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Special J

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  1. Another tip - don't sing into the side of an SM58-S as per figure 1. If you do, none of the other tips will help your track.
  2. Dude, do you really think that we don't know that you're a shill for Shred Legacy? Loser.
  3. The vast majority of my albums (over 1000) are in Rubbermaid bins in my basement. I've got maybe 50-100, mostly more recent stuff, or at least more recently purchased, on a bookshelf for current listening, but don't get to listen as much as I used to.
  4. Not to derail, but I like Radiohead enough to make them my avatar, and I like a lot of the bloop-beep stuff... but I kind of agree. I was a little disappointed with King of Limbs (yeah, it could get snoozy), and I miss Greenwood's playing from their first few albums. Absolutely. Greenwood is one of my favorite players of all time, just based on his work on those first 3 albums. I found some of the stuff they did after that interesting too, but not nearly as epic as The Bends or OK Comp. They're just a much better rock band than an electronica band, IMO.
  5. A couple of times I've gotten pretty discouraged and stopped playing for a while. They both coincided with bad band break-ups. The first time, I decided to take up playing drums and persued that. It still gave me a creative outlet, and actually gave me more options band-wise, as the playing field isn't as crowded for decent drummers as it is for guitarists. The last time was a few years ago. It was a really nasty band break-up that ended up in a couple of broken friendships. It really turned me off to playing for a while. I always get back into it though. It's in my blood. I'm not one to play for the sake of playing, just by myself. I need to be involved in a project (recording, band, or even just a regular jam) or I'm just not happy. So, I guess my advice is either to find something to inspire you like learning to play a new type of music or a new instrument. If you've never done home recording, maybe that interests you and will give you inspiration to play? Or just put it aside for a while. If it's meant to be, and the music's in your blood, then you'll come back to it.
  6. I can totally see why you do it, and at least you're doing right by using quality equipment. I see so many bands fail the first time out trying in-ear monitors with ill-fitting buds, cheap wireless, not enough mixes, etc. I know playing in a more controlled environment often allows you to hear yourself and your bandmates better and can really tighten things up. But as a listener and mixer, I much prefer the organic and dynamic sound of a band that can mix themselves onstage. As a player, I like the feel of pushing and pulling tones out of a nice tube amp.
  7. There seems to be 2 different debates going on here, one being in-ear monitoring and the other going ampless which are not synonymous. The OP is talking about using wedges to monitor a digital, direct to PA signal. I've been using in-ear monitors along with tube amps on stage for quite a while very successfully. I do production for 3-4 concerts a week on average. It ranges from local and regional acts to big nationals with the core business being "B and C" level nationals in theaters and festivals. I'm here to tell you that tube amps are still king. Not a rider goes by that isn't requesting a Fender, Marshall, Vox or Mesa tube amp. I'm not saying that NOBODY is using modellers, but they're pretty few and far between on the professional side of things. MANY more bands are now requesting in-ear monitors, or else just carrying them themselves. In-ears coupled with digital consoles gives a much more consistent sound night after night, and when used correctly cause much less ear fatigue. As for those stating that everybody uses dummy cabs or amps on stage these days, you're kidding yourselves. Besides a few 80's throwbacks, I hardly ever see dummy cabs on stage anymore. Fuel costs are high and unused gear is rarely going to go on the truck. If there's a half-stack on stage, it's probably getting used. Hey, whatever makes you play better and enjoy yourself is what you should do. But going from the extreme of stupid loud amps on stage to the extreme of no amps on stage is not the way to go IMO. And again, I'm a sound guy, the guy you all ASSume is on a power trip and going to tell you to turn down. The thing that the OP didn't mention (unless I missed it) is how is the FOH sound going to be handled? What kind of system are you going through? Does the band own its own, or are they relying on whatever is at the club? Do they have their own professional sound engineer, or are you relying on the club owner's drunk, otherwise jobless cousin to make sure your AxeFX is being heard?
  8. I've never played in a situation like this, but I've mixed a BUNCH of bands that do it this way live. I generally think it's pretty crappy. While the opposite (overly loud, blaring half stacks) is equally or even more {censored}ty sounding, having no amps on stage takes a lot of the live engergy away from the stage show, IMO. Often these bands will also use electronic drums to make for an almost completely silent stage. It makes the mix sound really contrived and as cephus put it above, "flat" sounding. It also can screw with the image depending on where the PA speakers are placed. If you're standing in front of the stage and you can hear drums and vocals coming off the stage, but the guitar sounds are coming from speakers placed far to the left and right it's distracting, and often disconcerting. Also, you're putting a lot of faith in the PA system (and it's operator) to carry all that weight. Instead of reinforcing your sound, it's doing all the work. So, based on my experiences, I wouldn't take the gig.
  9. i'd like to try Teye, Collings, Fano, Gustavvsson, Parker. AcousticMusic.org has a shop in Guilford and usually has a couple of Collings among some other really beautiful instruments
  10. I guess I bit first, but you proved my point much better than I really could have, Brian. Things must be extra slow over at GJ. Just another sign of things to come here at HC.
  11. What does the pickup builder's economic status have to do with tone? Pickups are very simple devises, and they don't require a lot of expertise to make. With boutique pickups you're paying more because a Westerner is making them for you. It doesn't have anything to do with economic status or location, it has to do with experience and attention to detail. I believe that a boutique builder will put more of these into their product than the average Asian factory worker, and therefore end up with a better product. They're easy to make, harder to make really well. Like I said, there are exceptions, and everyone has personal tastes, but if it were my money, I'd go for the safer option.
  12. Sorry, there is nothing magical about boutique pickups that makes them automatically better than middle of the road or even cheap pickups. Despite whatever TGP may say, tone isn't in the price tag. There's nothing "magical" per se, but boutique pickups tend to made by guys who do it for a living, have a good deal of experience doing it, and have a love for the craft. Cheap pickups tend to be made by guys who were rice farmers up until last week. Not to say that you can't find great budget pickups or crappy boutique ones, but you can't really try before you buy, can you? You have to rely on crappy MP3 clips, compressed youtube vids, or the biased opinions of people on internet forums. To some degree, you're going to get what you pay for. This being the case, and in direct regards to EG's advice, sometimes going for the expensive option, will be cheaper in the long run, if you only have to buy once to get something great.
  13. Wow just pull the cork out of your nose & breath, it may clear your head! There are no guitars worth $4000. There are idiots that pay 4k for guitars but they have no standards. What a {censored}ty thing to say. Who are you to judge what people spend on their instruments? Plenty of people spend a lot more on their hobbies, classic cars, boats jet skis, snow mobiles. And for many, playing music is more than just a hobby, but more like a way of life or for some, a career. And a $4k guitar that gives you a lifetime of playing enjoyment, creates great music and ends up as an heirloom is a good investment IMO. Whereas a $400 guitar that you play occasionally for a year or two, then sell at a 50% loss - not so much. You don't have the money or don't want to spend it? Fine, but don't judge others if they do. There were a lot of stupid posts in this thread, and I wasn't going to add to the flaming, but yours took the cake. I just had to say something. To the OP - glad you're finding your love for that guitar. It's a beauty.
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