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  • John_AJohn_A Frets: 1539
    Easiest way is to roll each of your current 'scenes' in to a Helix preset, you can then either set it up with a pile of stomps, or use snapshots to save tap dancing if you need to switch on or off multiple stomps at once.

    You could probably condense a few scenes in to a single preset, but it really depends on how you want to work.

    I'm sure a Helix or Headrush would make your life easier and sound better too

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  • Trude said:
    Okay chaps, here's some more detail on my setup:

    The set list is all over the map - ABBA to Black Sabbath via Bowie, Paul Simon, Chaz n Dave, Queen etc.  We typically have roughly 2x 1hr sets, with about the same amount in reserve and to swap in and out from gig to gig.

    This is how the M9 is used:
    Scene1:  Chorus, Phaser, bright delay, warmer delay, long plate reverb, shorter ducking reverb.  This one covers more than half of the gig.  
    Scene2:  (this is for the 50s/60s stuff).  Trem, Slapback delay (two versions with different mix level), spring reverb, room reverb (rarely used).
    Scene3:  This is my "pitchy" scene.  I have two harmony settings (one for Mamma Mia, one for Tiger Feet), and a subtle tap delay to fatten up Mamma Mia.  We medley Don't Stop Me Now into Tiger Feet, so this scene also has a chorus and doubling delay I use for the solo in the Queen song
    Scene4:  This is my Bowie scene!  Top row of three is for Heroes (vibe, delay and reverb - dialed in together to give some approximation of the Fripp parts with a hint of movement to help simulate some of the sweepy filtery bits).  Bottom row is Let's Dance - vibrato, slap echo into tap delay (again, trying to straddle the guitar and synth parts on the record)
    Scene5:  Neglected recently, but this is where I parked some 80s- specific stuff.  I had synth parts and mod/delays for Don't You Want Me and Just Can't Get Enough.  One row of three effects for each.
    Scene6:  The hard-rock scene.  Not completely full yet, but there's a univibe for any time I want a faux-Hendrix thing, a ring mod for the solo in "Paranoid" and a delay setting I use for a modern-rock arrangement of Paint It Black (a one-off for a Halloween gig we have coming up)

    All my drives, boosts and wah are in front of the M9.  I also have a Tech21 Leeds between the drives and the M9 so I can go into a power amp/FX return if I need to.  Other times I'll turn that off when going into an amp front-end.

    I actually really like the fact that the M9 only allows one effect at a time per block, as it means I can easily toggle between two settings (eg phaser and chorus) in scene1 with just a single press.  Any effects that I never want to combine together, I just arrange them vertically and that takes care of it with no further thinking required.

    I also tweak my Crunchbox on the fly for a few different applications.  I usually set it for a saturated rhythm sound, but sometimes I will bump the level and roll down the tone (eg for the fuzz solo in Easy by the Commodores).  

    So, there's a bit of space left in scene6, but beyond that I'd have to spill out across more than one folder, which would be a pain to navigate live.  I've grouped the scenes by musical theme like this because obviously you can't assign names to anything, so I have to remember which scene to open up for each song.

    All this works for me now, but I'm aware that I'm running out of space, and I'd like to go to a single-box setup as well as potentially benefit from more diverse amp modelling options.

    Sorry - I seem to have written an essay!  :tired_face: 
    What drives and boosts are you using?
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  • TrudeTrude Frets: 321
    Yeah, but then I'm back to the problem of wanting to tweak my drive pedals and having to copy the changes to all those presets.

    I know for a fact my OD3 will end up with knobs in a different position for each gig depending on my amplification/monitoring situation.  IEMs vs floor wedges, big rooms vs small, my amp vs shared backline, rehearsal vs gig setup, different guitars etc. 

    It's weird - almost all of the manufacturers tout the fact that they can simulate stomp boxes.  And they can, in every way except for how they really behave in practice - ie as an isolated and independent device whose settings aren't affected by anything else.  Frustrating, because it would be so easy to achieve in software if they only chose to do it.

    I'm not trying to knock anyone else's way of working by the way, or choice of gear.  I just know after trying multiple times to use presets with onboard drives (GT5, GT8, GT10, M13, Nova System, G5) that it just doesn't work for me on stage.  
    Trading feedback here
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  • John_A said:
    Easiest way is to roll each of your current 'scenes' in to a Helix preset, you can then either set it up with a pile of stomps, or use snapshots to save tap dancing if you need to switch on or off multiple stomps at once.

    You could probably condense a few scenes in to a single preset, but it really depends on how you want to work.

    I'm sure a Helix or Headrush would make your life easier and sound better too

    He could have every single one of those effects setup in a single patch (pretty much) and select his which effects he wants on with a snapshot and switch to stomp mode to use his drives and boosts or whatever 
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  • TrudeTrude Frets: 321
    gibsongretschfan said:
    What drives and boosts are you using?
    Currently I have:

    Boss OD3 - for basic crunch.  I also use it and roll back guitar volume for a spikier clean sound
    MI Crunchbox - for all heavier drive and occasional wig-out solos.  Tweaked on the fly to suit each song (sometimes it's for a signature riff like Satisfaction, sometimes for a loud fuzz solo like Easy)
    EP Boost (1st in chain)- to thicken the OD3 and also to bring up my coil-split sounds up to match my full HBs
    Mooer Pure boost - post drives for solo volume boost.
    Trading feedback here
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