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I like the look of Dan Deacon's table
any photos / diagrams of this kinda shiz that you bum?
he explains it all as well. doesn't feature that moog pedal though.
moog ring modulator and a delay pedal and a mixer
omar has a stupid, stupid amount of pedals:
not omar is my god. he isnt
plays his guitar into a v-synth rack, which is amazing.
not that I could find a decent picture of it:
Not sure quite why he then feeds it into an entirely shoddy Marshall amp though.
I quite liked him actually, when he came on I thought to myself, 'why the fuck is Newton Faulkner supporting Fuck Buttons?' but he actually had some really ace drones. And most of his melodies reminded me of Duran Duran.
normally at atp promoted gigs, so boring and I do like some similar stuff, the worst time was when he played with stephen o'malley, i've heard his first album is supposedly amazing though, maybe i've always caught him on an off day. That amp looks like my marshall g80r, it is actually a really good amp on its clean channel which is weird for marshall
I quite like his albums, but I love the live droney stuff he does - I'd really like a record of that kind of thing. A bit like Svarte Greiner. Sort of.
That's a cool record.
he did. I think hes really good recorded and live. It pisses me off when people slag him off on here and (without trying to sound like annoying music snob) I don't think those people understand where he is coming from and what he is trying to achieve.
and there just doesnt seem to be anything interesting in what he does
its better than live
this is what his set up looked like when he played on a barge in Manchester:
I think they've scaled it down now they have a new guitarist but they came over with two huge tables of keyboards and pedals etc and the most bizarre pedal board for bass that made a helluva racket!
Saw them once and the guitarist had this 3 tiered rack of effects pedals!
So much 'stuff' and I have no idea what any of it does.
other than that its distortion and tone and filter effects I think. Don't really know though.
but it is confusing how they set it all up.
most of what they do relies on that gibson echoplex i think.
above the bass-amp? it has some kind of dial on it, and it has LED numbers. I think it takes samples and speeds them up or slows them down. They use it for Race/Out. It's one of my favourite things in the world.
ian williams has one too
from what i understand, they all link up so that all their loops stay in sync. they all run into the amp that sits behind the drummer so he can hear them and stay in time.
at least, this is what i think happens. i could be very wrong.
but according to the pics in the Mirrored booklet, they also have four drumkits.
to the picutre posted by reffer madness
that lovetone is on every pic
on da right http://img411.imageshack.us/img411/9895/n7659613362481171902dd1.jpg
what other disers use!!
This was my super super super minimal setup that I used last thurs:
I just lie down on my stomach
how is the signal not REALLY weak?
so it would be far from weak.
oh do you mean mine and the *lack* of pedals?
its a feedback loop with onboard reverb so its unpredictable
loads and loads.
i'm sure i read somewhere that it weakens the signal to the amp?
probly just me...
everything goes into a mixer which has preamps on the inputs maybe?
and you will get a crackle.
You get this if you plug in a stereo out into a mono input sometimes.
Lots and lots of pedals add noise and can degrade a signal.but that can be the intended effect.
The amplifier can start 'self' limiting yes, when it runs out of headroom.
When this happens you can pan signals or mess abotu with levels or use a compressor.
But if yo uhavea feedback loop with loads of pedals it is a self sustaining signal and will not get weak
the biggest loss of signal occurs due to long guitar leads, lots of patch leads between effects incresses the distance between guitar and amp and can result in signal loss when using true bypass pedals (when the pedal in the off position means the pedal has no effect on the signal), the eother type of pedal is a buffer pedal where the pedal is still engaged whether the effect is on or off and this changes the impedance of the sinal and can drive the signal alot further without loss (like the impendance of a microphone can drive really really long cables) the down side is and accumilation of buffer pedals can interact badly, and purists always go on about having true bypass pedals because they dont want anything to interfer with their tone, where as others say they are losing more though the length of leads
I thought even pedals that are labelled as such still add gain, thus noise into the signal
i just plug it all in and GO!!!!
no-one cares if the stuff's actually good.
they are mechanical on and off switches that either route the signal through the effect circuitry or straight from the input jack to the output jack, you can tell if it is tru bypass if you can still get a signal to the amp without the pedal being plugged in or having a battery
when engaged if that is what they are supposed to, like my memory man you can set the level, half way is unitary so the input output is the same level anything above that will add gain, some tremolo pedals add gain because of the nature of the effect there is a precieved volume drop which is compensated for, I guess it depends on the effect
i used to have one...wish i'd never sold it. : (
is it the same company?
it's the same circuit designs, but the manufacturing has been outsourced abroad.
they did a limited run of new meatballs and cheese sources a year or so ago, but it's all gone again.
they look more impressive, apart from my compressor for sidechain duties, I've found running things through the audio in on my sound interface and into Ableton to be processed by various VSTs and spat out the other side on its own output works better than a table full of guitar pedals. You can get much more esoteric effects that way. I'm not a big fan of the crap keyboard through a load of effects thing, either, a well programmed real synth with minimal effects (distortion, delay and reverb) will always sound better for most things.
thing is on pedals..you don;t get teh same thing twice..which can be fun,
and distortion effects on laptops are lame.
But laptops can do soooo much more when it comes to synthesis and arrangement.
But that isn't the point.
They have different uses....soem thigns on pedals should only be for pedals
but not in the "oh..digital sucks..lifeless crap etc etc"
that's just silly and ignorant.
What I have a problem with are those that go on about how laptops are soo much more versatile...it is true..they are soo much more verstatile...but having said that you can recognise the facking presets from the pirated vstis used on the pirated copy of ableton live that they barely know how to use.
Laptops give you sooo much options in bsounding unique...yet I have yet to hear a purely laptop artist that does.
Yet, yo usee people who share have a similar 3 pedal and mixer setup..and they sound completely different.
ipod through mini kaoss pad
Guitar through Gr 20
Mic through digitech vocalist 2
Not really on about versatile from the point of view of arranging and sequencing, which they are, but just purely as an effects processing device. Something like Guitar Rig is all very well, but the best results are got through running instruments through some more esoteric VSTs and using them in odd ways. Ableton's vinyl distortion and the colour and waveshaper parameters on the overdrive go way beyond any guitar distortion and fuzz pedals on the market, even the boutique ones.
not even using the possibilities of synthesis.
I have tried lots of vst distortions..just do not like it
depending on what you're looking for. If you're looking for something that sounds a bit like a guitar distortion pedal, they're usually a bit crap. Feedback is difficult, too, because they're often just waveshaping the signal rather than increasing the gain. The colour and waveshape parameters on Ableton's stock clipping plugin are great for getting wierd sounds, though. I've never found a hardware bit depth and sample rate reducer, either, and that can sound great on things. VST effects generally sound great on things you'd not normally process with them and use them with fairly extreme settings.
on how you use it, though. Just having a laptop beside you to play a pre-recorded backing track whilst you do something else isn't very good, but neither is doing the same with hardware. If a band's going to use a laptop, they really need to use it as an instrument and actually have someone onstage doing things with it rather than just pressing play and doing things over the top of it, which always looks crap as a live performance.
My setup's a 2 tier keyboard stand, synth on the bottom tier, rack compressor slotted knobs upwards in the space between the front edge of the keyboard and the ends of the arms of the stand, between me and the keyboard, laptop and knobby MIDI controller on the top tier. 2 individual mono feeds going out from the synth into the laptop's sound interface, each into their own Ableton channel then routed back out to a mono output each. Those go to dual mono on the compressor in front of me, then to the front of house. A single output goes out of the laptop for drums and spot samples, and the last of the 4 sound interface has a duplicate of the kick drum routed to it which then goes out to the compressor's sidechain input, to sidechain the 2 synth outputs as and when I want. one of the 2 synth channels has the bass coming out, the other has the rest of the synth parts.
It's a laptop setup, but on a big tower of flashing lights and wires going in and out of everywhere, so in a live situation it's still a compelling instrument/set of instruments to look at.
that impresses me abotu analogue guys...its simply whats going on.
I appreciate them for different things.
A laptop performance should be about someone creating something from nothing...and having precise ocntrol all the way in the resulting sound. Its a 'deliberate' medium/tool.
A pedal based setup is different...here someone is presented with an unpredicatable mess and is BATTLING to control and sculpt it into something approaching whats in his head.
I think they are completely two different ways of making music.
It's just a bit wank when someone is using a laptop to do number 2..
"A laptop performance should be about someone creating something from nothing...and having precise ocntrol all the way in the resulting sound. Its a 'deliberate' medium/tool.
A pedal based setup is different...here someone is presented with an unpredicatable mess and is BATTLING to control and sculpt it into something approaching whats in his head."
Number 2 works with a laptop setup because analogue style synthesis is fairly intuitive and fluid. Not entirely unpredictable, but neither are a load of effects pedals if you know your way around sound engineering.
that include fedback loops...
which is unpredictable....you use the pedals to sculpt the feedback into usable tones.
Eve nthough you may understand the signal flow and a how eahc pedal effects it depending on where it is on the loop, feedback character is different every second and can change the character of pedal manipulation
but people should be used to my shit typing by now
The Slips use loads of stuff, even a Wii controller. Can't find any photos, mind.
They also had their entire set time-coded to visuals.
had an impressive spread of pedals whenever ive seen him, I like how he seems like a mad scientist tweaking away at all these devices behind a desk
I know its stupid of me...
but that name really grates me whenever someone types it .
its like nails on a blackboard
i'm going to get another. I'll have to sell my nan. and yours.