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This_Dying_Soul

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This_Dying_Soul last won the day on June 13 2011

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About This_Dying_Soul

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  • Gender
    Male
  • Location
    New Brunswick, Canada
  • Interests
    Horror Movies, Non-fictional Crime Stories - particular interest in Serial Killers, Music (of course), Pro Wrestling,
  1. I don't have an updated pedalboard shot, but currently it consists of 4 Visual Sound pedals (Double Trouble, V1 series H2O, Angry Fuzz, and Son Of Hyde), a Zoom 5050 Choir, and a Dimebag signature Crybaby From Hell. As those familiar with the pedals might realize, I'm a gain fiend. I like to have a variety of sounds at my disposal with which o change my distorted sound. Sometimes I take the amp only, other times, whatever combination I see fit. with the H2O and the Zoom Choir, they are essentially a digital vs analog pairing. Some things the H2O does very well, some sounds offered with the Zoom just aren't possible with any analog delay and/or chorus I've ever tried.
  2. I used to have an electromatic series Gretsch. Amazing value for the money. I'd consider buying another one when I can afford to get another guitar.
  3. nope. nothing wrong at all. Gibson may be the flagship brand, but the Epi's are a lot of guitar for the price. I own 2 Gibbies right now, but if I was to get another Gibson type guitar, I would be looking at the Epi's too.
  4. sweet guitar. Looks to be in really good shape for a '63 too.
  5. There has to be some middle ground. I've often found when a group that's popular like Zepplin, there are a handful of songs that most local bands will play by them while there is a huge discography of music that's just as good and sometimes just as popular that gets ignored. The trick is finding music that's popular but not overplayed. It makes you stand out and eventually as your establish your following people begin to know what songs you know and what you don't and the requests start matching your repertoire. Also, if you do play the same songs as everyone else, it's not so bad if you can do those songs better than the rest. :) I've also found that people usually can appreciate an attempt to offer them something close to what they've requested if the band doesn't know the exact song. They will appreciate avoiding certain songs because everyone does them and playing their other less frequently heard songs instead than completely avoiding a group's entire discography because everyone plays songs from that group. One thing I've found works too is playing music from bands that are popular but for some reason nobody plays. I can remember the reaction we got back when Tool was popular and the album Enema was HUGE... but nobody in town played their music. My band tackled 46 & 2 and it went over really well. At house parties - the house was empty except for the room we were set up in (because the entire party rushed into the room when they realized what we were playing). At the bars, the crowd loved it too - we got tons of people encouraging us to keep learning more Tool because nobody else was doing it. Unfortunately the band split up before we could learn more Tool, but there were a few other bands who discovered through us that the time and effort put into learning Tool's music was good for more than just getting tight as a band and they began to fill the void.
  6. man I love strats. I have 2 SG's and an American Deluxe strat. I'd buy another if I had the money, but I just got a 1973 SG Standard a few weeks ago and won't be able to afford another guitar for a while now. My strat is Sunset Metallic. I wasn't crazy about the color at first but it's grown on me - I chose the specific guitar for it's tone and feel.
  7. yeah, but A) I try to avoid financing music gear B ) I can't afford one right now. The only way I see myself getting an SG Custom any time soon is to find a used one at a price so low it's authenticity is suspect or unless I win the lotto.
  8. I also have to agree with a lot of what the person who posted this said. It goes both ways and the bar owner's point of view, while I think he made good points, does not take any consideration for the musician's point of view. Musicians should not be expected to play for free or next to nothing. We've spent hours, days, weeks, months.... YEARS sharpening our skills, learning songs, practicing together for the purpose of performing and entertaining people. When bands expect several hundred dollars or even thousands, keep in mind the time and effort as well as the expense of our gear. Some of us have no other source of income or work a very low paying job with a flexible schedule in order to make ourselves available for gigs. A lot of the points made by both bar owner and musician require a compromise - volume for example - rock bands are loud by nature...being loud is part of what makes them sound the way they do. At the same time as I'd said in my original comments in this thread an excessively loud band can be a bad thing. Expect a rock band to be loud, but also the band needs to keep volume low enough not to drive people out. The hard part here is that what's too loud for one person might be fine for another. My wife can't tolerate loud music. She's the one that leaves when it gets excessive - but her idea of excessive is my opinion of reasonable and I've often been told at gigs to turn up by the audience. There is also the idea of whether the band is a good fit for the venue... it's up to the bar owner to do the research to determine if a band is a good fit for his bar... there's a reason musicians submit press kits and demo's... by ignoring these, you potentially pass over bands that fit what your client base enjoys. You also risk hiring a band that doesn't fit by not looking at this stuff. It's understood that bar owners get a lot of demos and press kits and can't possibly take the time to give all of them an in depth review... at least check out some of each and then set aside the ones of interest for further scrutiny. Open mic nights - yes, a great way to draw in musicians who are not in bands who enjoy some stage time and a few drinks. Also a source of free entertainment by the bar owners... but they also got used by musicians in my area to audition potential bandmates by the local musicians and also used by bar owners here to audition bands for gigs on other nights (sometimes the owners establishments other than the one hosting the open mic would go to see a specific band known to frequent the jam or just to scout for bands they've never heard of that might fit their venue). The PA debate - if the bar books bands, they should either supply a decent sound system (owned by them or hiring a soundman with a PA) or have the cost of the PA included in the fee paid to the band...and remember you get what you pay for - if you pay a band barely anything, don't expect much... if the bar pays the band top dollar, then be sure to put on the best show you can - if the bar owner is not providing a PA, they should also make the band aware of this.
  9. While I hate to admit it, this guy made some good points. It wouldn't kill a band to encourage people to buy more drinks. Whether it's as a bribe to the band to have their request played or just simply talking about how great a drink is and suggesting people try it... If it makes the bar owner happy, he will remember your band when deciding who he's going to book next month or whenever. I learned early on to encourage people to buy more drinks and even though it didn't always work, the effort was appreciated. Remember though, it's not your job to bring in crowds...that's a side effect of getting known, which only happens if people are willing to book you. If they need you to bring people through the doors, they are looking for quick cash, not to build a clientele. These bars are mostly looking to book established bands. Nothing wrong with this if they can make it work, but the drawback is they are not helping to keep the local talent pool fresh - meaning it becomes more difficult to get a gig if you're new. I can agree with paying a lesser known band less money provided the bar isn't asking you to pay to play or to play for the door. I've been in those situations and while there is potential for a good night's earnings if you are well known and can draw a crowd, it often results in the band taking a loss or earning very little money. Don't be afraid to ask what you think is fair - also, if you are supplying sound and lights for your gig, figure these costs into your asking price and make the bar owner aware that it's not just the musicians he's paying for but the whole production. As others have mentioned, you get what you pay for and if they aren't providing sound and lights for you, it shouldn't be an out of pocket expense that subtracts from your earnings as a musician. Also, some areas like mine, it's illegal to pay a band with free drinks however that doesn't stop the musicians here from drinking through the night. Just keep in mind that if you aren't asking patrons to buy you drinks in exchange for getting a request played then the bar owner is likely running a tab for you and your drinks will be deducted from the agreed upon payment... remember in The Blues Brothers when they played the country bar and ran up a huge tab thinking drinks were on the house only to be asked to settle up the tab afterwards? YES, THAT ACTUALLY HAPPENS! And guess what? If you drank more than he's paying you, you end up having to pay out of your own pocket for the drinks your evenings wages don't cover. I also have to agree with the appearance thing. You want to be taken seriously as a professional, dress the part. Not saying to show up in a suit and tie or anything but if you are a rock band, dress like a rocker when you go onstage or approach a bar in person for a gig... suit and tie might be a good way to go if you are in a jazz or blues band but you could probably get away with just having clothing that makes you stand out from their customers and suggests you take pride in yourself. The other thing is I do agree that being too loud or playing the wrong type of music for the venue is a bad thing... I've walked out of a bar before because the band was so loud it hurt the ears or gave us a headache. Even if most people in the bar are there for live music, they are also there to socialize which is difficult if you can't hear each other. As entertainment, you are supposed to keep people there, not blast them with music so loud they feel the need to leave. As far as the guy's remarks about keeping the noise down during setup - find out when the customers start turning up and try to arrange to do your setup before then so you create as little disturbance as possible. It's not always possible, but make the attempt. A place I played a few times was a lounge belonging to an eatery. We had to keep the noise down until after a certain time so we didn't disturb diners. We'd go in before the lounge got busy for the evening, set up our gear, had a bite to eat while we waited to be able to do soundcheck and then after the eatery all but shut down for the night did soundcheck before the bar got busy. And there is something to be said for playing music that the people enjoy... sometimes that means avoiding playing an establishment because the music they typically play there is very different from what you actually play. It doesn't hurt to try to diversify your repertoire some, but keep in mind you are can't please everyone. One of my old bands refused to play music by Led Zeppelin because EVERY band played their music - we didn't get many gigs. When we did get gigs, we almost always had at least one request for that particular artist - people didn't care that we were trying to offer an alternative to all the bands already doing that. Our eventual work around was to learn Zeppelin songs that the other bands around weren't doing and when we got that request for Stairway to Heaven or Rock N Roll, we could say "we don't know that one but we do know Kashmir (or any other Zep tune that doesn't get much play by bands in your area)"... it worked - we avoided playing the same tired and boring songs everyone else did but also managed to satisfy the people at the bars who expected music from Led Zeppelin. I've since taken to doing that for other bands I either didn't like or felt was overplayed.
  10. This is my rig for both home and jamming or gigging. The amp is a Laney Cub 12. I usually use the 1 watt input at home and 15 watt input for jamming and gigs. If the venue is large enough that the 15 watt 1x12 combo doesn't cut it I just mic it. I may consider getting a 2x12 or 4x12 later on. For guitars it's whatever my mood dictates between my '73 SG Standard, '08 SG Special or '11 Fender American Deluxe Strat. Most times I just plug straight in but when I'm in the mood for pedals its either a Son of Hyde, Double Trouble, Angry Fuzz and an H2O or Zoom Choir 5050.
  11. you know, I've never tried a baked maple fretboard, but I would assume it can't be that bad. I mean, my '73 SG has an ebony fretboard which tends to make the guitar sound brighter... it's even more dense than maple. I'm quite sure the 2006 models didn't have baked maple. 2011 is when they started that trend and I'm sure they've since gone back to rosewood for all but their least expensive guitars and a few limited runs where they wanted to offer something different for those who actually prefered the baked maple over rosewood.
  12. that is my ULTIMATE guitar. I got an SG Special in 2008 and was hooked ever since. I got a '73 SG this weekend and my next guitar I want is an SG Custom - preferably white like this one. :)
  13. I did the trade for the '73 SG. It's amazing. Sounds incredible and the neck is extremely stable. Props to whoever repaired it - best I've seen...not just the refinish over the repaired area but the repair itself. And the neck is thinner than on my '08 SG Special...I never thought I'd find a more comfortable neck. :) I now have one of my dream guitars of my bucket list. :) Now, I wonder how many years it will take before I can afford an SG Custom to complete my little collection.
  14. yes, that's what I meant :P I love that road worn look on guitars that are naturally road worn. I think artificial wear is just ruining a guitar. If you want it road worn, either do it yourself through years of use or buy a used instrument that's been well loved by it's owner. This is going to be my second SG... first one is a faded 2008 Special. My wife doesn't understand why I'd want a second SG. Can't seem to get through to her that besides a similar shape, there is a HUGE difference between the SG Standard (especially a '73) and the Special. I'm on my way to being one of those guys with pics of dozens of SG's. lol
  15. I found a 1973 SG Standard for $900 - neck had been repaired but saw pics of the work before they restored the finish around the repaired headstock and it looks very solid - didn't just glue it together again - reinforced it. After pics with the refinishing of the broken area show the work is barely noticeable. Both the repair and the refinish are by professionals. Seems the seller bought it repaired but with the finish on the neck still damaged as he didn't know the name of the luthier or shop that repaired it, but could name the guy responsible for the refin. The suspected repair guys are well known in my area and the one who did the refinishing is also highly respected in the region. Other than that the guitar is really good shape so I offered my 2008 Les Paul that's in my profile pic in exchange for the SG and $500 cash on condition I'm happy with what I see once I get to see it in person. One thing I LOVE about this guitar is that according to many different sources the necks on '73's is ebony instead of rosewood. Either way, I like rosewood just fine but I like the idea of ebony. My LP has ebony and a few other guitars I've had over the years had it. Some sources for specs on the 1973 SG's said it was rosewood but may have been given treatment to look like ebony, but most pages say the latter. Can't wait to get this tone monster home. :)
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