig where we were headlining, and one of the support bands announced that they hadn't brought amps. The bassist had even somehow forgotten his bass! In a fit of generosity I lent him my US Jazz, but that's another story. Our guitarist said they could not use his valve combo, as was his right. They did anyway, behind his back, and tried turning it on with no cab connected - one dead amp. Idiots like that are why I dont think heads are an acceptable part of backline.

Promotors can't be relied on to conmunicate with all parties most of the time. On the originals circuit backline is generally considered to be drumkit and cabs, but NEVER amps and drum breakables unless it's been agreed beforehand. I personally think it's good form to speak to the band lending regardless of what the promotor has said to check everything is ok to use.

[quote name='silddx' post='610482' date='Sep 28 2009, 12:22 AM']I don't really know Megadeth much at all, but it sounds to me like you'll have that down if you give some time to practicing with a metronome. It looks difficult but you are nearly there with the fast parts. Nice one! This is one of me doing a Zappa number .. [url="http://www.youtube.com/watch?v=focGv64Wj0A"]http://www.youtube.com/watch?v=focGv64Wj0A[/url] I hardly ever play with a pick but you kind of have to to get Scott Thunes parts [/quote] Great playing, great sound. Great!

I've got schaller locking tuners on my Warmoth Stat and wouldn't go back now. Love 'em. Just makes changing strings that little bit quicker and hassel free, which leaves more time to play the thing.

Oh bugger, I read that as bass amp cost!

Wise words there. Although "twice as good" is a very subjective description, the differences between a lot of high end basses are probably down to personal preferences in tone and feel than good or bad points per say.

I think that was the point Cheddatom was making anyway.

[quote name='The_D' post='601020' date='Sep 17 2009, 08:08 AM']I quite like Kings of Leon so it was my idea to try it before it was even released as a single. We worked on it at one practice and it was in. People were going mad for it then and they still do now. Its like Blondi: One Way or Another or The feckin Killers one we do Mr Brightside. I keep askin to drop it and without fail it goes down a storm with people jumping on chairs and swinging pints about. Our guitarist just looks at me and shrugs when we play it cause deep down I know we cant drop it [/quote] Mr Brightside is a great tune, though! Perfect bit of pop music. Unlike Sex On Fire, which makes me want to defenestrate myself when I hear it.

What's the weather like on dubstep island? Warmwarmwarmwarmwarmwarmwarm.

The frets and bridge are anchored in the wood. The vibration from the string passes through into the wood and this in turn feeds back and affects the vibration of the string. I think.

If it's not too loud, it's too quiet, IMO

I recently stumbled across a pic of the Status S2 Classic I had made a few years ago and sadly no longer own, and I've gone back to stare at it a few times since then! Didn't bond with it much, but it was a hell of a looker:

Yes. Can't stand it. Had something like it at the last practice in fact, not only that, but the offending band member expected us to not practice the song he hadn't bothered to learn because he couldn't join in!

I did mine in 2001 and got an A by just playing guitar and singing Banana Co by Radiohead. Not the most complex thing in the world.

Soldering a wire is a piece of piss, usually. I would strongly encourage you to have a go yourself - I find it quite thereputic! All you need is a soldering iron, wire strippers, and some solder. Strip the wire(s) to be joined first, about 5mm or so of bare wire. Twist the wire slightly to prevent it fraying apart. Heat your soldering iron and melt a small bit of solder onto the tip of the iron to "tin" the iron (this helps spread the heat when you use the iron on the joint you are soldering). If you are soldering two wires together, twist them together first, then hold the tip of the iron to the joint to heat it (always heat the joint, and then apply the solder to it when it's hot - the heat from the joint, not the iron tip itself should melt the solder. If you just melt the solder onto it, it will be a weak joint and wont last long). Apply the solder to the hot wires themselves, and once the solder has flowed through them remove the iron, allow to cool for 10 to 15 seconds or so, and then apply some insulation tape. Job done! If you are soldering to a jack or pot, then it's more tricky - again you should hold the wire to the jack/pot, and if possible try and wrap the wire through any supplied holes to make the joint more sturdy. The heat the joint as before and apply the solder. It can take some time to heat up the back of a volume pot, for instance, if you have a low wattage iron, so perservere.

[quote name='51m0n' post='581545' date='Aug 26 2009, 04:10 PM']Thought I already said that?? Now you're repeating me. Maybe... Or not?[/quote] See, I told you theory was confusing!

[quote name='bilbo230763' post='581507' date='Aug 26 2009, 03:39 PM']Then you will always be a lightweight. Your funeral.[/quote] I should also add, you'll [i]never[/i] beat my high scores with that attitude I totally see where you are coming from, by the way, I'm just interested to see if there are other, more intuitive ways to understand the language of music and theory besides the classical method.

That's fine with me though! I only pick the thing up about twice a week, so I'm hardly planning to the be the next Paul Gilbert. This is what's put me and a lot of people off theory entirely in the past - the all or nothing attitude. I don't want it all, I just want a bit. For me music is a hobby, not a way of life.

Yeah, but that takes [i]ages[/i]. Time I'd rather spend time on my xbox. I'm all for learning theory, but reading is one of those things that just seems to suck up time like a sponge, and if you don't keep at it constantly from what I've heard and my own (limited) experience it just pops out of your head? I certainly don't want to be the greatest I can be on guitar if it means I have to cut back on the other things I enjoy doing. I do want to improve to an extent, though, so a bit of theory is bound to help there. But what is there that can benefit besides plugging hours into learning to read?

I use amplitube for home demos, and for practicality purposes it's brilliant. The models aren't perfect, but perfectly adaquate for home recordings unless you really want a professional sound, in which case you are best off investing in either a) studio time or the aforementioned cranked valve amp and condensor mic magic combination.