@@cmadelaide56 Go back a few years to the Hindsight-tour episode with Joey Landreth. Capo’s, denim, fake Italian accents…..I don’t want to ruin the punchline by saying anything else. Hope you enjoy mate.
Strat pickups: went through a bunch of mid-60s very good clones, settled on Monty’s ‘Full Monty’. Fab output and still clean up beautifully. You always know exactly which pickup you’re on, even in a band mix, with looking, which is also handy.
I agree with Mick re seeing a Sports Physio for RSI. Over the past 30 years I've been fortunate to rub shoulders with High Performance & National Team Physios. The latest is "any pain is a weakness". Rest and strengthen. Good luck with it
Great show as always. Thank you Steve Maass for the Superchat gift to my question. Thank you Mick for the perfect answer. You told me exactly what I wanted to hear. The ability to use G3 (which is brilliant and can handle any creative idea I throw at it) and two wonderful Kingsley pre-amps in mono, dual mono, wet/dry and stereo applications will elevate me from one level of tone heaven into the next and the next, on and on. Thanks again. Cheers!
Loving to eat without resources to access a good cook I had to become one. Then I got married to someone who needed someone to cook for. I then needed only to encourage that motivation. Then I had to learn about the proper diet and fitness. I have excelled and so has she.
I’m running a Meraki into a Poly Verbs, all stereo, and it’s the most inspirational combination I’ve encountered in ages. You miss the occasional switchable preset but for my stuff it’s easy to tweak between songs, and you can save any of the existing presets with your settings. See how long it takes you to go stereo rather than WD… I haven’t looked back. Great show Mick - well done for taking it solo.
I was in high school in 1988 before I even saw my first CD player. And remember when people used to hang them from their mirrors because they “looked cool”?
All the reverends i play have the treble bleed. I use the tone pot much more than i did before i had that. There's a sweet spot, you just have to find it imo. For the fuzz face thing, its definitely there, but once you find that spot, well... ive found that it sounds like it would with out it, just with knobs in different places. I wouldn’t make the change for that purpose, thats just me.
On the stage volume vs tone controversy: The loudspeaker (or IR) is the biggest factor in tone. The way to minimize ear fatigue is to use a speaker with a dip in the 3-3.5kHz most sensitive human hearing range that also doesn't reproduce full transients. As great as is the EVM12L, it's one of the worst candidates. The most obvious choice is some type of G12M. Some "faster" larger magnet speakers with that dip are also fine, particularly with a more "saggy" amp. It should also be noted that AlNiCo powered speakers don't necesarily compress more than Ceramic. It depends on the magnet and voice coil size vs the speaker mass, suspension, air volume loading, etc. FI, the AlNiCo JBL D120 with a 4" voice coil was one of the most dynamic 12" speakers ever made. Incidently, any speaker can suffer thermal compression if the voice coil heats up enough, but that's a different effect than the compression when the coil voltage exceeds the magnet power and temporarily reverses the polarity of the Steel surrounding the coil.
Lovely singing Mick, you should go out and gig more often, either solo or with a band. Best wishes to Dan, I’ve had that fatigue causing virus, just getting over it, its s weird one.
@@ThatPedalShow sure I’m the same, I did maybe ten gigs last year, enough to satisfy my love of playing live, but plenty enough before my body duth complain 😂
On the question on downsizing. I've ended up with two boards, one with an overdrive, compressor, tape echo/reverb and space for another (either a fuzz or chorus depending on the gig) - and my at-home spaceship board with switcher, loads of midi and versatile pedals that i can run wet/dry(/wet) and experiment with loads of different sonic options. Great for home studio, recording and for my back not having to lug it to gigs and rehearsals! Realise this is a luxury but certainly best of both worlds. And of course an excuse to have more pedals...
I got my pedalboard down to four pedals on a D'Addario Xpand board. TU 3->Mjolnir->Keeley Caverns->Boss IR 2. We record in a basement where actual amps really aren't an option, so instead of bringing my Tonemaster Twin and a pedalboard with like 8-9 pedals, this is it. It forces me to play the basics better.
Also-another Lindy Fralin pickup lover here. I have his split coil pickups in my Fender Mustang, and they are fantastic. I haven’t liked most noiseless pickups I’ve heard, but these use side by side coils, more like a p-bass pickup, and they are really good.
Ha. There's nothing I like about nitro finishes, especially the way they age. I haven't gotten to the point of metallic flake bass boat finishes yet, but I do like a durable glossy finish. Different strokes, for uh those who erm stroke a lot, or something...
If you don't know whether or not you like soft, hard or asymmetric clipping... buy a mixer pedal and mix them all in parallel. Heck you can eq all the pedals differently pre and post, use boosts pre or after.
T0 Eliot B: On the subject of knowing when the song is done: One of the few subjects on any music channel I can speak to with any authority? YES! JUST GET IT DOWN. THEN PLAY IT. If you are looking at releasing your work once your idea is solidified, consider spending the money to record it either at a professional studio, or with experienced people who won't blow smoke up your....ummm... knickers. Many-I would say MOST- great recordings came about because the collaboration extended beyond the practice room.
Mick, I am with you, I love green tea. Mind you, I have to do decaffeinated, because the caffeine is no good for me. But I have a friend who cannot stand green tea, she says if I wanted to drink grass from the lawn, I would drink grass from the lawn lol.
Thanks for answering my question about the delays Mick!! I’m trying to minimize my board. So as of now, I have a strat and Les paul that I play through a Tone King Imperial MKII. I’ve thinned the herd down to a Peterson tuner, D&M Drive, one of my delays. (Echoplex or oracle), then cloudburst reverb. I’ve kinda found that it’s all I need at the moment. I love both delays, but lean towards the echoplex. Get well soon Dan!! Thanks!
love the echoplex so much that after searching and searching for another (longer time) delay to go along with it... I decided to just add another. One with tap tempo for longer delay times or tapped to the rhythm, the other for short echoes, works brilliant
After hundreds of gigs I preferred my '65 Bassman through an EV Force-12 in a homemade plywood cab stuffed with insulation over that and a 4x10 Fender Bassman cab and JCM 900 and the same Fender cab. EV all the way.
Let's get something straight about recording mediums, folks. You may prefer one medium to another for whatever reason, and that's fine, but vinyl has much less dynamic range than a CD, and less still than a 24bit file. First of all, vinyl can't even capture the full dynamic range of the 1/2" analog tape the platters were traditionally cut from. The mastering engineers have to limit the range so the needle won't jump from the groove, and it's even more limited at the end vs beginning of an album because the distance at a speed is more limited. Part of the process involves reducing and then boosting the bass, but it still can't match the capability of even a 16bit digital word. Digital can also reproduce transients much more accurately, potentially going from silence to the loudest level for a given bit depth in one sample. That's 0 to 96dB for a 16bit CD. A 24bit word has a theoretical 144dB range, but analog circuitry is generally limited to ~120dB-- much more than any vinyl record can deliver. Other than the poor digital encoding tech and practices in early CD production, the crisper transients is one reason people don't like CD's, but it is closer to the original master than Vinyl. As for stereo separation? Digital can potentially do complete separation, but it depends on the converters. Any Modern DA converter will likely far exceed the channel separation of any needle or phono cartridge. As for freq response? Again, the limit was really in the tape, but only infants can possibly hear up to 20kHz. There is some merit to the argument about the steep LP filtering required for a 44.1k or 48k SR. The ringing effect isn't necessarily unpleasant, if perceptible, but I prefer 96k just to be sure, and the smoother LP filter does tend to sound more "natural" when I compare.
Regarding the actual Tape delay vs digital recreation of one. RUclips might lead us to conclusion that the digital units now are just good enough. My Giging experience with TRex Replicator is, that even live in a band mix and even for non guitarist audience, the digital units still has long way to go.
The value of a song performed is regulated with the artists "Now-ness' of the performance. Stay alive to perform alive. Practice alive to stay ready. A song may be "finished" but must never be delivered "dead". Those who "hear" will receive the life of the performer. The performer will benefit from the live delivery.
Mick, I get that it might be in your nature to be at least a little self deprecating so I understand the need to apologise for a whole episode of your voice. I however really enjoyed hearing you sing. Maybe we could hear more in the future?
Mick, I brought an SB56/v to an experience day in Nov 22. It has lollar P90s and an antique varnish finish. When you played it, you said ,'Ooh, that's a proper guitar '. It's a spectacular guitar.
gotta check out the cab/amp company Port City. I A/B'd their oversized 2x12 against my Marshall 4x12 and the 2x12 sounded bigger and better. I sold the Marshall and bought the Port City 2x12 and haven't looked back.
I care much more about the creativity coming across through a recording than any technical aspect of a recording process or the resulting fidelity. When I listen to recording on vinyl, CD, or on computer (streaming of not) I am not allowing my awareness of other issues to rob me of the learning experience. The sharing of the creative artistry is (nd should be) the main point of any recording whether audio, visual, or writing.
Developing an ability to perform requires opportunities to do so. The main provider of opportunity is the performer. Venues come and go. The artist and their art are intended to grow stronger together. The expression of that growth is the proof of it. Whether or not anyone other may respond to the experience of sharing, it exists, primarily, for the benefit of the art. It's value cannot exist beyond that relationship with the artist Develop and build on the relationship and invite others to share in it.
Some of the best songs have been recorded in a half hour. Black Sabbath's first album was recorded in a day. So rehearse it 'til you feel it is right and then record it. A second go to get variety and a third in case of any technical foul ups
Been meaning to listen to revealer since it came out just whacked it on now As someone who enjoys fiddly itchy guitars this is scratchjbg the itch plus a lovelt voice
Hey super Mick , made me laugh I haven't heard the " PETER NOTOOL GAG FOR YEARS" & as we all know " THAT'S WHAT HAPPENS WHEN YOU GO OUT WITH OLLIE REED" my brother in law once turned down, going for a drink with OLIVER REED , he regretted missing the opportunity, but on the other hand, maybe a wise choice!!! . Great singing Mick & all the love to DAN , & we all hope it's not A JEFFREY BERNARD SITUATION!!! . PEACE AND LOVE TO EVERYONE ❤❤..
MIck, interested in the idea you mentioned of analogue delay before low overdrive with digital at the end of the chain, carbon copy obvious candidate but what about something like Catalinbread Echorec? Reckon that could work?
Talking about favourite guitars, and joining the vintage Gibson club… how do you find the neck on the 345, Mick? I just snared a literal mint 1966 ES-175 single pickup from a kindly gentleman in Sydney and I love the neck width, and that’s coming from someone with long fingers. I can’t understand how it makes the pencil necks any less valuable. Oh well, this guitar is going nowhere. All the best, you leg ends!
Cool guitar! One day we’ll get Dan a 175. I thought I wouldn’t be able to deal with it… but it’s supremely comfortable. Like my old Strat, it’s the increase in depth of the neck towards the 12th fret that I really love. Yeah, it’s been a surprise!
@@ThatPedalShow I think I can speak for a few here to say we're excited to see you both honing in on the guitars that truly inspire something more than just playing. Thank you for inspiring me to find my forever Gibson. The 345 into both channels of the Deluxe Reverb was SUCH a cool sound. Keep rocking, legends.
Homeostasis is the gold standard. But getting optimized is even more problematic. No one can figure it our well enough to properly adjust so, just let it be. And, introduce variances incrementally.
When it comes to writing, I think sometimes you just have to let it go. Don't overthink it. Hard to say when there is nothing to add tho. I started recording my stuff and the feeling to have stuff out there is so great, so that makes me get to grips with writing. If anyone wants to check it out, my stage name is Eugene is Dead. I have 3 songs out called "Moon" "Don't Go" and "Anti-Gravity". Looking forward to some streams to finally get rich on Spotify streaming money 😂😂 Cheers
My theory of your ailments would be that Simon has been having nightmares; first of micing the rigs and managing the disparate levels, then of masking the boards and doing transitions, and finally tormented by speaking over the reverb trails. Thus these ill vibes echoed through the Auld connections of TPS and afflicted you all in turn like the bloody ghost of Christmas Past, Present, and Future
I must have butchered my superchat comment. I meant to shout out to Andy and a guy called Taylor at Guitar Sanctuary. Andy was to have signed a certain number of Muse pedals but since he's such a great guy, he signed an all of them. I called Taylor while he was already tending to two other clients and he still made sure my Muse got out in the post that afternoon. The pedal itself sounds fantastic and is simple and predictable to adjust. I only have two amps, a Morgan AC20 Deluxe and a Magnatone Twilighter stereo (two very different amps) and it sounds superb in both. It's an instant addition to my board. Andy, as everyone in the TPS community knows, simply couldn't be a nicer guy and we all benefit from his exacting standards when working with Robert Keeley. So shout out again to all of them. Cheers!
I don't know if you'll read this Mick, but please don't take my other posts as criticism of you. I'd like to add that I really like your singing. I had some vocal training and fronted a few bands in the 80's. I'd like hear more of your singing as well as your tasty playing.
Not at all G. I’ve grown to know you well enough that the technical details matter a great deal to you. I’m the polar opposite- I don’t care what the numbers say, my day-to-day lived experience is what informs my comments… and it is always changing as I experience more. Cheers!
@@ThatPedalShow Yes, specs don't really matter compared to what we actually hear, but they can be useful when trying to determine what influences the sound in a signal chain, which can help eliminate confusion. FI, whether it's actually the sound of a gain pedal or how hard it's driving an amp. You'd generally have to use your ear rather than a spec to find close to unity gain, but it's still worth trying to find unity gain to better know the pedal sound vs the amp sound. BTW, your perception of better stereo seperation or deeper soundstage might just be from something like vinyl surface noise. Low-level noise can have a stange effect on sound perception. Dithering applied to recordings reduced to 16bit can increase the percived dynamic rage up to 110dB, even though the noise floor is still only -96dB.
Because That Pedal Show has never been about our music. You’d think it was a logical extension, but most people who watch want the shows to be about them, not us. We think.
@@ThatPedalShow Your humility is what makes you guys so likeable and watchable, but you could play a song using the pedals in context once in awhile, kind of like JHS pedal reviews, but with your own style. anyway, great show as always.
What type of OD would you recommend for the orange style amps....very mid focused so I'm guessing a transparent od? Nothing like a TS that's more mids...
Lovely singing, Mick! Would be great to hear another song every now and again.
Good job Mick! Keeping it together for us , the fans of the show , and Dan. Wish you well brother.
Great video and so refreshing to hear singing, awesome voice! Thanks!!
Ray LaMontagne....fantastic. It does feel good to sing. Get well soon Dan
Delightful to hear a solo set this evening, Mick. Thanks for putting yourself out there for the community rather than taking the easier route.
Chappo!
Chapeau? (Chappo is Spanish for short man - that ain’t Mick!)
@@cmadelaide56 Go back a few years to the Hindsight-tour episode with Joey Landreth. Capo’s, denim, fake Italian accents…..I don’t want to ruin the punchline by saying anything else.
Hope you enjoy mate.
Unexpected Ray LaMontagne. Lovely. What a fantastic album Trouble is. Glad Dan is otherwise okay.
Yah, even better when you bump into Ethan Johns down the local boozer and he’s guesting on drums. Madness! That actually happened
Great singing Mick encore encore
Strat pickups: went through a bunch of mid-60s very good clones, settled on Monty’s ‘Full Monty’. Fab output and still clean up beautifully. You always know exactly which pickup you’re on, even in a band mix, with looking, which is also handy.
I agree with Mick re seeing a Sports Physio for RSI. Over the past 30 years I've been fortunate to rub shoulders with High Performance & National Team Physios. The latest is "any pain is a weakness". Rest and strengthen. Good luck with it
Great singing, Mick that was awesome!
Greetings from waterlogged Los Angeles, we are currently using our guitars as flotation devices.
Oooo-at least one partial song to start or end vcqs from now on, please-love it!
Dan, get well soon. Blessings my friend!
Get well Dan, soon!
Great show as always. Thank you Steve Maass for the Superchat gift to my question. Thank you Mick for the perfect answer. You told me exactly what I wanted to hear. The ability to use G3 (which is brilliant and can handle any creative idea I throw at it) and two wonderful Kingsley pre-amps in mono, dual mono, wet/dry and stereo applications will elevate me from one level of tone heaven into the next and the next, on and on. Thanks again. Cheers!
Love the outro Mick.
Loving to eat without resources to access a good cook I had to become one. Then I got married to someone who needed someone to cook for. I then needed only to encourage that motivation. Then I had to learn about the proper diet and fitness. I have excelled and so has she.
I’m running a Meraki into a Poly Verbs, all stereo, and it’s the most inspirational combination I’ve encountered in ages. You miss the occasional switchable preset but for my stuff it’s easy to tweak between songs, and you can save any of the existing presets with your settings. See how long it takes you to go stereo rather than WD… I haven’t looked back.
Great show Mick - well done for taking it solo.
Greetings from Toronto in Canada. GWS Dan!
I was in high school in 1988 before I even saw my first CD player. And remember when people used to hang them from their mirrors because they “looked cool”?
All the reverends i play have the treble bleed. I use the tone pot much more than i did before i had that. There's a sweet spot, you just have to find it imo. For the fuzz face thing, its definitely there, but once you find that spot, well... ive found that it sounds like it would with out it, just with knobs in different places. I wouldn’t make the change for that purpose, thats just me.
On the stage volume vs tone controversy: The loudspeaker (or IR) is the biggest factor in tone. The way to minimize ear fatigue is to use a speaker with a dip in the 3-3.5kHz most sensitive human hearing range that also doesn't reproduce full transients. As great as is the EVM12L, it's one of the worst candidates. The most obvious choice is some type of G12M. Some "faster" larger magnet speakers with that dip are also fine, particularly with a more "saggy" amp.
It should also be noted that AlNiCo powered speakers don't necesarily compress more than Ceramic. It depends on the magnet and voice coil size vs the speaker mass, suspension, air volume loading, etc. FI, the AlNiCo JBL D120 with a 4" voice coil was one of the most dynamic 12" speakers ever made. Incidently, any speaker can suffer thermal compression if the voice coil heats up enough, but that's a different effect than the compression when the coil voltage exceeds the magnet power and temporarily reverses the polarity of the Steel surrounding the coil.
Lovely singing Mick, you should go out and gig more often, either solo or with a band.
Best wishes to Dan, I’ve had that fatigue causing virus, just getting over it, its s weird one.
I do a few gigs a year. Enough to keep me interested. Almost! Hahaha!
@@ThatPedalShow sure I’m the same, I did maybe ten gigs last year, enough to satisfy my love of playing live, but plenty enough before my body duth complain 😂
Feel better Dan!
Great job, Mick! Solo gigs can be tough, but you carried on with aplomb!
LOL 100% with you regarding a no boom mic stand with the leg right down the middle. I feel less alone in the world now :P
On the question on downsizing. I've ended up with two boards, one with an overdrive, compressor, tape echo/reverb and space for another (either a fuzz or chorus depending on the gig) - and my at-home spaceship board with switcher, loads of midi and versatile pedals that i can run wet/dry(/wet) and experiment with loads of different sonic options. Great for home studio, recording and for my back not having to lug it to gigs and rehearsals! Realise this is a luxury but certainly best of both worlds. And of course an excuse to have more pedals...
Sing it baby! Get well Dan-o!
What a lovely ending! Just beautiful Mick! Get well soon Dan!
I got my pedalboard down to four pedals on a D'Addario Xpand board. TU 3->Mjolnir->Keeley Caverns->Boss IR 2. We record in a basement where actual amps really aren't an option, so instead of bringing my Tonemaster Twin and a pedalboard with like 8-9 pedals, this is it. It forces me to play the basics better.
get well soon Dan
Also-another Lindy Fralin pickup lover here. I have his split coil pickups in my Fender Mustang, and they are fantastic. I haven’t liked most noiseless pickups I’ve heard, but these use side by side coils, more like a p-bass pickup, and they are really good.
Double thumbs-up for that ending. What was that ending tune, BTW?
Ha. There's nothing I like about nitro finishes, especially the way they age. I haven't gotten to the point of metallic flake bass boat finishes yet, but I do like a durable glossy finish. Different strokes, for uh those who erm stroke a lot, or something...
Have to agree about the Fender Fat 60's, legit recommendation!
Awesome sign off, Mick!
If you don't know whether or not you like soft, hard or asymmetric clipping... buy a mixer pedal and mix them all in parallel. Heck you can eq all the pedals differently pre and post, use boosts pre or after.
T0 Eliot B: On the subject of knowing when the song is done: One of the few subjects on any music channel I can speak to with any authority?
YES! JUST GET IT DOWN. THEN PLAY IT.
If you are looking at releasing your work once your idea is solidified, consider spending the money to record it either at a professional studio, or with experienced people who won't blow smoke up your....ummm... knickers.
Many-I would say MOST- great recordings came about because the collaboration extended beyond the practice room.
Mick, I am with you, I love green tea. Mind you, I have to do decaffeinated, because the caffeine is no good for me. But I have a friend who cannot stand green tea, she says if I wanted to drink grass from the lawn, I would drink grass from the lawn lol.
Thanks for answering my question about the delays Mick!! I’m trying to minimize my board. So as of now, I have a strat and Les paul that I play through a Tone King Imperial MKII. I’ve thinned the herd down to a Peterson tuner, D&M Drive, one of my delays. (Echoplex or oracle), then cloudburst reverb. I’ve kinda found that it’s all I need at the moment. I love both delays, but lean towards the echoplex. Get well soon Dan!! Thanks!
Be awfully hard for me to pull my Echoplex from my board.
@@stoneyblues I know…..feel the same way every time I play it
love the echoplex so much that after searching and searching for another (longer time) delay to go along with it... I decided to just add another. One with tap tempo for longer delay times or tapped to the rhythm, the other for short echoes, works brilliant
From the states, I love N.R.G. effects from england
After hundreds of gigs I preferred my '65 Bassman through an EV Force-12 in a homemade plywood cab stuffed with insulation over that and a 4x10 Fender Bassman cab and JCM 900 and the same Fender cab.
EV all the way.
Let's get something straight about recording mediums, folks. You may prefer one medium to another for whatever reason, and that's fine, but vinyl has much less dynamic range than a CD, and less still than a 24bit file. First of all, vinyl can't even capture the full dynamic range of the 1/2" analog tape the platters were traditionally cut from. The mastering engineers have to limit the range so the needle won't jump from the groove, and it's even more limited at the end vs beginning of an album because the distance at a speed is more limited. Part of the process involves reducing and then boosting the bass, but it still can't match the capability of even a 16bit digital word. Digital can also reproduce transients much more accurately, potentially going from silence to the loudest level for a given bit depth in one sample. That's 0 to 96dB for a 16bit CD. A 24bit word has a theoretical 144dB range, but analog circuitry is generally limited to ~120dB-- much more than any vinyl record can deliver. Other than the poor digital encoding tech and practices in early CD production, the crisper transients is one reason people don't like CD's, but it is closer to the original master than Vinyl. As for stereo separation? Digital can potentially do complete separation, but it depends on the converters. Any Modern DA converter will likely far exceed the channel separation of any needle or phono cartridge. As for freq response? Again, the limit was really in the tape, but only infants can possibly hear up to 20kHz. There is some merit to the argument about the steep LP filtering required for a 44.1k or 48k SR. The ringing effect isn't necessarily unpleasant, if perceptible, but I prefer 96k just to be sure, and the smoother LP filter does tend to sound more "natural" when I compare.
Regarding the actual Tape delay vs digital recreation of one. RUclips might lead us to conclusion that the digital units now are just good enough. My Giging experience with TRex Replicator is, that even live in a band mix and even for non guitarist audience, the digital units still has long way to go.
The value of a song performed is regulated with the artists "Now-ness' of the performance. Stay alive to perform alive. Practice alive to stay ready. A song may be "finished" but must never be delivered "dead". Those who "hear" will receive the life of the performer. The performer will benefit from the live delivery.
Aww, man. Just returned from a dog walk and missed it! How did our gallant Mick do? See you next time, Dan!
Great singing man!
Mick, I get that it might be in your nature to be at least a little self deprecating so I understand the need to apologise for a whole episode of your voice. I however really enjoyed hearing you sing. Maybe we could hear more in the future?
Thank you kindly! Yeah I’ll sing wherever anyone asks!
Overdrive eases into distortion. Distortion discounts easiness. I prefer things more easily controlled so I can find the broader sweet spot.
Mick, I brought an SB56/v to an experience day in Nov 22. It has lollar P90s and an antique varnish finish. When you played it, you said ,'Ooh, that's a proper guitar '. It's a spectacular guitar.
YES! Nice one John!
Nice singing at the end. Looking forward to the Wantage gig. Best wishes to Dan.
Enjoyed your outro song Mick, dig the show
Thank you!
gotta check out the cab/amp company Port City. I A/B'd their oversized 2x12 against my Marshall 4x12 and the 2x12 sounded bigger and better. I sold the Marshall and bought the Port City 2x12 and haven't looked back.
Nice mick 🤘
Love that tune
I care much more about the creativity coming across through a recording than any technical aspect of a recording process or the resulting fidelity. When I listen to recording on vinyl, CD, or on computer (streaming of not) I am not allowing my awareness of other issues to rob me of the learning experience. The sharing of the creative artistry is (nd should be) the main point of any recording whether audio, visual, or writing.
Totally agree. Now imagine if that amazing performance is captured well. Gold standard.
Developing an ability to perform requires opportunities to do so. The main provider of opportunity is the performer. Venues come and go. The artist and their art are intended to grow stronger together. The expression of that growth is the proof of it. Whether or not anyone other may respond to the experience of sharing, it exists, primarily, for the benefit of the art. It's value cannot exist beyond that relationship with the artist Develop and build on the relationship and invite others to share in it.
And now my mind (and RUclips viewing) has squirreled off to Ray LaMontagne.
would love to hear the joey two rock soon :D
Vinyl has a frequency that no digital format can duplicate
Some of the best songs have been recorded in a half hour. Black Sabbath's first album was recorded in a day. So rehearse it 'til you feel it is right and then record it. A second go to get variety and a third in case of any technical foul ups
Great show! Will your gigs with Andy T be recorded and put on your channel? Hope so.
Unlikely. We know that people would like it, but it would add stress to the shows that nobody wants. And cost that we just can’t afford. Cheers!
Been meaning to listen to revealer since it came out just whacked it on now
As someone who enjoys fiddly itchy guitars this is scratchjbg the itch plus a lovelt voice
I love the pedal movie.
Hey super Mick , made me laugh I haven't heard the " PETER NOTOOL GAG FOR YEARS" & as we all know " THAT'S WHAT HAPPENS WHEN YOU GO OUT WITH OLLIE REED" my brother in law once turned down, going for a drink with OLIVER REED , he regretted missing the opportunity, but on the other hand, maybe a wise choice!!! . Great singing Mick & all the love to DAN , & we all hope it's not A JEFFREY BERNARD SITUATION!!! . PEACE AND LOVE TO EVERYONE ❤❤..
Hahahhhah! Ah, comedy was better then. Cheers!
If your friend says he feels weird with his Schmidt array I’d suggest a different tact would be if you have it flaunt it less is less more is more .
One man and his dog went to answer questions…
Noticeable lack of tangents this week. Coincidence? 😂When will we see a show with the Marshall Bluesbreaker combo?
MIck, interested in the idea you mentioned of analogue delay before low overdrive with digital at the end of the chain, carbon copy obvious candidate but what about something like Catalinbread Echorec? Reckon that could work?
Absolutely! It would work, but it’s not analogue… it would work anyway. Sounds analogue. :0)
Talking about favourite guitars, and joining the vintage Gibson club… how do you find the neck on the 345, Mick? I just snared a literal mint 1966 ES-175 single pickup from a kindly gentleman in Sydney and I love the neck width, and that’s coming from someone with long fingers. I can’t understand how it makes the pencil necks any less valuable. Oh well, this guitar is going nowhere. All the best, you leg ends!
Cool guitar! One day we’ll get Dan a 175. I thought I wouldn’t be able to deal with it… but it’s supremely comfortable. Like my old Strat, it’s the increase in depth of the neck towards the 12th fret that I really love. Yeah, it’s been a surprise!
@@ThatPedalShow I think I can speak for a few here to say we're excited to see you both honing in on the guitars that truly inspire something more than just playing. Thank you for inspiring me to find my forever Gibson. The 345 into both channels of the Deluxe Reverb was SUCH a cool sound. Keep rocking, legends.
Homeostasis is the gold standard. But getting optimized is even more problematic. No one can figure it our well enough to properly adjust so, just let it be. And, introduce variances incrementally.
When it comes to writing, I think sometimes you just have to let it go. Don't overthink it. Hard to say when there is nothing to add tho. I started recording my stuff and the feeling to have stuff out there is so great, so that makes me get to grips with writing.
If anyone wants to check it out, my stage name is Eugene is Dead. I have 3 songs out called "Moon" "Don't Go" and "Anti-Gravity". Looking forward to some streams to finally get rich on Spotify streaming money 😂😂
Cheers
Richard Thompson plays a vintage strat with one modification. He's taken the volume knob off
Niiiice!
if someone in the chat asked whether you would refin that PRS, you would probably answer: "no, just move it on and get a guitar you like more"
Mayyyybeeee. But it’s a great guitar and the finish has milked. Seems like a fun project.
My theory of your ailments would be that Simon has been having nightmares; first of micing the rigs and managing the disparate levels, then of masking the boards and doing transitions, and finally tormented by speaking over the reverb trails. Thus these ill vibes echoed through the Auld connections of TPS and afflicted you all in turn like the bloody ghost of Christmas Past, Present, and Future
Ha! Cheers Paul. Simon hasn’t been with us for a couple of years now. :0) Me and Haydn do the edits. Cheers!
@@ThatPedalShow oh I know, it'll be the memories that haunt him. So many reverb trails
Mick, how about one of the new short-format episodes comparing the Geisha Drive and SD-9?
Yeah, awesome idea!
To Elliott Bull, if they come back- to paraphrase Louis CK: the song is over when you hate yourself.
I must have butchered my superchat comment. I meant to shout out to Andy and a guy called Taylor at Guitar Sanctuary. Andy was to have signed a certain number of Muse pedals but since he's such a great guy, he signed an all of them. I called Taylor while he was already tending to two other clients and he still made sure my Muse got out in the post that afternoon. The pedal itself sounds fantastic and is simple and predictable to adjust. I only have two amps, a Morgan AC20 Deluxe and a Magnatone Twilighter stereo (two very different amps) and it sounds superb in both. It's an instant addition to my board. Andy, as everyone in the TPS community knows, simply couldn't be a nicer guy and we all benefit from his exacting standards when working with Robert Keeley. So shout out again to all of them. Cheers!
Ah sorry man, I think I misunderstood and read it too quickly! Eeek!
No worries at all. You did a fantastic job today! Really well done! And Dan as well, who was very present in the running comments. Great job, both!
I don't know if you'll read this Mick, but please don't take my other posts as criticism of you. I'd like to add that I really like your singing. I had some vocal training and fronted a few bands in the 80's. I'd like hear more of your singing as well as your tasty playing.
Not at all G. I’ve grown to know you well enough that the technical details matter a great deal to you. I’m the polar opposite- I don’t care what the numbers say, my day-to-day lived experience is what informs my comments… and it is always changing as I experience more. Cheers!
@@ThatPedalShow Yes, specs don't really matter compared to what we actually hear, but they can be useful when trying to determine what influences the sound in a signal chain, which can help eliminate confusion. FI, whether it's actually the sound of a gain pedal or how hard it's driving an amp. You'd generally have to use your ear rather than a spec to find close to unity gain, but it's still worth trying to find unity gain to better know the pedal sound vs the amp sound.
BTW, your perception of better stereo seperation or deeper soundstage might just be from something like vinyl surface noise. Low-level noise can have a stange effect on sound perception. Dithering applied to recordings reduced to 16bit can increase the percived dynamic rage up to 110dB, even though the noise floor is still only -96dB.
There are no pedal board mic stand attachments?
There might be. Would need to be one helluva pedalboard.
@@ThatPedalShow boards are a good weight I would think for good stability
“It’s actually depressing” 😂
Sorry he is sick flu season. probably, How about Buffers, variacs, multiple loop switching,Bi-amping slaves other pedal-like ideas?
JFDI!
Content idea....DIY Pedal kit comparison and review
Why don't you link to more of your own performances, covers and otherwise. Cheers from Paul in USA
Because That Pedal Show has never been about our music. You’d think it was a logical extension, but most people who watch want the shows to be about them, not us. We think.
@@ThatPedalShow Your humility is what makes you guys so likeable and watchable, but you could play a song using the pedals in context once in awhile, kind of like JHS pedal reviews, but with your own style. anyway, great show as always.
what was the song as the start?
Jolene by Ray Lamontagne. MAGIC
would love timestamps
What type of OD would you recommend for the orange style amps....very mid focused so I'm guessing a transparent od? Nothing like a TS that's more mids...