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Has anyone else ever found themselves cured of GAS?

I have recently joined a band that lies somewhere in the black area between post-rock, post-metal and doom, making music that is as brutally slow as it is slowly brutal. For the first rehearsal I just slung along my Tele and the small pedal board (always-on overdrive, fuzz, tremolo and always-on reverb/delay) and plugged into some sort of Fender amp - I'm not entirely sure what it was, but it was a tweed valve combo that on volume 3 was loud enough to be causing structural damage to the building. I need one - and it was one of the most satisfying experiences of playing the electric guitar I've ever had. Everything was just there. So you can now add doom to the large list of genres a decent Tele will comfortably take in its stride.

It's the first time I've joined a band and not come out with an enormous list of gear I want to buy. The other band, however, has convinced me that I need either a Bass VI or an Airline Map bass...
Quote by Blompcube
I agree that this thread needs to stay alive.

I found some of my old posts from 2007 in here. Reading about how much I loved my AD50VT back then almost makes me regret that I traded it in to pay for an orange 4x12 about 2 years ago. But then I remind myself, I have an AC30 now, which is what I always wanted even then


I still have my AD50VT as my main gigging amp! It's a good old dependable horse. Probably the second-oldest piece of gear I own after my Ibanez.
Quote by ibanezguitars44

Also to see see Fuzz's set. Never listened to them before but they put on a great show. And the guitarist had this sweet fender/musicman pile of amps haha.


I had the same thing with them at End Of The Road! My mate described them to me in a way that convinced me to go and watch them and I thought they were great. Then Low were on after them, pretty much musical perfection for a few hours...

So can someone explain to me what the differences are, tonally, between Jazz and Precision Basses? I figured this thread was the best place to get a sensible answer, rather than 'dey suk get a BC RIch!!!!!!!111'
I'm pretty sure Albini used a Roland TR-606. God, I need to get out more.
I have a Korg Volca Beats which I've used live with various outfits. It's cheap and worth the price for the bass drum sound alone, which is an 808-style sound with some serious low-end punch. No-one's going to be fooled into thinking you've got a drummer hiding in the wings because the sounds are very obviously synthesised, but I think that works in its favour - it sounds like a proper old-school drum machine rather than a poor representation of acoustic drums, which is probably what you'd get from the DR-5. The Stutter function lets you get some pretty cool glitchy sounds too if that's your thing. The downside is it's only a 16-step sequencer (so unless you're doing really basic beats you can really only do one bar-long grooves) and there's no arrangement modes, fills, A/B patterns or anything like that - you very much press Play and that's it. If you can work round that then it gets my vote. Plus it also looks really cool...

Oh, and it sounds great through a decent PA. Analogue purity, etc.
Quote by LaidBack
I have the MXR Custom Comp. I lurve it as a boost, SUPER light dirt, and tapping crap.


When I saw Earth, Dylan Carlson was using one of those and the MXR Custom Chorus, nothing else. And obviously he had the best tone ever.

I got a little MIDI controller today, an Alesis Q25. Was going to continue down my Korg fanboy route and get the MicroKeys but it seemed too stripped back. The purpose of this is to live next to my laptop plugged into it for convenience and inputting software synth parts in Logic - I am naming it 'The Inspiration Station'. My big M-Audio controller keyboard is on the other side of my room from my laptop and plugging it in requires finding my long USB lead, which is one of those things that disappears as soon as you stop using it. Frankly the whole thing is too much effort. Is a MIDI controller post-rock? Yeah, why not.
Hmm, the Boss one's looking good from those reviews!
I need compressor advice too! Thinking for bass though I might use it on guitar too. I really just need it to even everything out a bit, won't be doing any crazy slapping or anything like that (read: to mask my poor bass playing abilities) - will I be alright with a Dyna Comp or something or would I be better with something like the Boss bass limiter/enhancer thingy? My budget is very small.
To be honest all you need is a good delay/reverb and maybe an overdrive and a fuzz. Apparently Mogwai only used fuzz, delay and amp tremolo on Young Team and that's definitely post-rock...
Quote by ibanezguitars44
Just saw GY!BE

Ughhhhhhhhh it was so good.

They played the whole new album. And they ended with Mladic and it was the heaviest thing ever.


Seeing them again in Brighton next month! Yeah, playing Asunder, Sweet all in one go was pretty epic when I saw them earlier in the year. They played a load of new stuff in favour of anything off Lift Your Skinny Fists, perhaps they're going down the Swans route of completely refusing to acknowledge their back catalogue...
That MicroKorg through the EQD pedals looks nails.

Due to a long series of perfectly logical mental steps involving my solo act I've been looking at Korg Electribes and the Teenage Engineering OP-1. I've always wanted something for making music/messing around on the move without needing my laptop. Slightly leaning towards the OP-1 because the new version of the Electribe looks like it should be controlling the air conditioning in a Japanese hatchback. Then I found a UK retailer doing finance on the OP-1 which amounts to £10 a month, which seems like a rather trivial amount of money.

At the other end of the scale I've also been looking at banjo pickups...

This is something I recorded when I needed something to do on a day off last week, sort of indicative of the 'Mark Lanegan does the O Brother Where Art Thou soundtrack' direction that's brewing in my head. I already want to redo the vocal though...
Quote by UnbrokenGlass
Go for the Bass VI. You'll feel better.



Using Google and finding a couple of threads on bass forums where people say they're fine for doing country stuff with has convinced me. Should I not have one by November and need more convincing, Kurt Vile's playing in Brighton...
Quote by LaidBack
Play a giant rubber band, Tombe. One end under your foot, the other end in your mouth to keep it tight. This way you make this face all the time:



Just don't confuse the ends.


Haha! Or perhaps I need to construct a washtub bass... Then run it through a fuzz pedal.
So that band I've been depping on bass with have now asked me to actually join full-time. This is a very good reason to buy a Bass VI, I think. Although they are a country band, so I shouldn't really be playing anything other than a sunburst Precision...
Quote by dannyalcatraz
Remember- "Something old, something new, Something borrowed, something blue."


A Strymon Blue Sky, then? Or an MXR Blue Box?
Godspeed are probably the only post-rock band I listen to at the moment (although I do listen to them pretty obsessively!) I'm still in my Swans/Sunn O)))/Earth phase of doomy noise, along with all the country I listen to...
I've figured that mine is now my longest-serving pedal - I've had my Holy Grail for longer but since it tends to stop working if you so much as look at it I never really use it. The DL-4 has always been there, though. Everyone's got them but the truth is they're really good pedals, and it took about 10 years before any other company made something that could equal it...
Quote by VishNuRoXoUt
Sweep Echo is my favorite thing ever. Literally the sound that got me into delay.


I got my DL-4 in about 2008 and it's always had the same 3 delay settings that I programmed into it on the day I got it, until a couple of months ago where I changed one to the Sweep Echo set up as some weird phaser thing. Love it.
He did say 'in your opinion'... Personally I'd buy a half-decent Tele and try and find a second-hand Fender Deluxe Reverb (or a Hot Rod, failing that) hopefully with enough money left over for a Big Muff...
Has anyone tried the Digitech Obscura? There's a review of it in the new Guitarist and it sounds pretty interesting, seems a good way to get crazy bit-crushed/over-modulated delay sounds without having to spend a million pounds on a Moogerfooger or Strymon delay.

And my GAS may be about to gear up a notch - GAK have become a dealer for Earthquaker Devices and have a load of their pedals in the shop...
One of the guitar shops in Brighton has a pretty cool-looking Modern Player Tele (the 3-pickup one) for £200, because it's damaged stock, the 'damage' being a big dent on the side near the jack plate. I'm so tempted but since two of my five guitars are Teles I'm not convinced I need another one...
Quote by ibanezguitars44


What do you think Tombe? I need a durable, hard working slide that will stay smooth. And I want to do some melodic work as well as that pedal steel swell kind of sound.


I'd definitely give a ceramic slide a try, they're very different in feel and tonality to metal and glass ones. Like I said I pretty much only use my ceramic one on electric now. For what you want it sounds like it would be ideal - I've graduated from the fuzzy, raucous Jack White style of slide playing to faux-pedal steel and melody lines and it gives you plenty of sustain, a warm tone and they're really light so you can move around the fretboard quickly. They do tend to be physically bigger than glass and metal slides though which might take a bit of getting used to.

The one I have is a Dunlop Moonshine by the way, the blue ceramic one. The black Mudslide one is porcelain and is supposed to sound darker but I've never tried one (I'm sure I will at some stage though!) I've had it for about a year and used it a lot and it's not really scratched or tarnished at all.
I seem to be suffering from SAS - slide acquisition syndrome. I now have 7. I thought I'd found my favourite slide with my Dunlop ceramic one but recently I've had to finally admit that it sounds absolutely awful on an acoustic with new or nearly-new strings - that horrible nails-down-the-blackboard screech that ceramics scraping against things produces is there in spades. So I bought a Dunlop Moonshine Glass slide, it's a standard heavy-wall glass slide but made from a funky, swirly smoke-coloured glass and with the porous lining from the Moonshine ceramic slide inside it, so it's sort of a hybrid of the two. Seems really nice so far - all I've done is mess around on my acoustic a bit, playing Paris, Texas and the songs I play slide on in the folk band but I'm about to go and give it a proper try out now. Not sure whether it'll beat the smooth lap-steel tonality the ceramic one has on electric.

So I now have the Moonshine glass and ceramic slides, a normal Dunlop heavy wall glass slide, a brass one, a chrome one, another brass one which is actually a tractor linkage bush that I bought from work (the cheapest in my collection at £1.37) and a tone bar. This is more than I need, no matter how I look at it.
Dwarfcraft threw the hammer down on Facebook last night too... It sort of reminded me of all the JHS and Freakish Blues incidents over the years - who thought that people building guitar effects pedals could cause this much drama?
Jonny Greenwood uses absolutely loads of slapback echo on In Rainbows, and Thom Yorke uses quite a lot of longer delays in his guitar parts on The King Of Limbs. I think they all mainly use delay for atmospheres though - the loud bit at the end of Morning Bell is the best example I can think of, and Ed O'Brien's guitar in the last bit of Karma Police is absolutely laced with delay.
Quote by VishNuRoXoUt
Plebs.

I think I'm going to buy a meatbox just so I can have one on hand for speaker blowing.


I kind of want one to run my drum machine through...
I've only just spotted that the rumours about DOD reissuing the Gonkulator are true. I'm glad the new DOD are sticking to the old work ethic - design a pedal that's terrible, but then release it anyway.
There seems to be a hell of a lot of new pedal companies appearing selling generic circuits in Mooer-sized enclosures with identical control layouts to the Mooers too. Even Fender seem to be at it... I'd wager all these pedals are identical inside, since as the thread starter suggested there's probably just one factory in China knocking them all out and a load of companies buying them up.
Has there been a piece of gear in the last 5 years with anywhere near as much of a want-one factor as the Squier Bass VI?

Now I've done gear, onto post-rock. I went to see GYBE last week and am still reeling. Been listening to them endlessly since then and as far as I'm concerned, they're still top dog in the genre. Their set was an introductory 10-minute drone/crescendo/wall of noise, then the new album in its entirety as one continuous piece of music, a couple of new pieces, then a truly earth-shaking one-two of Moya and East Hastings to end with. (Well, the actual end was about 5 minutes of feedback and loops which their roadie came on stage and switched off one-by-one, was very interesting to see what each member had been doing). It did seem to leave a massive gap chronologically though - anyone would be mistaken for thinking that Asunder, Sweet was the first album they've released in the last 15 years... One thing I noticed in particular is what a gorgeous clean tone David Bryant has - he was doing all the clean melody bits, like the main riff in East Hastings. The stage lighting was very low but it looked like a Les Paul into a Vox AC30. Mike Moya was playing a Telecaster and Efrim his good old Travis Bean, but since I was a bit off to the side of the hall I couldn't see what amps they were using - combos of some sort. Sophie Trudeau was the star of the show in my opinion, looping her violin and plugging it through a f*ck-off massive stack of amps. Actually, no, the star of the show was the guy doing the visuals, because they were insane.

Godspeed!
Wunjo Guitars has always been my favourite on Denmark Street, mainly because when I asked for 'a hollowbody of some sort' to try out a Boss DD-3 with the owner handed me a 60s ES-335 worth several thousand pounds saying something along the lines of "You might as well use this one". They always have some really interesting stuff in there. I miss the London Resonator Centre too...

Don't know if you walked any further up Charing Cross Road towards Soho but there's loads of guitar shops up there too. For some reason it's the Guitar Shop District of London. My Takamine and quite a few of my pedals all come from round there.
Call me vain...

I've borrowed a bass off a friend for this gig with the country band I've got coming up. I don't know very much about basses (I'm assuming they're like guitars and the best ones are made by Fender) but it seems half-decent, it's a Peavey Milestone. However, there is one problem with it which means I cannot stand on stage with it. It's brown.

If there's one colour I hate more on a guitar than black with a white pickguard, it's brown. I know that guitars are made from wood, which is brown, but this isn't a natural or sunburst finish, it's just solid brown. This is the least rock and roll colour possible - how many brown Cadillacs do you think there were tooling around in the 50s? Barring the obvious scatological comparisons, brown is just not a colour associated with motion or dynamism - it is the colour of resolutely stationary things, like houses, trees and the ground.

So now I just need to find someone in Brighton who owns a white Jazz Bass with a tortie pickguard that they'll be willing to lend me for a few weeks...
My life of musical bipolarity continues. Last night was the first hometown gig with the art-punk duo, which by all accounts we slayed, and today I've been offered a dep gig playing bass for a country band. The fact that I neither own nor can play a bass doesn't seem to bother them.
I actually played some post-rock at rehearsal tonight. Proper reverb-drenched cleans building to a wall of death noise and everything. Suddenly the world seems strange and unfamiliar.

For our gig next week we have for some reason decided to insert a drone/noise section of indeterminate length as a bridge between the last two songs. We were wondering how long we could keep it going for before everyone left.
Not guitar-related, but I opened a parcel at work from a company that supplies trailer parts and there was (along with what was meant to be in there) a bag of Haribo. I didn't tell anyone, kept them for myself and very much enjoyed them.
I am having a proper GAS attack for the first time in a while, trying to decide on a looper to use in my art-punk duo, I'm doing a lot of looping of just droney stuff, using my DL-4 at the moment and finding it a bit restricting not to have any control over delay when I'm using it as a looper. I don't want one of those highfalutin' things the size of a surfboard that's basically a multi-track audio workstation, just something that will endlessly replay whatever I record into it. Since pedalboard real estate is an issue (and money) I'm feeling either the good old Ditto or the EHX Nano 360. The EHX has the advantage of onboard memory, so I could just record the 3 or 4 loops I use in our set onto it then just use it for playback live (like I say, syncing the loops to whatever's going on on stage isn't very important because they're all just drone/ambient things) - it will stop the breaks in momentum where I'm messing around with the DL-4 switching it from delay to looping, but might take a bit of spontaneity out of the set if my looped bits always sound exactly the same. It's a genuine quandary.

I'm also meant to be looking for a new car at the moment but since I firmly believe that that shouldn't be any harder than buying a pair of trousers (you find the first pair you like that fits then hand the money over) I've got more time to think about what pedals I want.
Equally long shot here I reckon, I posted this in this 'ere thread a while ago because I figured you guys would probably like them. And it does tick all the boxes you mentioned...

https://www.youtube.com/watch?v=rEeNdFzU_hs

Incidentally I saw this band last Friday. In a hot and sweaty venue, grinding, endlessly repeating riffs, lots of beards, I thought I was at a Swans gig...
Quote by TheTransient
Isn't it fun when you go to play a show, but then can't because you were relying on the third band from interstate's guitar cabs as per the discussion with their manager. All the bands use my bass amp, then all of them **** off before us (the last band) plays, so we have no backup gear option from them either. Now we could have easily brought a while backline of gear, but the third band offered cabs, then took them and left as soon as they finished!

So that was a waste of a ****in night...


When I get into power I'm going to make it the law that all venues (and by a 'venue' I mean a proper room with a stage at one end, PA, lighting etc. not just a corner of a pub) have to provide basic backline - a house drum kit (even if it's just hardware/shells), bass amp and guitar amp. Nothing fancy, even a Marshall MG is better than nothing... If people want to use their own stuff then they can, but it would make things much easier. There's a venue in Brighton that has a house guitar cab but not a head...

The CT5 looks rad. I've been wanting one of those for a while.
Quote by LaidBack
^Yup.

Okay, so I've got GAS for the first time in a while. I need this for my banjo http://www.deeringbanjos.com/products/goodtime-banjo-resonator-retro-fit-kit I need it bad.


I need a pickup for mine. Got my eyes on a Myers one that's basically a clip-on gooseneck mic and a pre-amp unit about the size of a matchbox that you can just attach to the strap or whatever. I don't want anything that has to be properly fitted and needs holes drilling in the body, so if I get another banjo I've got a pickup for it already. With banjos it seems that pickups being fitted as standard is the exception rather than the rule...
Sometimes I have to amuse myself by looking at cheap gear that you know is going to be absolutely terrible. The Joyo Mjolnir, for example. It's the most tragic-looking thing ever - and how is 15 watts ever going to be loud enough to be used in a metal band?
Quote by stradivari310
I intend to go to iceland sometime in the next 1-2 years. I just have to.


Yes you do! Can't recommend it enough, probably my favourite country I've ever been to. And I suspect if I went in the summer when there weren't quite so many snowstorms I'd like it even more...