Damonjames

I think the fender signature models are a good bet. I know the idea can be a little cheesy, and if you don't like the artist you would probably never buy their sig, which is a bit if a shame. I think the fender digs offer an in between product, they might be built in Mexico, but the hardware and build quality is much better than a standard mex, and they are not that much more expensive.

Yep I agree, loose the power board, move the pitchblack to the top row and add the wah on the right. I have my pitch black top left but first in the signal chain, then into the 105q wah on the right of the board. I have a power supply unit to power all my effects though.

I recently changed the stock p pickup in my fender mike dirnt with a sd quarter pounder, and also had a quarter pounder j added at the bridge. Massively happy, and considering the j is only a single coil it's pretty damn quiet. I highly recommend a pj, I don't know whether I would own a straight p again now...

Last year I went to the BOSE shop looking at home theatre stuff. I had a listen to their sound bar at the request of Mrs DJ, because she hated all the wires on our previous 5.1 setup. I have to admit I was surprised at how bad it sounded, IMHO, if BOSE can't get it right then no one will. Stick with the bookshelf Ones you have, and maybe add a self powered sub.

[quote name='iamtheelvy' timestamp='1373987300' post='2143895'] I'd like to get a pedalboard just consisting of Big Muffs from every era... Not to play through as such, just because... [/quote] +1 😈

[quote name='Kev' timestamp='1373928218' post='2143410'] Muse fan? [/quote] Actually, no! The band I just got sacked from thought they were the greatest if all time... They are a good band, and Chris get some amazing tones but its not really my go. Just have a love of serious fuzz, and also a good synth but not necessarily together!

For me it would be the akai deep impact, human gear animato, ehx civil war big muff and green russian big muff. I wish akai would do a re run of the deep impact. To be paying €600 odd for a pedal that wAs worth £100 odd new is just ridiculous. Same goes for the big muffs, they are awesome pedals, but I would never rely on them for a gig! My Black Russian is very temperamental...

In another life I was a stage lighting tech, and we did plenty of outdoor gigs in various weather conditions. It all comes down to the experience of the crew, if I alone had to run those shows there would have been similar results to Niles' Hyde park gig, but fortunately the powers that be had the foresight to never leave me in charge! There was always an experienced guy running the show who had been through it all before. Every now and then you would get a complete left field short term brown trousers moment, but to have amps overheat, or to leave vox mics off a freakin strand for the main show is just downright amateur. With regards to the quality of the mix, it's worth Incorming the general public that the vast majority of big acts will have their own front of house engineer (the guy who mixes the PA) and even from those guys I have heard some awful mixes. I saw Ben Harper once and didn't last the whole show! I just feel bad for the artist when it all goes down like this, it must be aweful!

After thinking about it, I may have gotten a little giddy with trying to put everything on the board just because I could. I actually like te odb-3 but can't remember the last time I used it! I've just dropped them off for the time being, if I need them again ill play about with it and see what I can come up with. Thanks for all the feedback!

You might be I. To something g there. There is Definately a difference, the sovtek is more growly, but at the end if the day I just need something that can get close enough for gigs. If I even need to record something ill Get a genuine sovtek!

So I've had another play, and again it seems as though it is the sum of the three boss pedals causing the drop. I don't have an A/B looper so I have to just swap out, so I suspect I am getting a little out of each of them which together adds to a lot. In answer to you question OZMike, it's purely for real estate on the board. I don't really use it for a DI right now so the fact the effect come after doesn't really make that much difference. Give the issues I'm having with the boss pedals, I might ditch them off and move things around

Hi guys n gals, So I have a Black Russian big muff and love it to death! If I had the cash however I probably would prefer a green russian instead. What I am fixing though is that the reliability is questionable at best, and I need something I can rely on for gigs. So far I have seen the wren and cuff tall font russian, and the arc effect big green pi, but anyone have some other suggestions or experience with either of the two mentioned above compared I the original sovtek?

I would recommend getting yourself a Mexican fender jazz bass. They come up here on the classified, and if you find one that's been around a while, you can get them for a lot les than what you want to spend. I would suggest investing the change in your amp, as a bassist you will quickly learn that you need a really decent amp if A) you want to be heard and you really want to fill your bands sound out. With a budget of about £400, maybe look at some trace Elliott gear, personally it's not my favourite but, hey it's cheap and it'll get you out making a racket!

Also there is a guy calling himself Bon Giovi, apparently that JUST different enough to avoid the lawyers!!!

The Ramona's are supposed to be awesome! Some others that spring to mind are mentallica and Pearl Scam. My current band is Smells Like Seattle a tribute to the whe grunge era

I tried them individually because I thought one of the patch leads I made, or the power supply leads may have been dodgy. Definately seems to be the combination of the three boss pedals together, but will check again as you asked so nicely!

Hi guys n gals. So I'm building my first pedal board and it goes something like this: Korg pitchblack Sansamp bass driver di Ehx small stone nano Dunlop 105q cry baby Black Russian big muff Way huge swollen pickle Boss oc-2 octave Boss odb-3 bass overdrive Boss ceb-3 bass chorus Running off a CIOKS big John power supply I am getting some pretty bad tone suck, mostly bottom end it seems. When I plug into the the amp direct, I get a sound I would normally expect but run through the board and I get really bad drop In volume and tone. I am assuming this is the "tone suck" everyone talks about!!! The top half of the chain seems fine, it seems to be located from the big muff on, especially in the last 3 boss pedals. Is this normal? I know the boss aren't true bypass, but are the others??? If anyone can suggest a way to rectify this that would be great!

Robert DeLeo was the main writer for stone temple pilots

Thanks for the posts, there is a combination of a few things that have been mentioned that I think have lead to this. Fortunately for me, I don't do well sat around idle so I started looking for something to keep me busy while I waited for this lot to get around to doing something. The new band are only too happy to have me on board, and atleast I'm not in a position where I have to choose now!

Hi guys n gals, So I got a text message from the singer/guitarist yesterday to say I had been replaced, I have to admit I was pretty annoyed to say the least. I've been working with him in the second line up of his band since September last year, and after cooling off a bit now, I think I'm more pissed about the way in which it was done than anything. If it turns out that I'm not the right fit, he needs to move on and I can live with that. Still sucks to be not good enough though 😟 and worst part is we never got to do a gig! Any one else been sacked by a band before? Would love to hear if anyone has been dumped in a more disappointing manner!!

My routine has gone out the window of late. I aim to do about 15-20 fret board familiarising ( I'm still learning where the notes are) so run through all the E's then work my way through the circle of fifth ( still learning that too) until I've covered the while board. Then move onto scales and spend 30-45 mins doing scales. I will spend some time through the week on all of the ones I know, but will spend the majority trying to focus on just one scale. Then move on to improv for 30-40 mins. ill get a tune or backing track and just jam, usually running around in whatever scale I am focusing on at the time. Any spare time after that ill run through the current set list for practice. I should state that if we add songs to the list, they usually get priority in my practice time. As I said, my routine has gone out the window of late, but usin this format I was getting some good results.

I think the lines would throw me off. I had an unlined fretless YEARS ago, the intonation was probably a bit dodgy as it was a relatively inexpensive bass, but I found you had to know where the sweet spot was on a given string/fret to play in tune. Seldom did the sweet spot line up perfectly with the string below or above, has anyone else found this??? To the OP, I really don't think it matters, it's down to the quality of the instrument. I mean jaco ripped his out, filled in the holes with plastic wood and then sealed it with boat epoxy.... Not the most conventional method, but I don't think anyone questions his sound!

When I first heard "everlong" by the foo fighters all those years ago, I loved it for it music/melody I thought it was an absolutely belting tune. I recently learned the words to the song, now I think it is one of the most beautifully poetic rock ballads of all time. You can feel the pain he is going through, loving someone so much but knowing that it's over. The line "breathe out, so I can breathe you in" followed by the chorus And I wonder, when I sing along with you, If everything will ever feel this real forever, If anything could ever be this good again, The only thing ill ever ask of you, You gotta promise not to stop when I say when Gives me goose bumps man! Brilliant!