Dudgeman

Hi all First off I hope everyone is well and keeping safe. I am not looking for a George L vs all other cable debates..god knows there's enough of those on the net. My question is 2 fold really 1. On grabbing my George ls out to complete and overhaul of my (BIg) board I noticed that the chrome plating had come off some of them..no idea where it has gone...lol...check checked in the pedals not there......anyway...Does anyone know if this would have any effect on the connectivity of these jacks? It doesn't show any issues on my multimeter..they are showing continuity and resistance is around 0 -0.3 OHMS 2. Does anyone know what I should see resistance wise if checking the patch leads tip to tip and sleeve to sleeve? I have had issues with a few of the cables and although they are showing continuity one of the cables was running 3 OHMs tip to tip...I swapped this cable out and I managed to test the cable and the centre wire was running 0.3 ohms which is the reading I was getting if I touch the multimeter leads together...I am not an electrician and wonder if this correct, so I am assuming this is what I should see....but no matter how I put the lead together I can not get it to drop to below 3ohm...Does this make a difference with the sound transfer and should I just be looking for continuity or is this resistance part of the issue with dodgy connection? Any help...and just to stop the influx of "buy soldered cables" I am using George L's at the moment because it is what I have and I am constantly changing my board but I am close to finalising my layout and when I do I will probably go to a full soldered system. I am currently running 17 pedals including lehle ABY boxes and a Free the tone Arc 3 looper so that is a lot of cables to change if I am not happy with my board and so being able to change the positioning around using the George L's is where I need to be at the moment. Thanks for any help you guys can offer..

That's really cool if it works for you. I haven't come across many guitar amps with a DI out but then I'm not a guitarist so maybe tech has moved on and it is a more common feature on modern amps.( oops just read that it was from the 90s haha) If I was running clean bass amps I would have no issue with DI. I am simply not a fan of only using IEM.. I have pro quality Sennheiser Iems available but live I don't like them....I sweat a lot..they slip (even my moulded ones) ..it blocks out the crowd noise, i have never had a decent mix from the board and the end for me was when one SE decided to start talking to me mid song.. it was funny..but irritating in equal measure...lol... I like an onstage cab I prefer the sound vibe it gives me. It's the same at home..If running through a DAW for practice I always use room monitor's..don't like wearing headphones unless I am recording and I am forced to. I would like to clarify that I am not in the camp of agreeing with JB. Running 50w /100w Valve amps flat out is pretty daft and totally unecessary.....

That is absolutely not the way to go, it simply doesnt work.like that...That is exactly what Wheatus did when they played with us in Wales.. they flatly refused to let the sound guys do FOH mixing and it was positively the worst sound I have ever heard from a band... The venue had a way of massively amplifying the low end ...Sound guys were helpless to do anything apart from volume. We let them do our sound...definitely one of the pro set ups I had the pleasure to deal with and really good engineers.

pre Kemper I would say, absolutely, Chris' Muse tones needed his 2x15s which is why they were always under the stage... That's why I used them and they definitely influence his sound. I don't do the Muse stuff anymore but if I did I would like to know who would pay the £2k plus for the Kempers you would have me buy..I love tech but don't have the money to invest in that sort or gear anymore so I use amps live. It's the way it is.. and it's the way I prefer to play..I do have iems but have never received a quality mix from a desk to them yet that would persuade me to go all in. I am back gigging in July so may well give them another go to see if my local venues have got on top of iems as I like my hearing as much as I like to play live.

I used to run 2 Marshall 7400s one through a 4x10 one through a 2x15. Multiple effects through both in order to replicate Muse bass tones when doing out tribute. The sounds out of the speakers were about 90% dead on but every gig would be the same..Sound engineer...."Chuck this in your DI bud" Me.." Sorry DI's don't work you need to Mic the cabs" Sound engineer " I only DI bass" Me " Its no good using DI the sounds I have spent hours setting up include the Speakers" and so the ever repetitive stand off would ensue... In the end I gave up arguing with SEs ..and if you look at our YouTube footage you can see that hardly one of them ever got my sound right...In fact I can't watch our YouTube footage it annoys me that much. We used IEs but in the end only for the click...I found them too sterile which is probably my bad but our on stage volume was only ever as loud as the drummer... but I totally agree ..Why do sound Engineers think that DIs are perfectly acceptable for bass sounds? Pretty sure you would never DI a guitar amp... Hmmmmmmm x2!

I love my LS2. Toured with it for years in Muse tribute. Used it to split and already split signal. I use a lehle dual to split first signal as it is simply the best ABY pedal out there imo. The LS 2 allowed me to combine fuzzes for songs like Hysteria. Loop A would have Animato loop B would have big muff and channel 2 out of the lehle would be clean with another big muff if needed. Animato and Big muff in different loops sounds totally different to being in series...I loved the dual volume controls on the LS2. very useful. I have now retired (tempoariliy) the pedal as my new project only needs the one signal split but I won't be selling it any time soon. Quick unwrap yours before it's too late...;-)

I have all manner of drives and the BS deluxe is easily my favourite. I am doing a lot of Billy stuff at the moment and the loops are great... I don't find it too fizzy...I hate fizzy drives... I find that I had to work a lot with the phase section with the tone to get where I want it to be...but then if you are not happy with the sound there is always the options to change the op amp... a lot of features in this pedal especiallt for the average second hand price... Personally I would get another one in favour of the Darkglass stuff...just on price alone. Not too sure what the new update adds to the package...I am happy with the second generation one...keeps me grinning....

I looked and looked and couldn't find the simplest of all pedals.. a simple in out mono switch to turn the distortion on/ off on my Billy Sheehan drive so that I could still use the clean channel loop. So despite being a cack handed fool with electrics there was no way I was shelling out £40 for a cheap drive pedal when less than £10 got me the components for this and I could run the in and out where I wanted. A quick Vicar and tart logo (vicar= clean in.. tart = dirty out...obviously) and it works a treat. More importantly it takes up little space on my board.

It seems with the trace rig I was using that if I pull down the input gain to a point where the feedback isn't an issue I had to basically run the amp flat out to get any volume to match the level of the 2nd amp and even then it was struggling...not enough headroom I guess ( not sure what the power output is) I will try that using my Marshalls as they are wahay louder...then I might be able to balance it. I am thinking about dropping the drive on the pedal and running a second drive in the clean loop on the pedal to try and get the sound that way...

Hi at home I use logic pro with yamaha Hs7s well cranked as I also have one channel octaved up distorted running into a Peavey 20w valve amp to replicate guitar and that runs fairly hot...essentially very different from rehearsal ... feedback is very high pitched ..bloody annoying. The gain thing is wierd. I have the drive at around 12 on the pedal..if I drop the drive below 12 I lose all the sound I am after... I can get shot of the feedback by slamming the input gain down on the amp but then I struggle when the pedal is off to get the required volume out of that channel. I 've seen Billy running something very similar where he is stood riggt in front of the amps with the pedal dimed, hitting ridiculous levels of harmonics with a major mid hump eq with not even a flicker of it feeding back. on both Rigs ( trace and hartke) at the practise room the cabs are stacked...maybe I should park them side by side...see if that helps..

I took a really good look at the video.. It looked like there was a massive full length neck shim when it came in and no shim when finished. I thought at the time the neck looked a little thin at the body end. Maybe that's why the action looked high at the end as well.

Yes but not by much...lol... just wondered if there was a known issue with this pedal live or a simple way round it.....

Great to hear it is still going. You still playing in a Madness trib?

pick ups are new..dimarzio will powers...so fairly sure they are ok..not microphonic at all. The gain on the pedal is around 12 o'clock...which is about where it needs to be with my set up to get the sound I am after... if i drop the mid hump in the EQ it reduces it but then I lose all the articulation and it starts to get wolly sounding. It was a lot better this last rehearsal and will be fine on a bigger stage where I can get away from the amps but in a small rehearsal room it is an issue...bizarre it doesn't happen at home at all. Thanks for your help so far.

I use a dual amp set up and despite many years using OD , distortion and fuzzes I have never had issues with feedback. At home I run my pedals into logic and never have issues no matter how loud but in rehearsal rooms I struggle to quell feedback when using Sheehan drive deluxe pedal. I do set the dirty amp up with a slight mid hump ( I need to to bring out the harmonics like Billy does) but I do that in logic as well...I have tried reducing amp gain and lifting amp volume, reducing amp volume and increasing level out from pedal, massively reducing level out from pedal and increasing master volume on the amp so I can mix it with the clean amp..but am still struggling... it's ok as long as I face away from the amps but it is still hovering... I think I am being dumb somewhere here so any advice on the correct approach would be great Thanks

We used to do it... thought it was a fantastic song..we also did Fury and Glorious ( which I bloody love) but they never went down particularly well

Stockholm...New Born and Butterflies and Hurricanes not sure my right hand ever recovered...now doing Sheehan stuff...gone from the sublime to the ridiculous... People always used to Wow at Hysteria but I always found it relatively easy to play but if I even stopped for a second to think about what i was doing in New Born my left hand would almost instantly cramp up...especially during the long section in the middle...tough song...got easier after 2 gigs every weekend for 4 years ...but still... Great tunes though..still miss it.

Funily enough my old business partner works on the show and gave me a heads up..( he does the silverwork and repaired a camera on the show) I jokingly said to him "should have given it to me to do" Then watched it and wished he had. I agree adding new hardware wasnt necessary and re shaping the neck that much...very brave or a bit stupid. The thing that I found most interesting was that I think it came in unbadged ( in fact it did..just checked my recording) and left with a Fender decal on it.....Now I could be wrong but that binding looked awfully like the binding on the Japanese copies of the era...although I did see a serial and F on the neck plate...just made me chuckle....!

No Stew that was me! How are you?? I also played in a full on Muse tribute for about 5 years. Hysteria started out as a clean channel and a big muff in the early days (ok) moved on to Big muff and Animato but missed the clean...then expanded to Animato, big muff blended (ls2) and a clean channel...Huge sound. Then we started playing to a click so I added a prerecorded synth bass to the bass mix..and that was as close as I have ever heard. Playing to a click really helped the groove...too easy to play too fast. Uprising..PIB and knights were always crowd favourites. Loved the challenge of replicating Chris' tones but it all got a bit silly towards the end..once the Misa Kitara came onto the scene I thought "enough now" lol....

Thats a tasty board for me... love all those pedals.

Your welcome...lol...

You can still get some massive sounds with 2 channels and dont forget that if you have pedals with a clean out..(like the EHX Octaver or a Bass Synth wah) you can run a clean signal direct to the desk giving you a completely clean channel... easy way to get a third channel if its just you and drums....

It's all gone too far! Basically a 3 channel rig that started life as a Muse rig...now I am back to 2 bass channels and one faux guitar channel...i guess think Royal blood. For those interested signal chain is P bass mid pickup.... tuner....lehle...to CH1...pitch fork with exp pedal (love this on bass and guitar)...T rex bloody Mary (seriously underrated)..Boss Os2. (Fantastic in a mix)..mxr micro chorus...Nobels trem....alesis reverb/delay rack (would like to change this for timeline/grand Canyon/dispatch master etc) ..out to Peavey Valve king.. (this gets guitar tone with octave up but flipping octave back to unity with exp pedal adds extra grunt when needed) CH2 from lehle ...Boss oc2.....animato (yum) ..big muff...sheehan deluxe drive (hell of a pedal) with ls2 in gain loop to blend in some crunch when clean...BMC (does a thing esp if you want mids boosted funily enough)...spectracomp....out to Marshall 7400 CH3 neck Pick up (woofer PU) on my adapted P Bass...Way huge green rhino (love this pedal) ....bass balls.(lol)..Big muff...FM pro rack..(love this) .EHX octave....prunes and custard..(great odd distortion sounds).. second Marshall 7400. P bass has 2 outputs. Board Works great as i like to play some G**tar as well.... if i plug guitar in to main input on board the signal splits through the lehle giving me the option to use wet/dry rig when recording. Downsides are power supplies and sheer weight...but sounds great from Sheehan to Motown .. looks good at night...lol

Thanks...Will be trying that later. Took me ages to hook the board up so the least removal of pedals the better!