Jump to content

arcadesonfire

Members
  • Content Count

    24,551
  • Joined

  • Last visited

  • Days Won

    25

Posts posted by arcadesonfire

  1. Here's to EVH!

    What do you use to get your squishy, saturated, bright, spectacular overdriven tone?

    I bought the Traynor Bassmaster for like $200 on ebay 20ish years ago and never looked back. With an attenuator between it and the cab, ya just turn all the knobs up, and bam, there you are.

    ...Though it helps to also split your signal and send one to another amp that is saturated in verb but not very loud.

  2. 1 hour ago, Phil O'Keefe said:

     Not necessarily - you can use an extension cord as long as it is beefy enough. Again, just make sure that there isn't a bunch of other stuff plugged into the same electrical circuit - which isn't always obvious since multiple AC outlets in a building can share the same circuit.* 

     

    No. If the extension cord is too thin and/or if there's too much plugged into the cord (too much load), then your power conditioner isn't going to fix that. 

     

    * This can be a nightmare if something like an AC motor, fridge or lighting rig is running on the same electrical circuit since it can not only potentially lead to an overloaded circuit, but devices like that can also cause noise. A power conditioner can often be helpful here since they can reduce AC line noise, RFI and EMI, etc. The sound tech at the venue SHOULD know if the circuit is free and not being used by other electrical devices in the building, but unfortunately, oftentimes they don't have a clue. 

     

     

    To the * :  ugh. I’m afraid this is an old building. It is quite shocking (not literally) that there aren’t outlets right where musicians would sit. But I saw sets of four empty outlets over on the walls (to left and to the right) behind the curtains, as well as a set through a door on the stairwell that’s literally closer to us. (We’re behind curtains toward center stage.)

    So I will at least be able to avoid crappy extension cords. There are rows of professional overhead stage lights. They must have those on an isolated circuit. Must!

    I did NOT hear unwanted humming last night, so that’s a good sign. Will plug in amp at home tonight to see if I get that distortion at low volume. Perhaps the amp tech didn’t properly rebias the amp for new tubes.

  3. Hmmm... Does a power conditioner need to go near the a/c outlet? Or can i plug the cord into the outlet and then put the conditioner near me?? (I.e., does the conditioner “fix” problems introduced by extension cord?) And I just need two plugs: my amp and my voodoo lab pedal power supply.

    At any rate, at first last night, the venue tech had me plug into the same funky OLD two-outlet “strip” as last time, and it had a very thin cord. Sounded terrible—and I wonder if that thing related to my amp dying last year. So I unplugged from that and used my strip (with heavy duty cord) into a decent strip that was plugged into “god knows where.”

    I’m going to GC today and could go to Home Depot before the show. I’ll make this work. Thanks for the advice!

  4. I just did some research and found people saying TAD brand 6L6s are the best replacement for the Svetlana winged C's. So I've got an order on the way from Jeff Bezos. Will put the JJs away for backup. 

    Levis stopped making my 513s. SED stopped making the winged C tubes. 

    Why, why why why, must things change like this??

    old.jpg

  5. I'm playing the same venue I did last year when my amp crapped out. When in for the "tech" rehearsal tonight, and my amp was sounding like crap. It might be because the repair job wasn't great--and they replaced my winged C tubes with JJs (blechh, but the tech said my power tubes were what caused the blow out last time). 

    Tonight, the amp (Hot Rod Deluxe) had very very very mild distortion at a low low volume, did not sound right. To get power to it, the venue tech had two power strips strung to an extension cable to god knows where behind the stage. But I could see AC outlets about 20 feet from me behind the curtain, so I'm thinking I should get a good power cord and plug in there.

    Are there special power extension cords for pro audio that don't hurt the sound (something where you don't need a pricey "power conditioner")?? 

    I remember when we used a 100 ft cable in high school to get my amp out with the marching band on Friday nights, and it sounded like crap. What can I do to avoid that??

     

     

    Seems like something RedEl34 might know.

  6. Looks like Dean Markley has stopped producing the Blue Steel strings. I used them for 20+ years. Loved em because they maintained their springiness much longer than other makes, but they weren’t overly springy. Does anybody know if they’re making the same thing but under a different name? 

    What make for you use? How would you describe the sound?

    I go on stage for the first time in a year next weekend. Gotta restring and be ready. (BTW, I use gauge 10-46.)

  7. Just now, Phil O'Keefe said:

    But this is a thread about bass players... 

    intersection-phil.jpg

     

     

    Anthony Kiedis sang “Under the bridge downtown, I gave my life away.” Flea just gave away 90 cents and things worked out pretty well. 

    • Haha 1
  8. 2 hours ago, Phil O'Keefe said:

    I'm pretty certain it wasn't over the chord progression, it was the melody. Take a listen to both one after another, and I'm sure you'll hear the similarities.

    And as the guy noted in his TEDx talk, if it's similar enough that you very well may lose the case, even if it was unintentional or subconscious, you're often better off settling than trying to fight it in court. If you fight it, you'll rack up a bunch of legal bills, and you still have no guarantee you'll win - and if you lose, you not only have the legal bills, but also have to pay the settlement and give them part of the royalties going forward too. Giving in and agreeing to a settlement when challenged on a copyright infringement case is often less painful and less risky in the long run. 

     

    Maybe instead of medical law, I should be looking into musical intellectual property. Hmmmmm

  9. 3 hours ago, Phil O'Keefe said:

    You’re welcome to them... but of course you know, you can’t copyright a chord progression. Think of how many songs you know that use a I  IV  V progression...


     

    Didn’t Radiohead split the copyright of “Creep” because it had the same I III IV iv progression as a Hollies tune? Radiohead arpeggiated and sang a different melody and did a ton of other novel stuff, but they still split the copyright.... and then recently sued Lana Del Rey for using the same progression with a very similar vocal melody. 

    Anywho, the matter of borrowing/sharing chord progressions across the centuries is a big reason why I get frustrated with lawsuits about particular rhythms. Music works largely by inspiring and sharing. 

  10. Just now, Phil O'Keefe said:

    Technically the record company owns the recording, not the artists, and not even the guys like me and Anton who actually make the recordings. 

    Well then the whole system is totally blursted up! We need a Bernie Sanders to ride in there on a wrecking ball....

    Obviously I have little understanding of all this stuff. Maybe that’s a reason I was eager to take a record deal years ago but my band mate rejected it. 

  11. 1 hour ago, NOS68 said:

    Isn't it fairly commonplace in county music for songwriters to wri6for nobody imparticular?

    My knowledge here is very slim so I like you, even more so I'm sure, am talking outa my rear too.

    Right. That’s the downfall of my 21st-century, rock-o-centric line of thinking. Though... I imagine those songwriters are all writing lyrics with their melodies, so they shouldn’t be threatened by the “infinite open source melodies” in the OP, nor should they be threatened by the stupid rhythm/melody lawsuits like those that get big headlines. 

  12. 55 minutes ago, Phil O'Keefe said:

     

    Oh crud - I used that exact same line in my review of the EHX Blurst! :eekphil: 

    It was unconscious plagiarism your Honor, I swear!!!

    Seriously, while it's technically possible I saw that episode of The Simpsons and have forgotten all about it, I don't recall ever seeing it before now (I missed a lot of episodes), and I was actually thinking of Dickens and punning off of the name of the EHX pedal (and the opening line of A Tale of Two Cities) when I wrote that.

    I guess we must really be living in the age of wisdom, and the age of foolishness after all... :lol:  I better shut up now and invoke my Fifth Amendment rights before they haul me off to the brig... :cop: 

     

     

    Hahahaha! That’s great.... I watched the first ten seasons’ episodes constantly, over and over and over again from age 11 to ~25, so they’re branded on my brain. But I’m guessing the Simpsons weren’t the first to make a “best of times” joke like that. Maybe EHX was even inspired by that line! 

    And look at the bright side, now you’ve got me reading that review. 

    • Thanks 1
  13. 16 minutes ago, NOS68 said:

    What about songwriters?

    That’s why I had said “and/or to the author connected to a specific recording” just above. I suppose that if there are songwriters who are writing but aren’t connected to a specific recording of their work, then my proposition is troublesome—though no less troublesome than what the folks in the OP are trying.

    And like I said, my suggestion really wouldn’t work for COMPOSERS of music that isn’t intended for a specific performer.

    I’m largely speaking out of my rear end here, but still just trying to express how I feel like for most pop/rock/country/techno/etc from the past 60ish years, the recordings offer a better signature of the person holding the copyright than do the notes spelled out on a staff. 

  14. Although my thought here wouldn't apply to composed-but-not-recorded music, here's what I've been thinking about the pop music lawsuit business forever:

    Ever since we began recording music that's for sale, every recorded production imbued the music with more than just a collection of notes and rhythms. Each recording has a specific sound to it. For rock music, pop, hip hop, etc. etc., I think the "intellectual property" should relate to the recording. If a copyright pertained to a recording (and/or to the author connected to a specific recording) then these algorithmic* melodies would be meaningless. 

    Connecting copyright to specific recordings instead of writing would cut down on any revenue made from going to bust people who are profiting off performing your music, but 1) if you're famous, people aren't going to pay to see a cover band and be just as happy as if they had seen you perform the music, and 2) is anybody really going around and policing covers anyway?

    *One could also add to legislation that no music arrived at by automation can be copyrighted.... Though I guess that would open up a can of worms too for those setting their auto-arpeggiators to random.

    • Like 2
  15. Thanks everybody! I was also disappointed with the mini-humbuckers... I had purchased and put one in my current Strat's bridge years ago, but I took it out because it wasn't good for either sound. 

    But I am happy to hear your advice about splitting a humbucker. I had always thought that was more a gimmick than a useable tool. So it's nice hearing your experiences. I think that's the way to go, and I can experiment with different humbuckers over time.

  16. Hiya guitar folks.

    I’ll be upgrading to an American deluxe Strat not too long from now, but I’m having a heck of a time deciding whether I want all three single coils or if I want a humbucker in the bridge. What pros and cons do you see to each?

    If you’ve got a bridge single coil in a Fender-style guitar, what do you use it for??

    I’ve got a plexi/baseman clone w EL34s and love a good Van Halen tone; I could get  even closer with a Strat + humbucker than w my Hamer! But then again, a bridge single coil on a Strat or tele has a unique, crunchy/sharp sound. And I rewired my current Strat so the bridge SC can pair w either other p/u; I get two kinds of squawk!

    So which do I want or need more?

×
×
  • Create New...