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Posts posted by J.Paul

  1. I have a pelican pistol case that I can swap the foam inserts in...one day' date=' it is a pistol case, the next, headphones, another day, all my pedals for my acoustic act...there are far less expensive cases ...look up pistol cases on Amazon...you can find some for around $10-15 which will give you adequate protection for a $200 set of phones.[/quote']



    that's a good suggestion


  2. 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.

  3. 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?

  4. At first I thought it was some sort of long con, but 2 or 3 years is much longer than long. Maybe it's a Searching for Sugar Man kind of deal.


    Although I have a FB presence, I don't have a FB musician page, so I don't have any personal experience with FB likes. The whole thing does sound odd though. I'll have to ask around and see if anyone I know has experienced anything similar.


    ~ 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.

  5. 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?

  6. Keeley Delay Workstation should do what you want




    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. 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.


    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

  8. 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.

  9. There's only one pedal I can think of that which might fit that bill. A Rolland Space Echo which lest you run both echo and reverb at the same time.




    On a real space echo like the one I have you can run the reverb before or after echo. I'm sure these digital versions are similar.

    Doesn't seem to have tap tempo but it does let you run an expression pedal. I'm not sure you're saving much real estate over running two separate pedals if that's your goal. You might do better price wise running a separate tap echo and reverb unit.


    The other option of course is a multi effect pedal. I have one of those Vox Stomplab pedals which isn't much larger then a normal sized pedal. Its got some incredibly good effects. You could easily set up reverb/echo combinations and save them in memory. You could dial up 20 different tap speeds then scroll to the ones you want. I never have much luck with a tap tempo anyway so its not a feature I need.


    The other effects like Chorus, Tremolo, Pitch Shifting are excellent too. You can model cabs and dial up a butt load of amp types and drives too. You may even prefer it over other pedals you have too. I have a huge collection of quality pedals and I get more use out of the little Vox then I do the others lately.


    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.

  10. 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



  11. 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

  12. 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.


  13. 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....

  14. I sometimes sit in with an open jam or sub for other bands. It amazes me the amount of people are not aware of what they are playing, overplaying, not paying attention to other musicians, not thinking about what they are doing, volume problems, etc. It always seems like these guys talk the most junk also and don’t know anything when it comes down to it. People just don't seem to have any instincts or musicality. How is it regionally for you? Seems like there are a lot of guys like this out there.

    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



    Funny road story.


    Back in the disco days, we learned a Lou Rawls song *You'll never find...." during the afternoon. The guitarist/singer wrote the words in red and pasted them on the cornice on top of the stage.


    The DJ who alternated sets with us ran the lights all night, and when we started, he flooded the stage with red lights, the words disappeared, and the singer had only memorized the first verse. So he sang it over and over again. I don't think the audience even noticed, but we had a good laugh after the gig.



    Oh that's good stuff



    bonus points for using the word "cornice"



  16. As a user of an iPad plus someone who hasn't the best eyesight' date=' the size has never been an issue and the big plus is with a black case on it gets lost from the audience perspective. I did see a photo of Springsteen using a TelePrompTer disguised as a monitor and I am sure others do as well. For me it's getting the balance between function and unobtrusiveness.[/quote']


    HAHA. That's great... I think I've seen The Stones (?) use something like that.


    Who runs those things? Is there an actual "Teleprompter Tech" that is on the road occupying a bus bunk and hotel room and only running the telepromter or does he have other duties (such as the rigger from earlier in the day or ugh..... gosh that's the only person I could think of that would have time all night to babysit a telprompter)

  17. the correct answer is to slow down on the new material until you're truly ready to perform it... I'm jus'sayin'...

    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.


    I'm not sure why you have an issue using a tablet ...................

    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? ...



    Suggestions? Comments?

  19. Lately it seems that if I want to get gigs, I've got to be available almost 24/7. I've got an agent that regularly phones me at 0930 in the morning (after he's booked me for a gig that ends early morning). One of my bandleaders calls around 0900h, usually to ask what key some song is in, as he's putting a set list together for our gig in a wee! Other agents text me, always in a panic, in the afternoon or especially at dinner. I have another agent that emails me or texts me around 10:30 at night, and always needs an answer immediately. This same guy also emails me at 3;30 am, and sometimes if I'm up, we book gigs then. I applaud his work ethic and am grateful he books me, but man, it's hard to get away from the biz.


    Just yesterday an agent emailed me around 1900h and asked about a date. He said he needed to know that night. I was in a video shoot, and chose to have my phone silent, so I wouldn't ruin a take. By the time I saw his email and got back to him at 2100h (even before I packed up) he had already booked the date with someone else. So I made $150 at the shoot, but lost $250 because I couldn't check my email. Maybe I'll make it up, or maybe I should have been like another fellow at the shoot. He was constantly checking his phone - can't blame him.


    Anyway I've booked a lot of gigs, by getting back within ten or fifteen minutes, but when I can't, II seem to lose them. Sometimes even ten or fifteen minutes is too slow.


    This constant connectivity is driving me nuts, but the alternative seems to be no gigs.


    I imagine this is happening in all kinds of businesses. Bit of a shame really.


    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. what all are you running through your monitors?

    rule of thump is it to keep it as simple as possible.

    if only vocals are in the monitors and the monitor eq is set to suit the vocals (what ever that means) i doubt a full range mix of a cd will sound good.

    if you have keys, you add one factor of complexity to it. but it is still manageable.

    if you need to add guitars, so be it, but only that much amount what is really necessary and not in a way you would mix your master tape of your cd.


    unless you are using electronic drum kit, there should not be the need to add them in the monitors.

    also the bass should be out of the monitor mix.


    all troubles of the monitor mix start out, if you need to add bass and/or drums to the monitor mix.

    especially the bass parts of bass and drums absorb so much energy, that you need to have to run them very high in the monitor mix, so they get heard. this absorb so much space in the monitor mix, that almost nothing is left for the rest. next thing you do is a compromise in pulling bass (and drums) down in the monitor (with the fader and/or with eq) to make space for the rest, so nobody hears bass and drums as good as it would be needed, and the rest sounds sh*ty as well...


    monitor cabinets are not made to deliver good bass response


    by any means, if you can avoid drums and bass in the monitor mix in the first place, everything becomes much easier. adjust the stage volume of the guitar to the volume of the bass and let the drummer play the right volume, everything else should be a no brainer.


    if you can't hear the bass on stage and asking the sound guy to put the bass to the monitors, is the first step for a horrible stage sound and there is no way back if you do this in the mid of the gig, this horrible experience will last until the end of the gig...


    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. BTW, you say in one sentence that he is cutting lots of freqs, presumably because of room modes, and that feedback isn't an issue.


    Is feedback an issue when those cuts aren't made? That is the key question!


    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


    • Like 1
  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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