True!Originally Posted by kwame k
True!
Trolls take heed...LOG OUT & FUCK OFF!!!
Exactly!What a crock... unless you'll be touring abandoned warehouses by yourself and 3 crack-head wannabe's. What good could come with soundchecking your gear in a 10,000 sq ft shed other than to show off how loud you can be while only disturbing a few rats and cockroaches.
Also why spend a few hundred on a wireless unit to strut around like prince shit... For under $60 you can buy a good 50' instrument cable that won't go microphonic unless it's run over by an 18 wheeler... Decent cables can last years without even babying them much. They ain't fragile fiber-optics... geez.
I've got 20 year old cables that work just as good as new and have been beat, run over by cabinets on wheels and all that. No they don't oxidize internally, as you've claimed... even when spending years in humid hot Texas summers.
But don't let me spoil your warehouse rock god experience... I'm sure you and your entourage of losers will have a good time fantasizing your big concert...
Why doesn't GARfail Ebay some of his vintage wah's and get that 50ft.
cable and walk out onto the beach from his beachside home and play for the passing tourists?
Except I put mixing where I meant miking!
E- Jesus . Playing both sides because he didnt understand the argument in the first place
I'm not in Texas and yes they do age, in the case of my cords, really badly. You know those shit footlockers they stack in front of the cashiers at Kmart, Target or Walmart.. made of paste-board and a super-slim skin of sheetmetal?
That's what I have for storage, one for cords, the other for pedals.
I'm playing for me, because I want to hear it and feel it and when you do your own thing you feel really really good about it.
Before I did guitar, I used to draw and do modeling clay stuff all summer when school was out. I feel as Angel does, just wanna continue flexing my creative side!
The 50 ft cords' out of the question though. I'm going wireless so I can roam without knocking shit over, hearing "clakclakclak" as I pull the cord around, I hate rotten cords. Maybe its just my ADD but you do NOT know how many many fucking times, how many hours I've delved into the cords, pulling the sleeve off, stripping new ends and resoldering.. hate doing it only to discover again, that the cord is still noisey, and an intermitten break is somewhere further down from where I cut so fukkit.
The reason I hadn't really considered the Shures is they looked a little cheap, such as the headsets and the handhelds.. when you think of guitar wireless Shure certainly doesn't come to mind.
I'll check out the Shure.
I'm betting they make something above the unit he was using as well...it was only half-rack sized. But again, not a single drop out or issue that I saw, or heard.
The old Nady receivers were palm-sized so size isn't the issue like reception and compression is.
These (and most newer ones I've seen) are credit card sized, roughly...great reception's important, but pointless if it makes your tone that of Mr. Roboto...I like the old sales pitch "That's just that you're not used to your signal hitting your amp's input almost instantly, without the cable drag.."
In most cases, it's like "Yeah, uhm...gimmie my cables back."
They are particularly useful for bar-band gigs, though...how else are you gonna get to the bar and order your between-set adult beverage before the song's over?
Wait, now I think I want another one...j/k
OK, but that does remind me: If you decide against wireless, there's one pedalboard/power supply manufacturer - meant to suggest but it, can't recall which specifically at the moment,but theirs has/had a built-in buffer circuit that supposedly drives longer cables w/less coloration than the average wireless...I need to search for that one for the name...
Found it...
AHA! Okay...the Valvulator.
Pretty sure VHT was marketing them exclusively originally, but now it seems a company named Fryette is...
Here's the blurb:
The Valvulator Line Driver/Power Supply uses a vacuum tube-based buffer circuit to change your guitar signal from high to low impedance. As a result, your signal overcomes high-frequency degradation caused by cable capacitance, impedance effects, and signal degradation caused by the circuits of effects devices. Experience the same dynamic feel as you would get plugged directly into your amp.
* A Vacuum Tube Buffer/Line Driver and a Multiple Output Regulated DC Power Supply in one unit
* Eliminates degradation of tonal quality
* Changes your guitar signal from high impedance to low impedance
* Operates on standard AC wall current (no wall wart needed)
* Rugged steel chassis with a sleek stainless steel vented cover
Just a thought...
Steve Fryette started VHT and then sold it to dude makin' em in China.
So if you wanted a VHT custom, Fryette's the shit.
He is a great engineer, he can do anything like an engineer ought to know. I would luuuuuuurve to have an endorsement but they're too small.
Checking out the Shures, there's quite a range. One is around a grand, another's like 6 or 700 hundred..
"Pedaltrain" was a board I liked the design of, but it wouldn't fit in the airline overhead bin.
I'm familliar with line drivers for distance, I have a few boxes like that including one John Fogerty uses or used.
After several botched addadicktomys you really have no business flying...
You should also increase your Trickedagin dosage...
I've been using a SansAmp PS1.1 a lot and I get great sound but I'm used to tube amps and the feel is tottaly different. I can actually feel the difference between a tube amp and solid state amp. Tubes seem to have a micro-second delay where the efficiency of transistors lose the spongyness.AHA! Okay...the Valvulator.
Pretty sure VHT was marketing them exclusively originally, but now it seems a company named Fryette is...
Here's the blurb:
The Valvulator Line Driver/Power Supply uses a vacuum tube-based buffer circuit to change your guitar signal from high to low impedance. As a result, your signal overcomes high-frequency degradation caused by cable capacitance, impedance effects, and signal degradation caused by the circuits of effects devices. Experience the same dynamic feel as you would get plugged directly into your amp.
* A Vacuum Tube Buffer/Line Driver and a Multiple Output Regulated DC Power Supply in one unit
* Eliminates degradation of tonal quality
* Changes your guitar signal from high impedance to low impedance
* Operates on standard AC wall current (no wall wart needed)
* Rugged steel chassis with a sleek stainless steel vented cover
Just a thought...
It seems like this unit would be useful not only to keep your signal from degrading but giving the response of a tube in the circuit.
Solid state amps tend to have no feel (the absence thereof as opposed to feeling 'different', lol), IMO at least, that's why they suck for pretty much anything past the clean sound of a Roland JC120 until modeling technology.
The valvulator seems like it'd be a useful investment particularly for the "I don't need no steeking wireless" purists out there...it's only two bills...
Still, cables do have their limits...and I'm now starting to consider the convenience-factor of once again being able to quickly get to and from the bar and back at cover gigs...
Last edited by jhale667; 12-16-2009 at 08:32 PM.
Most of the guitarist in my bands played live with a wireless......if you can do it and it sounds good, why the fuck wouldn't you.Solid state amps tend to have no feel (the absence thereof as opposed to feeling 'different', lol), IMO at least, that's why they suck for pretty much anything past the clean sound of a Roland JC120 until modeling technology.
The valvulator seems like it'd be a useful investment particularly for the "I don't need no steeking wireless" purists out there...it's only two bills...
Still, cables do have their limits...and I'm now starting to consider the convenience-factor of once again being able to quickly get to and from the bar and back at cover gigs...
I mean really, having a grest tone is the bedrock of all great players and, I don't about you guys but most of the bars I played were either acoustically a mess, too much PA for the size of the place, cheap ass PA, any combination of the two or the sound man was a moron. So having a studio quality tone, while nice, would of never been noticed by the audience in the first place .
The best we went for was a great sound on stage.....meaning as a band, no one was drowning anyone else out and everyone's amps/drums were tuned/tweaked just right. The other shit you have little or no control over.
Your stepmom, sister and grandmother do not constitute a fair representation of an "audience." You skew the applause response that way: totally unfair to the other bar employees who did not clap. Until you left the stage, at least...
Uh, you mean multi-dick grafting surgery, and ??? A good gag deserves a laff, E but this one I had to dwell on for a while to figure what the conveyance is here.
my intention was to be funny...
My problem with cables is people steal them. We played a talent show and man people were claiming my cables were theirs and then one band said our XLR cables were theirs. I said fuck it and bought a gold Dimarzio cable and nobody has one of those but me. End of argument and I put colored tape on my XLR's. One place we played at couldn't find their cables for their PA and then tried to take ours. It's crazy.
I just figure if you start to see them smiles and people heading to the dance floor you are doing your job, which is providing background noise while people try and get a piece of ass to take home.
Get a gold or silver sharpie and paint a few stripes near your connectors on the cable... bright and easy to identify.
Plus you can go corksniffer and totally "Eric Johnson" on gear heads... put 3 stripes on 1 end and 2 on the other... then you can explain to drunk sudo-gear-nerds that you've tested all your cables and get superior tone because the electons flow better in one direction over another... "whoa... really dude?" Oh yeah... lol
"If you want to be a monk... you gotta cook a lot of rice...”
That would suck. Never had that problem because most dudes don't show up with Monster cables...no way they could pull that off as a "mix-up" with their cheapies...
And if you really play it right, you and the band are smiling as well while all the rest you mentioned is going on, and you get a piece to take home, too! Y'know, unless you show up already equipped with that...I just figure if you start to see them smiles and people heading to the dance floor you are doing your job, which is providing background noise while people try and get a piece of ass to take home.
Music people just aren't serious about music to have any money.
The justifications are numerous, and all of them fair.. to the justifyer:
"When I make it, I can own any cord/mic/effect I want"
"When I'm known, we'll look back on stealing the opener's cords and laff 'we were so broke we had to steal' because we 'did what we had to do' ."
"We stole that power amp over there from that ripoff club.. it's only fair after all."
Wrong, wrong and wrongo.
If you worked all summer for a power amp, you'll appreciate and use it more.
If you spent good money on your mic, you're going to pay closer attention to the quality of it, or the disquality and upgrade when you're ready.
If you don't ripoff clubs or other people, you don't risk the chance of getting caught.
I remember when Joey Vera ripped off Juan Crucier's alltube SVT, that Juan stole from Hoover High or whatever school.. after this one gig at Perkins' Palace, they're hanging out in the apartment with the fucking thing right there in the living room with the "H H" stenciled log on top of the head, and Juan and I think Blotzer comes knocking "uh yeah I came to get my head, motherfucker."
Vera goes, what do you mean are you accusing.. then looks at where Juan's pointing "yeah my head please. That right there. It's my amp."
See, you don't want to have to go thru this shit: and where is Armored Saint today? Are they ripping off other bands.. clubs.. bandmates.. no. They're nowhere.
My advice is always: buy good quality and appreciate it.
You got it!
Coming from an admitted band "saboteur" and scam artist, this furthers everyone's belief that you are a lying sack of assholes, with bi-polar issues bordering on Munchausen Syndrome.
And you bust on Hale for name dropping...
I do like the specs on the Shure unit http://www.shure.com/stellent/groups...less_en_ug.pdf but I don't know what one of the terms used is - "Image Rejection >70 dB, typical."
I know what it sounds like, I just need some kind of confirmation it's what I think it is: some type of reception demodulation?
How would I find out, email Shure for an explanation?
Ho, then I shall go no further. And destroying other band's gear?
They were usually bands from out-of-state: "carpet-baggers" if you would. Fair game back when alls' fair yadda yadda and there was something to win.
There's nothing to win anymore in being a music act besides applause, so when everyone gets home from working their day-job the next day they will appreciate that their Twatter fan club joined up 2 new followers to their stupid blogs.
We are all now truly the same, great or suck. Or in your case, sucking greatly, you're still a peer unfortunatley on the inndernets.
Funny you can't even spell when actually posting your own thoughts...
My thoughts are rife with cookies, termites, and tinnitis so the typing hand has much to compete with okay..
I believe termites...
No cookie for you.
I don't want any...
That's pretty much the upgraded version of the one the guy I worked for used. He had two transmitters running.
And yeah, I would email them.
What was the longest line-of-sight distance you had between your guy and the receiver that you recall?
Back when Nady was the only thing you could have that worked decent, the only requirement was that the BEYOND line-of-sight distance worked from say, the side of the stage. So that when your walk-on time came up, you could just pop in and roll the volume.
And I would say that line-of-sight distance might be 50ft, out of sight might be 30.
They always came out to an intro tape, so not a lot of backstage on-air noodling, but yeah probably 20-30ft out of sight IIRC. Saw him walk to the front house-mix desk on a couple of rare occasions when soundchecking in empty larger halls, would say in-sight was at least 30-50...(?)
So the slightly-better unit should do about as well then..
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