HairyScaryMark

Ahh, that is the red cable for the L6 settings? It wouldn't work if I put it on a small board with a less sophisticated power supply though, which is my intention for rehearsals and when I don't have transport. I think I'd rather get something normal stompbox-sized that runs off completely cnventional 9V DC. Also, I think the Strymon reverb sounds very nice if I was to open the search to larger units.

The AMT power amp/pre amp pedals sound pretty awesome. Amazing to think people spend £100's on conventional amplifiers that don't sound nearly as good as that. That is a good reverb pedal but I want something I can power easily (I think the official specs exceed what is possible from a Voodoo Labs Pedal Power 2 + but apparently it still work) and is smaller than that. I also think my girlfriend may have bought me some form of guitar pedal for my birthday and it might be a reverb pedal.

I've got more pedal GAS than anything else at the moment. Would really like a reverb pedal. I think this reverb/delay is current my favoured option. I also wouldn't mind a spring reverb emulation pedal, perhaps when I put together a 'vintage rig' with fuzz, phaser, envelope filter and vibe (possibly this bad boy as it sounds nice and is small) I also wouldn't mind a stereo reverb pedal (maybe this one), possibly would be good if I ended up with two guitar rigs in the future and could put this one in the modern styled rig. I also wouldn't mind a few more mod pedals Univibe or vibe or vibrato is probably top of the list. I'm a bit confused with the classification of vibes and univibes as my understanding is univibe has modulation effect whereas vibrato does not. This is probably my favourite sounding one out there but it is also difficult to source in the UK and has a rather big footprint. Until recently, I had never been completely convinced by the idea of a phaser but I know they sound awesome sometimes and I want to mix it with creepy clean tones and psychedelic fuzz. Not sure which one I'll go for there but wouldn't want to spend too much money, nor would I want something I'd grow out of quickly. Definately want an envelope filter as well. There seems to be quite a lot of good options out there across a wide price spectrum. Electro Harmonix do quite a few models. I think the Xotic Robotalk 2 possibly sounds the best I've heard but it's more money than I will have to spend any time soon on such an effect. Malekko do one that is small and sounds good also. Always wouldn't mind a few more dirt pedals, even though I love the ones I have. Perhaps top of my list would be a Hendrix style fuzzface clone that sounds good through a fender clean amp and isn't big like the original fuzzface. This appears to be the winning ticket but it the easiest to source in Europe either. I also wouldn't mind a better than average tubescreamer, perhaps one by Visual Sound and something else that sounds like a classic stack. Perhaps I have a GAS problem....

If you want a pedalboard similar to Pedaltrain, you can use a shelving unit called 'Gorm' from Ikea as the basis for it. There is more than one size of Gorm out there and some other shops stock similar shelves. http://acapella.harmony-central.com/showthread.php?2271963-My-Do-It-Yourself-IKEA-Pedalboard-Build-Thread (the same as posted in thread above me but on another forum) I looked into this before and I found that although you could make the pedalboard itself fairly cheaply, if you didn't already have a case that you could use or otherwise source a fitted case inexpensively - it is unlikely you will save any real amount of money over buying one of the commercially available boards out there, including pedaltrain.

This video offers a reasonably straight forward explanation and demonstration of the effects of long cables, true bypass and buffers. The main thing is you lose high end with long cable runs and buffers help boost this, so it is often wise to have one or two buffered pedals in your signal path but generally it is best not to have a huge number of buffers which is where true bypass has an advantage. This video also compares different cable lengths, cable brands, buffers and true bypass.

This is what I do. Wah > Tuner > Overdrive > Fuzz > Distortion > Flanger > Chorus > Delay > Amp Order of dirt is something you will probably be best to experiment with as it really depends on many things. I sometimes use overdrive to boost the other dirt pedals, so going before the other dirt pedals is necessary for this. If you want to boost the signal going into the amp with a boost pedal, then putting it last in the chain would probably make sense to avoid other things clipping and keeping things otherwise consistent. There are also other practical considerations like the types of inputs output and if you have any intention of running it in a stereo setup. For example, my chorus pedal has stereo outputs but my flanger doesn't so that kind of determines where they go accordingly as I have 2 amps. If you have an effects loop, you probably want to put delays in there and possibly mod effects.

What exact model of Thinline Tele is that?

Small scale guitars aren't really requied for someone who is 9 years old. I'd suggest he is at the upper end of the age where a short scale guitar would be appropriate and I've taught students of that age who have managed fine with a full scale guitar. If someone tries to learn on a guitar with really poor action or harsh frets however, I have found this tends to make the initial stages of playing the guitar a lot more difficult. I've met great players who are left handed, some play left handed, others play right handed. I have absolutely no idea how to assess this. I've heard of people buying cheap nylon string guitars with the view they are symmetrical and the strings to be changed to be either right or left handed. I'd be be hesitant about this wisdom however, as from my experience teaching, despite my best efforts most people remain incredibly resistant to change strings and virtually require the threat of a government environmental health department intervening due to their 3+ year old greasy rusty mess of strings. I've been handed guitars from students, as well as people I've played in bands with and noticed my hands turn visibly dirty after touching the strings and I once set up a friends guitar and ended up scraping a layer of grease off the fret board.

Had a look at these last night. It's difficult to make much of an assessment of them based on the website (as is true for all other companies) but the sound samples certainly didn't sell them to me. I am rather impressed with the Hot Slag (bridge)/Rolling Mill(neck) combination in this video There is also http://www.tonerider.com/ which are another budget end pickup company. According to the website, you can also potentially get them locally from http://www.kinellarguitars.co.uk I have generally got a good impression of them based on reviews and demo videos. I am curious about their humbucker sized P90's and some of their single coil pickups. If you are prepared to order from the states, Guitar Fetish Store have a range of low-priced pickups and some of them are meant to be very good (not all equally so though)). http://store.guitarfetish.com/

It's mainly the luggage on the way back that is a problem, the journey there is fine and it is fairly straight forward. I don't know how he is getting there but I know Joe from Thrashist Regime is going this year and also went last. Every year I went I think it also rained on the Monday morning when I was packing up, probably just coincidence lol. I always travelled there on the Thursday and that night was usually good banter. I also found it possible to keep food and drink cool from Aberdeen on Thursday morning until at least Saturday using a cool bag and an ice pack. I was always surprised by this and managed to transport eggs each year without even breaking one. The cooking situation kept getting more heavily regulated each year also and probably wouldn't bother again if it was similar to when I last went.

My criticism of modelling software is that it is 'pretty advanced' and often not in the most useful way. It tries to copy the controls from real amps and it is often a bit difficult to manipulate them easily with a mouse. You also have to wait for your computer to start up and load software, hoping it doesn't crash. I can see the point if your practice is done around your computer, as in a home studio type environment, but even then I reckon most people would benefit from also having a practice amp for times when you don't want facebook distracting you from playing the guitar.

I think low wattage valve amps can be a good solution. Some of them are big enough to be used with a band just with the stock speaker (providing the drummer isn't ultimately the loudest) and that size of amp is often considered preferable in styles outside of proper rock. Others will be loud enough for a band if you replace the speaker or use an external cab . There are also some which are tiny and you can take on public transport relatively easily. I've been using a Fender Super Champ XD for the last few years. It has 2 channels (one is a valve clean channel, the other modelling overdrives, which is also quite good although I typically use pedals into the clean channel). I replaced the 10" stock speaker (which wasn't half bad) with a Eminence Rajun Cajin and there was a huge improvement. I never thought Blues Junior was all that cheap, although it is a good amp. Modelling and more complex options I have tended to find are a bit counter-intuitive for practice. I prefer having everything in front of me and definable by a control. There is typically a 'learning curve' associated with digital modelling options, even at the high end. If you are likely to have a lot of time to practice and get used to all this, then it might not be a real disadvantage but I would suggest it usually is a disadvantage for most players.

I recall looking into them a few years a go when I went and coming to the conclusion they were very expensive and not available from Aberdeen (at the time, this may have changed). The 3 years I went, I took a series of trains. Aberdeen - Birmingham (often changing at Edinburgh) then Birmingham - Lichfield City (there are two stations, so be careful). The Birmingham - Lichfield train is a local service, very efficent and only takes about 20 minutes or so. The journey was quite bearable on the way there and it is possible to arrive in mid/early afternoon if you are efficient and set off early in the day. It typically starts off at Aberdeen, giving you an opportunity to put your luggage somewhere sensible and relax for the rest of the time. On the way back, the journey always seemed like a complete pain and it was a huge challenge to get a tent to successfully pack up properly, making the luggage into a nuisance. The train also doesn't start off at Birmingham on the way back, so there was already lot of people on the train and therefore increasingly difficult to get luggage to fit somewhere properly. I recall attending my luggage from a luggage car at the back of the train (the luggage racks aren't able to hold nearly enough if the train is busy), or sitting in a corridor when there wasn't seats. The advantages of driving were also typically reduced each year. The first year I went (2007), there were cars on the camp site (I understand this is unusual at UK festivals) and it only took seconds for tickets to be checked and get through security upon arrival. The next year, they had to be parked in a separate car park. In 2009, there was a huge que to get in (multiple hours) and leaving all your stuff in a car and taking it in instalments appeared to provide less of an advantage as it still appeared to be necessary for bags to be 'searched' (I saw only limited evidence of any searching despite the long que). I hope/would assume they sorted this out since I went. I always enjoyed the festival greatly but each year there was a notable logistical error on part of the organisers. I haven't camped at any other festivals, so cannot say if it is better or worse from that perspective than anywhere else.

I'm curious, what was your reasoning for wanting this feature as a push-pull kob instead of a foot pedal? It sounds less flexible to me? Having the option of activating the thing on the amp as well as from a pedal would seem more intuitive to me. Perhaps I am missing something. I think I have. I bought a Coop pizza about a year a go and it was awesome and was probably from their higher range of refrigerated pizzas.

Do you have a car? If so, measure what actually fits in it before buying anything. If not, think about what you are likely to be able to fit in a car of someone who gives you a lift. Also, get something that is suitable for the place you live and the gigs you are likely to play in the foreseeable future. There is no point on cluttering up your living space with something that is going to get you an ASBO if you simply don't need it. Most gigs involve PA systems and it is often possible to raise your amp/cab to ear level. I'd also warn against carrying heavy equipment unnecessarily as I have managed to temporarily bugger my hand up ahead of a summer school I once did by carrying a combo around an incredibly awkwardly-designed building without knowing where the room I was meant to go was. Don't overlook the quality of the cab and what speakers it is loaded with. This may well be more important than how many speakers it has in it. Many people have preferences for vintage 30's, greenbacks, eminence legends or whatever. You will hear rattles and suchlike if a speaker cab is poorly built. For example, I have an old Marshall 2x12" which was abused by a previous owner and at high volume levels you can hear the speakers rattle around inside. Some speakers are also simply more efficient than others and will produce much louder sounds with less power and this may or may not be an advantage, depending on what you want to achieve. There is also the issue of open back/closed back. Generally speaking, a lot of people prefer closed back for thick overdriven sounds as it tends to project the sound out the front of the cab in a more forceful way. Some people think open back cabs tend to be comparatively mellow. Either way, your cab will sound different depending on where in a room you put it and an open back cab will typically sound harsher if you put it next to a wall. Whether or not you go for a 1x12" or 2x12", i'd suggest considering the overall quality of the cab.

I never quite got why people often talked about Moshulu and Exodus as if they were catering for the same crowd. I never found this to be the case. I remember people saying things to the effect of, "they are the only places you can go in Aberdeen without neds." I also agree that The Moorings Bar does much of what the Basement did, but I don't think they entirely appeal to exactly the same crowd. There is overlap between demographic but it's not entirely the same. If The Basement reopens, it should make an effort to get a decent selection of beer and keep promoting the cocktails, which were always an attraction of the place. All the 'flair' and everything was always quite impressive. Korova Bar now has a good cocktail menu but it isn't cheap. The top floor of Korova does what it's supposed to fairly well, the bottom floor (Korova Klub) is also reasonably well set out and has a good beer selection. The middle floor I have always found a bit of a let down. The furniture is completely inappropriate for the place and it feels claustrophobic once there are more than about 50 people there, when there is less people it also feels boring as there is nothing of interest in the room. They also do little to deter groups of roughians who are passing through for a few drinks and get all rowdy. It's generally stopped short of anything kicking off when I've been there but I think such people can be deterred from attending. It would be nice if some imagination was employed to improve the middle floor. They need to scrap all the big chairs and pointlessly big tables and set it out appropriately for evening use. I didn't realise I was so opinionated about pubs and clubs, until now....

If there is truth to it and however it is going to be used. It is going to very expensive for anyone to do this well. If the new owners can afford lawyers and structural building work to stop problems with sound levels - I can see it being possible as a venue. I think it was an excellent venue for small-medium touring bands and sometimes local bands also but needed a much larger promotional presence. It was crazy how little some of the gigs got promoted there. Inside the basement and moshulu - gig posters were the exception to the norm. They weren't exactly common outside of the venue either. The gigs I went to were generally well attended however. As someone who frequented Moshulu until it closed - I agree with some of the above sentiments. It was very good as a club and a venue when I first started going into town (2005-ish) and you would see proper metal heads, goths, punks and people who felt comfortable in that environment. Within a year or so, it seemed like they were increasingly abandoning their key demographic in favour of the things that happened to be popular at the time. Soon, the goths vanished, it was comparatively rare to see anyone in a band t shirt and the average hair length halved. This proved a completely flawed strategy in the longer run as they lost their loyal customers and attendance soon dropped. Furthermore, both the Monday and Wednesday club nights were cancelled or relaunched without sufficient promotion or longevity. Any future owner would have to be a wee bit more willing to lose money on midweek club nights (at least in the short-medium term) in order to build up a loyal customer base and raise the profile of the business in the longer term. Preferably, they would be competent enough with promotion to build up attendances and not lose money. When I first turned 18, the Wednesday Rock Kareoke in the Basement - followed by a clubnight in Moshulu was extremely well attended. The two parts were linked and I think that is key to their success and decline. When Barfly bought it over - they instantly booked a number of bands that interested me, upgraded the sound system but unfortunately cancelled the saturday air guitar night in favour of an indie night. This might be understandable considering what the Barfly specialised in (indie music) but this move, combined with many other factors, resulted in more of the key demographic feeling left out. I also recall that there was a move towards booking tribute bands. The basement generally suffered similar declines in attendance as moshulu, as the fate of both parts of it were inevitably linked. If it is CPL, I would most definitely welcome this. My problem with the Cathouse for gigs is the really poor quality sound (I stopped attending gigs there a few years a go for this reason). Often it sounds ok for the support band then terrible for the main act. I don't see why that would transfer to Aberdeen, so it should hopefully remain just as good as it was for gigs. From my experience, The Garage is also an excellent venue

I buy the Guardian or Independent on average less than once a week. I read online news pretty much every day. Stay clear of any of the Aberdeen Journals stuff as recent events have shown their complete lack of regard for accurate reporting or good quality journalism. I heard them described as 'the mouthpiece of the Aberdeeen Establishment'. I've spent quite a bit of time on the Aberdeen Voice website recently and I have found the quality of their reporting to vastly superior to Aberdeen Journals, despite being an unpaid group of volunteers.

Haven't you heard? We are simply 'unlocking' funds that cannot be used on anything else. It's going to cost the tax payer nothing and will actually 'pay for itself' as TIF is a 'gift'.

Let me know if you still have it available, if the sale fell through or anything.

Slightly late reply but here is my take. It all depends on the source but it may be necessary to start cutting above 5-6K in order to allow the vocals to cut through more and also to eliminate some hissing. As you use higher gain distortions, you get more treble and this sometimes sounds like 'hissing'. Most guitar speakers and standard mics tend to cut a lot of the higher frequencies off anyway, so it might not be necessary to do this very much, depending on what you are working with. High pass filter may be used to cut a bit higher up than others have suggested also. I'd typically put one around 150 hz as default and work from there.

Let me know if the Harley Benton Guitar Amp and cab is still available.

What model is it?

My girlfriend desperately wants to go to this and only found out about it this week, so could make someone very happy if you are looking to sell tickets. Reasonable prices will be considered. PM me on here to arrange selling a ticket. Thank you Mark

Bump. I would be willing to accept £180 for it but no lower.