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Everything posted by J.Paul

  1. I aquired a new set of nicer headphones but I travel a lot. How do you guys travel with your headphones ? (I'm not 17 so they're not going around my neck) How do other people travel with them ? I'm currently using the box they came in inside a backapck, maybe that's the way to do it ? ..... not sure.
  2. Once every year or two I force myself into listening and trying things I don’t like just be sure I didn’t miss something or haven’t grown into them (Bob Dylan, Boss Ce2, Brussel Sprouts, Parker Fly, post distortion wah wah…. so on and so forth)~~ this time I heard it differently and now have my board routed with my (AMT) wah wah after my distortion pedals. It’s nice and throaty and not harsh, I like the sweep too. ( NOTE : I’m on the road overseas using a Joyo direct so once I get home and hear the signal chain through my Rivera it could be a different story but for now it’s all good) Anyone else running post distortion? Did you always? Why and when did you change?
  3. ~ At first I thought it could be a setup for a scam, but that never happened.... ~ the last couple of months there have been one or two requests for jobs; "are you hiring" kind of messages ~ if the requests were getting into 1000 + it might be worth taking the time time to see if there's legitimate interest in what I'm doing and capitalize on it there (there IS a music scene in Kenya), but I don't think that's what this is at this point.
  4. I've been getting a disproportionate amount of "Likes" on my Facebook page from Africa for the last 2 or 3 years. I'm a solo act based in Nashville, TN and play American covers mostly around the southeast US. I don't play African songs or have any kind of marketing targeted for Africa. I've not done an accurate count but would estimate that 60% of my current "likes" are by Facebook users from Africa. Does anyone else find this unusual? I am puzzled why this is happening. (haven't been hacked yet) I would ask them how they found me but their english is pretty compromised. Questions? Comments? Anyone else have a similar experience?
  5. Does anyone know what 0db/unity gain is on the H9 I'm currently calling it 50 but it may be 52 (?)
  6. Well that IS exactly what I asked for and a substantial pedal (perhaps perfect ?) but I am leaning more towards the midi option (which the Nemesis has). Hopefully this thread will be of use to someone Googling for something similar and provide some insight (circa 2016) ...... that Keeley Delay workstation is no joke here’s a fantastic demo of it :
  7. yeah, I saw that a week ago.... it sounds fantastic. really great unit
  8. Well the distributor here doesn't have any in stock but a quick glance at the user's manual answers my questions : ~ Source Audio has a "soft bypass" option that allows for trails. They also include an option to stop the trails (on any given patch) by keeping your foot on the "on/of" button (instead of quickly stepping on it). ~ when used in mono the 2nd (unused) output can be routed as a send/ret loop and returned back into the 2nd input. This is assigned to the "feedback" button and could certainly be a reverb pedal if I wanted it to be (if the "Diffuse" delay engine doesn't do the trick for me). I would assume that in switching to another patch with the "feedback" button off it would also turn the effect loop (reverb) off. ~ the manual claims to have addressed the clicking/popping issue we all encounter when using true bypass relays. This is the delay for ME. It's just a matter of time now..... I've had my eye on their programmable midi EQ pedal for quite a while now too
  9. I think I found a piece… http://www.sourceaudio.net/products/one_series/nemesis_delay.php#tabbed=product-info=1 …. still doing some research on it. Need to know if the trails and tails still continue when it’s bypassed (“on/off” ?); but I think the “diffuse” algorithm should be enough of a “reverb slur” for the delay to meet my needs. I’m playing in Dubai through the winter and it look like their local “distributor” is the store I use here …. headed on over to take a look tonight or tomorrow.
  10. Good stuff there ~ Yeah, I'm currently using a multi effects Zoom mg50 as a dedicated reverb that has a (modulated) delay before it. The Zoom has a tap tempo option and a way to achieve tails/trails/carry over from the delay. Although there are many other usable features on the Zoom I only use this one patch. It sounds pretty darn good but if I can replace it with something better then I'm game. My only problem is that the "mix" on the unit doesn't defeat the original (dry) signal 100%, there is still some dry signal left ...... so if I ever want to get into a mixer (or Xotic Blender type of scenario) it's not ideal. I might experiment with some of the other brands to see what they have to offer (Pandora something?) and your Vox piece I am unfamiliar with.
  11. Anyone have some suggestions? I’m looking for a guitar pedal that does both delay and reverb at the same time. It needs to either have a tap tempo option or a midi option (but doesn’t require both). I want it to take a standard 9v power instead of some exotic 12v-15v-18v and it would need to be priced under $500
  12. Yeah that's exactly why I rotated it in ~ There is so much "out with the old in with the new" on these ships that I just don't have anything for an elderly couple that wanders into the room (they don't wanna hear The Cranberries or Incubus). I knew they would at least know the song from Dion / The Drifters plus it wouldn't a sappy torch song for other (younger) people that had never heard it. I'd like to have the time to build a half hour of this kind of material (Elvis doesn't count) so I've got something for them
  13. I've started playing Donald Fagen's "Ruby Baby" and it's a nice change of pace from the "party songs" I've been doing. You can't sing along, or dance to it, and it doesn't feature an extraordinary performance so based on that, it becomes a "pacer" "listening song" but people seem to like it and know it. I've not played it on the mainland yet though, it's translating on cruise ships.... don't imagine it would work in college towns, but you never know.
  14. I just got an ES5 2 days ago. Basic programming is done but I haven't assigned some of the command parameters or buttons yet. I'm looking forward to the parallel loop function to blend two gain pedals together. Haven't found anything I don't like.... yet. I'm not using the input buffer (I'm using an H9 pre and post and their buffer is fine) ...... the manual doesn't mention how to switch groups. I'm assigning the "Mute" button to that function. My Volume pedal is currently in loop 4 so I'll taking that out when I have time to figure out a CTL command for that. The effects switcher unit I WAS using (from an un-named company) died while I was on the road so I'm lucky there was a Boss ES5 to replace it. I'm gigging everyday (on the road internationally) so there's limited time to focus on completing every little tweak at once, It will probably take me a couple of weeks but I'm gigging with it now and it's great. I still need to assign the tuner to my H9 via midi and replace the Boss walwart with my Cioks power. Isn't the ES5 / ES8 the same thing as a GigRig? ..... seems to have alot of the same features for much less. Maybe I'm missing something....
  15. Robert Trujillo's "Jaco" documentary had a scene where Weather Report was cutting tracks and Jaco (being brand new) was way too busy. Joe tells him "Hey, you're already IN the band, we KNOW you can play... play for the song now" (my paraphrase). Jaco is considered the best or one of the top 10 best electric bassist ever. and he overplayed always (that "fact" is not helping this thread BTW)........ I'm not sure what the answer is. Maybe the real question is why do "music employers" hire players that are way overqualified for the gig. Every country or rock player I know just wants to play their "Scott Henderson" stuff but has to pay the bills by playing radio drool and ends up quitting or miserable. Why not hire guys that actually like the friggin music? Lets switch gears. The average "garage band" drum tom sounds pretty uninspiring (just my opinion). I once got to soundcheck on drums when I was 21 (I'm not even a drummer) in an arena on a well miced kit. Just one tom was inspiring (not my opinion). When that tone springs forth with roundness and girth and reverberates where 19,000 people will be it makes you want to play less. ~garage band = Hawaii Five0 intro ~pro kit on massive PA in massive arena = Journey "Open Arms" fill Same thing with guitar ~misquito tone = K Hammett all night ~loud thickness w/ definition = E Clapton (if you're lucky) My "local scene" is Nashville. Most of the jams are pretty mature and developed. On the occasion someone decides to "plow through everybody" I don't recall it being a problem (however I also do not frequent the jams).... Even on this forum there is a discrepancy as to if "the standards" should be played true to the "hit recording" or if you "give it your own feel".... when you put 5 players on a stage (in your town or any town) with those differing world views then I'm guessing it sounds like what you're describing. ...... then there are the singers
  16. Oh that's good stuff HAHA bonus points for using the word "cornice"
  17. Yes I agree. That would also get me fired and replaced. You gotta keep up or get left behind There's something odd about seeing a band that is s**t hot on fire super visual on one song and the next song they're all just standing there reading the chart... to me that's really disjointed (which is exactly what we're doing). It's as much new weekly material as a talk show band would be expected to learn. The difference is that talk show bands aren't expected to perform and sell the song.... they are only expected to get the material right. we are working a Bruce Springsteen size room w/ a large production and huge video screen. the small circumference of an Ipad works for a small sports bar or wedding but for a large concert venue type room can essentially alienate the other 500 people that you aren't "connecting with" because you're too focused on your little screen
  18. Many many of us here is this forum use Ipads for song guidance..... Lately I am swamped with so much new material that the smallness of the Ipad screen has become a hinderance. Wouldn't the next step be to use a computer? How about a big computer? How about a medium/large video screen AKA a teleprompter? ... Anyone? Suggestions? Comments?
  19. Gene Simmons rule #2 always be available to work, always be available to make money (my paraphrase)
  20. So a quick update : We changed vocal mics and it resolved everything. My monitor mix (and level) is still pretty minimal but my vocal is now loud enough to hear myself through FOH (my vocal was barely in the front of house mix before). I am guessing that the pattern of the mic we are now using is giving our engineer more headroom and less problems. Oh and ugh Merry Christmas
  21. This is great advice for anyone that is unaware of these tips. Keep it to a minimum and don't clutter your mix if you can help it (God made sidefills for the rest of the junk that masks your mix kids) This mix is 90% vocal 10% guitar 10% high hat (he's all the way across the stage behind a shield). I typically am guilty of too much bass guitar in everything (because I love bass guitar) but I'm standing right next to the bassist so there isn't any of him in my mix at this venue. I don't know what the monitor is EQ-ed for and I bet most of the engineers in this forum would take offense at me or anyone else "taking charge" of the process and double checking his eq curve, gates, verbs, sends, or anything else sound related. We are rehearsing tomorrow so maybe I'll get a chance to tweak some since our FOH guy will be there...... the vocal in the monitor was brighter (and better) tonight ~~~ of course it was... why in the hell would it be the same as it was yesterday or the day before ? There WAS minor feedback tonight, from our singer ... sounded like too much vocal in her wedge. BTW our singer routinely asks for NO vocal in her wedge. .... awesome.
  22. I really don't know. Feedback doesn't seem to have been an issue... Although he did move my station over and back a couple of feet (farther from the mains) a week or two ago (which is usually the 2nd or 3rd thing they do to combat feedback) but I have not actually heard feedback from the stage or over the mains. Not sure what it sounds like flat, although we are the 1st band to use this system ... it's not like there has been 20 years of Vince Neil mixes to turn the system upside down. HA
  23. I listened to tonight's mix w/ this thread in mind and really don't have much to complain about, I've certainly had worse mixes. The rest of the production is world class to these monitors that sound dull and pedestrian; it just seem to pale in comparison to the FOH, lights, and video they are using (which are stellar). Perhaps {censored}ty is a relative term. What is {censored}ty to Paul McCartney might be gold to GG Allin.
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