Special J

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.

Dude, do you really think that we don't know that you're a shill for Shred Legacy? Loser.

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.

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.

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.

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.

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?

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.

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

+1 Might have to fly to Texas just to try one...

My Strat.

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.

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.

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.

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.

Ha, calm down Mister Sully I am just screwin around. I think there a quirky little product, and will have there place in history. Just like a lot of the things with roots in the 80's. Way to misuse "there" twice, in two different ways, in one sentence. Remember when you first came here and you were banned almost immediately? Yeah, that was funny.

Guitar Heroes? They play guitar, but I am thinking EVH, Page, Clapton, Hendrix, etc. Just because their not your heroes...OK, yeah Neil Young is stretch.

I wanna win! What stupid thing do I need to say to take the prize?! I know...the whole thing is just another Reality Show...kinda like Jersey Shore...!!! Sorry, I'm going to have to give it to epi because you at least recognize Taylor for what she is. No reason to drag Pete's name through the mud though!

And the Grammy for most ridiculous post in this thread goes to...I just can't decide. Epi56 for comparing the likes of Pete Townsend and The Grateful Dead to Taylor Swift...or Vintage55 for essentially stating that those particular artists are talentless. Good job fellas. I'll just call it a tie.

I agree. I think The Bends as an album is amazing. Not a bad song on it. OK Computer runs a close second for me.

I tend to agree with Matteus regarding the high quality to price ratio of MIJ Fenders. They tend to be overall more consistent in their quality too. Some of the older (80's and 90's) MIJ's have cheap electronics in them though, so you might want to factor in the cost of replacing pickups and pots. Some of the more recent higher end MIM guitars are quite nice too. I haven't found a MIM standard that really impressed me yet though. I think it more or less comes down to the features you want and your budget.

Overrated - this thread. Underrated - original ideas.

I think it's a matter of scale and features. I've played higher end MIM's that killed Highway 1 guitars. I've never played a MIM Standard anything that really impressed me though. I've only ever owned MIA and MIJ/CIJ Fenders. I think MIA, overall, has the best quality and attention to detail, CIJ has a consistency to their quality not found with the others, and MIM has good value and some features not found with MIA/CIJ.

I would say sell the Studio and buy a Hamer USA. More of a sideways move. Otherwise I would probably keep the studio. I am intrigued by some of the Reverends though.

Cool thread, I'll bite. I'm 31, and have been working for a good sized regional sound reinforcement company for 13 years. I've been playing in bands for 17 years. I've been through a lot of PA gear. I've been spoiled by using state of the art stuff since I started in the business. My company uses L'acoustics and Adamson Acoustics speakers, Midas, Yamaha digital and Soundcraft consoles, and Lab Gruppen and QSC PL series amps. I also pride myself on taking any pile of crap and making it sound at least halfway decent. So, when I designed my band's PA system I was going for mainly for quality, portability and ease of set up. The core of it doubles as our rehearsal monitoring system as well. Board: Yamaha 01V Easy to use, pretty good built in effects and dynamics, can save settings for different situations (rehearsal, live outdoor, live indoor) - this is nice to give you a starting place for your mix. It has L+R xlr outputs, which I plug right into the mains, an alt L+R out which I use if we're recording the show, and 4"omni" 1/4" outs that I use for the 4 monitor sends. I plan on upgrading to the 01V96 soonish. Mains: FBT Maxx Powered speakers, so no amp rack to lug around to gigs! These are big enough to handle any smaller club gig. We'll usually only put vocals, keys and a little kick through them. Most of the larger clubs we play have PA's. If I need something bigger, I borrow it from work. These have treated me really well, and IMO, sound better than the JBL eons or the powered Mackies. Monitors: 3 Shure PSM400 + 1 PSM600 w/E3 buds What a difference in-ears make! Clean up your stage sound, save your hearing, no monitors or amps to lug around. Just count on buying lots of 9 volts! Mics: AKG414, Shure SM58, SM57, Beta 52, Sennheiser 409, Beyer M69, Radial DI boxes So that's pretty much it. The board, splitters (Horizon 3 way), in-ear transmitters, and a power conditioner all live in a 20 space pull over rack. I use the splitters when we are multi-tracking in the rehearsal space or to interface with a house sound system when we are playing out. Obviously this set up wouldn't work for everyone, but it does work great for us!