soundian

Djembes (or whatever the meatal ones are called, I've got a wooden one and a clay one, can't remember what that's called either) are more expressive than a drum. Shove your hand up the hole (fnaar) and move it in and out. How could a rock drum kit ever give you that expression.

As far as I can figure the pedals are, from the left: Hi-hat 1 Not used, there's no tension on it. Main kick pedal double pedal for main kick drum second kick pedal second hi-hat pedal Also note the headphones. By the way, in case anyones confused, the reason for the double kick on the main kick drum is because they will be tuned different. I'm pretty sure the fake pedal is in there to simulate a double kick for the second kick drum.

I think I covered all that. Anyway, as I said, Boss do seem to be power hungry. Also, as I said. make sure the max ampage of your transformer is more than your pedal and the polarity is right, and you shouldn't have any problems.

I never knew they did a surface mount locking thing. Cool. Jacks do suffer from the lack of lock, but you need good technical knowledge to do it otherwise. Don't worry Badger, this forum has it's very own spellchecker, it just takes him a while.

Heh heh, fried tuner steaks on the barbie anyone. One more thing though, these Boss pedals can suck a lot of power so make sure the transformer can supply the minimum ampage. That could be the risk of fire they're on about: overheated transformer coils. (Polarity is very important too, you can fuck some DC equipment with the wrong polarity) I think they put all this info on a little silver sticker on the bottom of Boss pedals too. If memory serves, Boss are normally 9V, 500-600 mAmps, positive centre. But don't take that as gospel.

I was going to add 'without hard EQing or heavy effects' but thought everyone would know what I meant.

My point was it only ever sounds like a squier precision. Because of the different uses it will possibly be put to something with a wider tonal range would probably suit him better. I'm not dissing them, they have their place.

Nah, one trick pony.

I find it strange that it doesn't work live if it's fine in the studio. Maybe cos at soundcheck the PA normally sounds toppier than during the gig. Then they let in all these big bags of water with hard bits at the top (punters I think their called) which absorb and diffract stuff. Buggers.

It's quite simple Sharon, you WILL do what I tell you. I'll let you know when I'm ready for you to prod and tap.

Since there are only two bands, I might throw caution to the wind and mic the little bugger as well. I presume you mean that the amp requires female XLRs. You should have male sockets on the back. I'll supply the cables, I don't trust other peoples.

You really get what you pay for with bass equipment. Buy the best you can and try it out beforehand. It's best to try it out through an amp you know and compare it to a bass that you know. Sub 200 is probably only going to be good enough for fucking about with so go for the second hand market. Active is probably the best bet nowadays as well (but remember to make sure the batteries are good at all times).

1) Yea, more than likely. It's not secret any more though, is it. And yes, worth a try. (take into account that live in Drummonds I've normally got 3-4 bands normally with 15 mins to change over with no stage crew) 2) Label the sockets as well. 1 plugs into 1, 2 into 2 etc.

Yes, any unbalanced signal from stage needs to be balanced before going up the multicore. You'd be amazed at the noise difference otherwise. Those pesky lighting guys. I'm always dubious of balanced outputs on guitar amps. They need a decent amp sim to work properly and most outputs on amps have not had the time/money spent on them (this is because an electric guitar needs an amp and speaker cabinet to make it sound like a guitar, it's horrible on it's own). Pods and other more upmarket effects units are generally alright. Oh, and a lot of balanced outputs on amps don't work properly. Probably due to the time/money thing. If you can figure out how to keep all your cables in e.g. a small rack unit with all the cables labelled and kept plugged in to the DI is common, take the other end out and plug them into the relavant synth, voila. This could potentially make it more confusing for an engineer but they should mark the end of the mic cables. Even Del could plug the one marked sampler into the sampler.

A DI box takes an unbalanced signal, e.g. guitar or keyboard, and balances the signal. A balanced signal requires 3 connections. One is the earth, the second is the signal and the third is a phase reversed signal. When it reaches the mixing desk the out of phase signal is inverted and added to the in phase signal (both now in phase). Most of the RF noise picked up in the multicore will cancel out because of this phase inversion and subsequent addition. I believe an unbalanced signal gives the same noise after 6 metres as a balanced one after 60 metres. Top of my head figures cos I always balance before the multi so never need to know this. Send the venue a spec sheet if you're worried about the amount of DIs, but with music tending towards the use of samples, decks and related electronic paraphenalia most venues carry a lot more than they used to. If you are worried and want to buy your own, Behringer do a nice little mains-powered, 4 way DI rack unit. Sub 100 and it's got all the bells and whistles you expect on a DI box.

Cheers. Just thought I'd ask since you guys are rarely all in the building at the same time.

Maybe if I could decipher your last post, I might know. Non? And it's monitor. Sorry spellchecker.

That about sums it up. What time S/C at HJB so I can have someone there. Reply before 2 pm or have the AUBL guys do it!

Try to find the root note first. Once you've got that you can play around with chords til you get the right one. It also helps develop your ear quicker if you only look for one note.

I have to disagree. 1) No advantage in signal quality. A long lead will still be unbalanced. Guitar leads are shielded and work better with a capacitance sheath to further sheild against RF. 2) Just get a long lead, more connections equals more chances of a fuck up. 3) Loop the jack through your guitar strap and through the handle of your amp. They don't come out often then. 4) The cables you would have to make would involve more connections and, more importantly, in-line jack sockets; possibly the most unreliable connector around ( although Neutrik are, as ever, reliable and expensive). Since these cables are not standard, you'd better carry spares or be pretty nifty with a soldering iron mid gig. 5) People forget to bring/pack away cables. This happens disturbingly often.

Now your strings aren't earthed. And the wires on the back of the pots are the earth.

Could I order a full english breakfast for the next one. Never have enough time cos bands are always late and I rarely get time to eat. I could go on for hours about this, but that would just waste your life the way they waste mine.

Re: re: Black hole And even if you could go there, you couldn't hear it. It would be entertaining compared to a lot of bands though.

I knew you'd be on his side. Harumph! (Was breeze a feeble joke or what?)

Mmm, you're right, but so am I about plugging a new band. They didn't actually detect the 'soundwave' only the excited gasses in between. Calling it a sound wave is really stretching it. True, they have detected the compression and rarefaction of gasses, but sound is normally thought of as what we can hear, surely this is subsonic. According to spellcheckers link, this was caused by something that happened a while ago, so it can't be humming either. Another piece of science mangled for mass consumption.