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Alex_SF

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  1. I've been used to playing in a cover band that plays all night (no other bands), brings our own gear, and has our own guy to run sound for us. Recently joined another band that plays multi-band bills and uses the house soundman. And it's taking some getting used to. I've done 3 gigs with them so far, all 3-band bills with us playing last. The first one, we had a proper sound check, left our gear backlined while the earlier bands played, and the monitor mix was way off when we came on. The second and third gigs, we didn't get a sound check or get to set our gear up first; did some rudimentary balancing of levels before we went on (though a bit rushed), and played. Gig #2 suffered from way-too-loud guitars. Gig #3 we took stage volume down a little more, but wound up with too much vocals in the monitors (which the singer tried signaling the soundman about but finally had to say something on-mic mid-song), and while I could hear my guitar OK on stage and in my wedge, I was way too quiet compared with the other guitarist in the FOH (which I didn't even learn about until a comment from an audience member after the show was done, and confirmed by video that I took of the gig). I wish someone had said something to me a couple songs in so we could have talked to the sound man about whether I needed to turn up my amp or he needed to turn me up in the FOH, but shouldn't he have noticed the out-of-balance guitars, or the fact that my leads were buried, on his own? Guess I've gotten too used to having a dedicated sound guy that we can trust. I want to try and prevent this stuff going forward if possible. What do bands who use house sound do to ensure they sound good on stage and in the audience? Do you give printed "mix notes" to the sound guy before your set? What should those look like; is there a standard format? Do you have a friend of the band tell you sometime early in the set between songs if there's a problem with the FOH mix, and run a message back to the sound man if your monitor mix needs to be adjusted and he's not responding to hand signals from the stage? Any helpful suggestions are appreciated.
  2. CO2 cannon, especially if it can have yellow-orange LED lighting, looks very cool. Thanks!
  3. Are there lighting effects suitable for a club performance that can deliver some of the "wow" factor of pyro, without all the danger, liability, insurance, and other associated hassles? Strobes, blinders, and foggers are a good start. But I'd love to know what other lighting effects are out there to simulate either a column of flames or a shower of sparks -- or deliver something with a similar visual effect without any actual combustion going on.
  4. A few weeks ago I smashed my right index finger while moving heavy concrete pavers around - it swelled up, the nail turned black, I poked holes in it to drain the blood, etc. I was able to play by holding the pick with thumb & middle finger while the index finger was too painful, except for a couple of songs where I need to hybrid-pick (use pick w/ thumb & index finger, simultaneously pick a higher string w/ middle finger). But now the smashed nail is starting to come off. It's going to take a few months for the nail to grow back, and I've got a handful of gigs in the meantime, which I have to be at my best for. I'm not looking forward to playing a full set of, e.g., Iron Maiden songs with a sensitive raw nail bed hitting the strings from time to time. And using thumb/middle is still a little clumsy for complex stuff. Anyone ever had this happen to them, and if so, how did you protect your raw nail bed? Best I can think of is a Band-Aid, but I know the edges will get frayed and possibly get in the way, and also it will interfere with my grip on the pick. Other suggestions? EDIT: Thanks for responses so far, but a couple of them suggest that I gave the impression that I finger-pick. I don't; I always use a plectrum.
  5. its not illegal in the US to sell your personal property provided there is no intent to mislead the buyer. it doesnt matter what logo is on it. http://www.law.cornell.edu/uscode/text/18/2320 Under that statute, "the term
  6. Ya really, how do you get to the truss rod with that thing there? I suppose you can get around it. Either way, AWESOME guitar! I really like it. HNGD! Thanks -- I'm pretty happy with it so far. As far as the truss rod goes, I adjust mine so rarely (i.e., nearly never) that it's not a very big deal to just take the string lock off if I need to -- it's just a couple more screws than the truss rod cover. And given that I don't clamp the strings anyway, I may just remove the string lock on this one altogether at the next string change.
  7. I blame Billy; it's his fault. He posted on Facebook that he'd just found an '82 Ibanez Artist for a ridiculous number -- and, having had a fascination with these guitars myself for some time, I had to do a curiosity search on my local Craigslist. And look what followed me home after I did that: This is the AM-205 Stagemaster, but with factory whammy bar. 335-style semihollow but with a smaller body -- not much bigger than an LP. Predecessor of Gibson's ES-339 / CS-336 by 20-odd years. Laminated body with burl mahogany veneer front & back. Super 58 pickups. Medium profile neck, maybe comparable to Gibson "60s" thickness? Ebony board. Full specs of the AM-205 here. The AM-255 doesn't even appear in any catalog or brochure I've ever seen; think it might have been a John Scofield endorsed model based on some message board posts I've seen elsewhere but I'm not certain. Came originally with an Ibanez "Hard Rocker Pro" trem unit, but the one on mine has been replaced with a Kahler -- which is just ducky as far as I'm concerned. I have a Hard Rocker Pro on my RS-1000, and it works great and stays in tune, but string changes take a long time and require a screwdriver. Kahler arm was missing, but already ordered a replacement and I can just swipe the arm from my Greco for the time being. Neck is a 9 out of 10 -- straight, with level frets with plenty of life in them. Some cosmetic dings that are unnoticeable at stage distance, and a crack in the finish on the back of the neck at the headstock volute, which looks like a prior owner probably knocked it into something on stage. I'm 95% sure the crack doesn't go any deeper than the finish; but if it ever appears that it does, the price I got the guitar for was good enough that I don't mind spending a couple hundred on a pro repair. Gold parts have significant wear on the plating and a "vintage" patina befitting its 28 years of age. Bridge required lots of string height / spacing and intonation adjustment when I got it home, but it's dead-on now. Replaced the very cool boomerang strap buttons with Schallers, but keeping the boomerangs in case I ever want to put them back on, or put them on another guitar. Also replaced the factory Sure-Grip knobs with amber top hats. Sure-Grips are kind of cool, but the numbers on them are printed in black, which makes it impossible to quickly look down and visually check your settings on stage. These top hats aren't much better contrast-wise, though; may switch to speed knobs with white numbers if I can find some. Taking it to practice this afternoon; can't wait to hear it cranked. Only trouble is, now I've really got to sell a couple guitars; the cases are taking over my bedroom. That's actually a good thing, though: there are at least three that I never really bonded with and that ought to be owned by someone who'll play them more than I have.
  8. This weekend my old MIJ Ibanez Stereo Chorus CS-9 pedal stopped working on me: the LED would come on when I hit the switch, but there would be no change in the sound. I tried both outputs and just got a "dry" sound either way. Did some web searching and found a user review that discussed having this exact problem, which was caused by a broken circuit board around the ground screw. Opened up my pedal and sure enough, my circuit board was cracked around the ground screw. I did the recommended repairs -- consisting of super-gluing the board back together, then soldering small wire jumpers to connect all the ground points around the screw -- and tested those ground points' actual ground connections with a multimeter. So far, so good. But then I hooked up a battery and tested it: problem still not fixed. I can hear something happening when I hit the switch now, but it's just a very subtle change in tone, still without any chorus effect. Any ideas for what else might be causing the problem and what other troubleshooting / repair steps to take next? The schematic is available here if anyone cares to take a look. Reissues are selling pretty dearly these days, so I'd like to save the one I've got if I can.
  9. The hood-pass stuff was just stupid -- a stupid thought, stupidly expressed -- but as far as I could understand, not derogatory. Just dumb. As one of the celeb sites or other roughly put it, if he tried going to the real hood and acting like he was at home there, his lily-white prettyboy ass would find out pretty quickly how wrong he was. The more obnoxious part of the interview was kissing and telling on his exes. A real man doesn't do that.
  10. Yes, they pick dinosaur acts. Last time they tried something more current, they got burned when Justin and Janet took it on themselves to do something oh-so-shocking!!, so they've gone with the more safe acts ever since. I noticed Daltrey even changed the chorus of "Who Are You" to take out the F-bombs. As much as the younguns complain that they should put some new, hip, fresh acts on the bill, keep in mind that the event producers and the TV network have a couple of criteria for a halftime show that might not even enter into some of those kids' minds: (1) appealing to the people who've managed to score tickets and travel to the game (i.e., largely older and wealthy, emphasis on wealthy), and (2) keeping viewers tuned in all the way through halftime so the network can keep its advertising rates up. The White Stripes, the Pixies, Radiohead, the Ting Tings (who?????) are highly unlikely to go on the Super Bowl halftime show, because those who will be excited about seeing them (or have even heard of them, in a couple of those cases) are mostly very young people (or in the Pixies' case, overeducated and underpaid former-college-radio DJs now working at a used-record store ) --- who don't buy Super Bowl tickets, probably don't have lots of disposable income to appeal to advertisers, and like to think of themselves as largely above consumerism anyway. The rest of the TV viewers will change their channel when one of those groups comes on, and the other networks will put on alternative programming at halftime (puppy bowl, lingerie bowl, etc.) to capture those people's attention and sell their own advertising at jacked-up rates. Perhaps the brouhaha over Janet's Flapjack[son] will have died down enough, and the dinosaur-rock complaints will have been sounded enough, by next year for the producers to book someone else more contemporary. That act will have to have mass mainstream appeal to satisfy the criteria above, so indie / modern-rock / hardcore hip-hop is out of the question, but some country or R&B might work. And Lady Gaga's desire to be over-the-top with her appearance means I think we're safe from having her chosen, in light of the Janet Jackson thing. I think more likely contemporary acts would be something like the Dave Matthews Band, the Black-Eyed Peas, Alicia Keys, Carrie Underwood, Avril Lavigne, or some combination of the above. A line-up like that might have HCEG longing for the dino-rock brigade, but is at least a realistic expectation. Or maybe they'll keep it in the rock vein & go with AC/DC. Or, looking at the most viewed touring acts on Pollstar and picking some likely ones, Joan Jett, George Thorogood, or the Eagles.
  11. Not nearly as disturbing as the $90.00 Gibson Hoodies for sale inside ! What are you complaining about? MSRP was like $200; at $90 they're a bargain!
  12. The exact wording of the definition may vary depending on your specific jurisdiction, but "theft by deception" is recognized by the law pretty much everywhere in the English-speaking world as a subcategory of the crime of theft. Those of you who disagree, at least thanks for letting us know about your personal concepts of honesty and integrity.
  13. The Bends is their best as far as being consistently good all the way through, and a great listen as an album start-to-finish. OK Computer is close, and it had several amazing songs -- in fact, its best songs might be better than the best songs from The Bends -- but "Fitter, Happier" and "Electioneering" both suck so badly I can't stand listening to them: so it can't be better than The Bends, which I don't have to fast-forward through at any point. Pablo Honey is in third place: inconsistent, but overall a very good album. About a third of Kid A and Amnesiac each is good. The rest of those albums blows. And with Hail to the Thief and In Rainbows and since, they've been pretty much dead to me. Apparently they took the {censored}ty parts of Kid A and Amnesiac and decided to evolve in that direction, perhaps owing to the same "waaaah, it sucks writing music that is popular" attitude that was apparent in that execrable Meeting People Is Easy movie.
  14. If you want to use 2 amps at once, the best way to do it is with an AB/Y switch with phase reverse on it. If you're using 2 of the same amp, you could get away with a simple 1/4" Y cable. You might also be able to "daisy chain" the amps by running a cable out from input 2 of the first amp to the input jack of the second, but only if that doesn't cause ground loop buzz problems or bad sound due to the amps being out of phase.
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