Yes, the audience should not be hearing your amps at all if possible, one thing I've done in the past is have the back-line at least under the stage, if not in a different room, cleans up the sound an incredible amount. The issue you are having is caused by the distortion in your amps forcing too much sound into the low-mids of the overall sound, causing it to become too saturated (i.i.r.c its roughly the 300hz mark, too much going in there just makes mud out of everything). By having your rig on stage and blasting out ALL the other mics are picking up this extra sound in this frequency band, hence, creating a wall of sound
I'd say Buck Dharma from Blue Oyster Cult is a seriously underrated rock guitarist. He might not span quite as many genres as people like Buckethead,, but his riff writing and soloing is still excellent
It looks like he's using an ETC desk or something similar. What he has done is program a lot of simple states with the moving lights, for example one will be a sweep across the stage, one will be a dimmer spread etc etc what he then does is program different colours, positions, shutters etc onto other faders and control those instantly from the flash key associated with each fader.
So during the show he puts up the fader that makes his moving lights move from one side of the stage to another, maybe brings up another to make them red and then during the song he presses the flash buttons to change colour and put the shutter in to make them semi-strobe. He does seem to be doing it a bit more involved than I would do, but each to his own.
What I would do if I was on tour with a band is program each song into a cue list, which then linked to different chases, so when I get to a certain point in the song, I hit the GO button and it starts the strobe chase, then hit GO again and it moves the lights, GO again for the colour strobe etc etc, it would be a nightmare in the programming stage but a damn sight easier to operate the actual gig haha
In terms of why not run it via MIDI from a computer controlled program, that doesn't work with lighting as well, same as it doesn't with sound, because each gig will be slightly different, whether noticeable to the audience or not, there has to be the ability to change things on the fly and busk the show if necessary, which a computer program can't do
Oh, the lights seem to be just standard moving heads, profiles and washes (look to be Martin MAC, probably 700, for the profiles and Robe Robins for the washes) and a shed load of par cans over stage with a red gel, possibly 106
For a start, coil taps aren't supposed to sound like a single coil, they just reduce the output because they only use the inner coil as opposed to the full coil in a humbucker. A coil split actually splits the humbucker in half to make it a single coil sound, although even with a coil split a les paul won't sound like a strat, as others have said before.
1 - Yes, very easily with a little bit of practice.
2 - Sort of, you can have one wah based effect, one compressor, one gate, one preamp/distortion pedal with 6 band EQ, one modulation based effect, one reverb and one delay at once, or any combination thereof. You can also set each patch to have two different presets with the channel A/B switch.
3 - Yes, there are bank up and down switches, each linking to the four presets per bank, with the aforementioned A/B switch within each preset.
4 - It's a great pedal, well worth the money, I've had mine for 5 years and had no trouble with it at all
I've got a Jackson licensed floyd on my Jackson and it is less than useless, I can't use it at all without the guitar going out of tune, but that's just my experience with one. If I were you I would wait a bit longer and buy an official Schaller made floyd rose, they are currently the best in production.
OK, so I'm looking at getting what I consider to be my first real amp (meaning my first tube amp) but since I'm not in a band at the minute I just want something small, nothing too loud and have narrowed down my choices to the Hughes & Kettner Tubemeister 18, the Orange Dark Terror or the Mesa Boogie Mini Rectifier.
I currently play mostly rock and metal (at the moment my main playing revolves around Dream Theater, Muse, Blue Oyster Cult, Metallica, Megadeth, Trivium and Scar Symmetry) and have a Zoom G7.1ut Multi Effects Pedal, a Little Big Muff pi, ZVEX Fuzz Factory, ISP Decimator G String, LTD F-250, Jackson KVX-10, Vintage AV-100 and 7 String West Coast guitar run through a Marshall MG30DFX (yes, I know, it is terrible, hence why I want to upgrade). Here are my thoughts on the amps so far:
Hughes & Kettner: Have played a fair few of their amps before (switchblade, attax and edition blue) and loved the bright cleans and versatility of distortion, although I'm not sure if that is available here. I love the flexibilty of the power soak, the tube biasing and the built-in red box out, but I don't know how well it would handle the heavier side of things and that it's a shared EQ.
Orange Dark Terror: Doesn't seem to be as versatile as the Hughes & Kettner or handle cleans particularly well. Also doesn't have as much flexibility over the power soaking and I haven't heard an Orange amp distorted before either.
Mesa Boogie: Looks to be the most versatile of the amps and based on the Mesa distortion I've heard before chances are it will be pretty fantastic, but I'm not sure if it is worth the extreme price. I'm also not sure about the power soak again, as I'm pretty sure I won't be able to get it loud enough in the 10W mode to really start to push it into natural overdrive sounds.
I would also like help in getting a basic 1x12 Cab to start me off as well, nothing stupidly expensive, maybe £200 at most I'd look at paying.
Sorry for the essay but I've been thinking about this for quite a while now and just can't decide which one to go for. Normally I would go to a store to try them but nowhere near me stocks any of these amps, so I'm a bit stuck. I do want to keep using my fuzz pedals as well, as A) I love the tones I can get from them and B) It would be a lot of money wasted if I suddenly stopped using them haha. Cheers
In terms of the multi-effects I've had the Zoom G7.1ut for going on 5 years now and it's never let me down, very versatile and fairly decent however it could be better on some of it's distortions and fuzzes (which is why I've just bought 2 fuzz pedals to send through it).
Well, they're probably as good as it gets in terms of actives but Bare Knuckle Pickups (passives) do all their humbuckers in 8 string versions with handy application guides for each, but they are fairly expensive..... Worth it though
The second equation is exactly the same as the first, the prime (') just means differential and is mainly used in higher order mathematics and physics where there are too many letters to handle (thats where I used it anyway).
If you can get the block out of the saddle it just becomes a fairly simple job of removing the fused string, should be able to get rid of it with a standard screwdriver, but if it's altered the shape of the block at all getting it out will be very difficult and you may need to order a spare part, and I'm afraid I've no idea where you can order a new block from. As for repair, I know where I'm from they charge stupid prices (£75 for a set-up....ridiculous) so I wouldn't be able to give a good idea on price for repair either, sorry.
It sounds to me like the block was overtightened so it ended up stripping the string that was in originally and has now got a bit of the string fused underneath, making it a fairly difficult repair job.
I'd probably give it a listen, definitely. Now you just need to develop the skills to play it ;p And in terms of judging what is good I always say to play/write/record what you feel and what you want, don't worry about what people think, just make sure it's what you wanted to do, which is why I can't write anything, I'm a perfectionist so nothing ever sounds good enough ;p But seriously, keep it up, if you learn to play like that we could hear big things in the future
Through Hollow Corridors is a beast! That was really good, exactly what I thought The Cascade was missing, great job! Great use of melody and a very good solo, loved the way it built in intensity, really, excellent job! What If again was really good, although in recording of it would it maybe help emphasise the piano to have a guitar playing the same as the piano except maybe a few octaves away or maybe a fifth lower and have it down in the mix, just for recording depth purposes really, but overall they are both very very good tracks, I would more than likely buy, or at least download, an album with tracks like that. Given those tracks as context I can see where The Cascade came from but I still feel it is a weaker track on the whole. It makes more sense than it did on its own and I feel it would work as it will lead very nicely into What If however it isn't up to the other track's standards IMO. Great job though!
If this is the "fast song" as you say, could you post up the rest to see how it fits as a whole? That would give the song the context you know it has and make it easier for us to judge how well it is written as part of an album as opposed to just a song on its own.
Ok, personally I think there isn't enough rythmic phrasing to make it interesting. It's well composed, as in everything works together, but I think it would be better if you interspersed the 1st part with some slower and more melodic sections as opposed to putting everything at break-neck speed. Likewise for the solo, I think both parts work when considered on their own but if you wrote extra links between them at a slower tempo or with more accentuated dynamics as opposed to just shred it would make it more musically interesting (IMO, a lot of other people probably won't agree but I do like stupidly long guitar solos ;p). The main chugging riff is good, I really liked that, but I felt you overused it in that it was practically all of the first section and not much else bar the solo and instrumental bit, which I felt was a bit rushed, trying to fit too many notes into too short a time as opposed to adding more expression with fewer notes, again, bit of a personal gripe as I like lots of variation, sorry. The second part was just far too long and repetitive, the octave riff was Ok, but it was all the same. Maybe some slower cleaner licks could have been written into them instead so they weren't quite as repetitive, I'm not sure. So, to finish, I know it sounds like I've basically hated the whole thing and that it should be slower, which isn't true, I just think that writing something at entirely the same speed without variation is a little uninteresting. In terms of riffs and chord structures and the like I did like what you had written, I just would have prefered more melodic structure. I'd probably give it a 5 or 6 out of 10 because with a bit of altering it would be excellent to my tastes, but that's just the opinion of some random person on the internet so feel free to ignore everything I've said as complete rubbish ;p