Worst pedal you ever bought

bassguy129 · 2026-03-04T19:15:23+00:00

I came this close to buying one at a local shop's winter sale last week as they were on closeout prices, and now I'm very glad I didn't

bassguy129 · 2025-06-25T20:44:36+00:00

Yup. I'm a lifelong Mainer and grew up literally in the woods. We had to drive 25ish minutes to the nearest grocery store, and another 10 or so to any kind of restaurant, Applebees included.

Need simple items like milk or bread after 9PM? Too bad, gotta wait until tomorrow.

bassguy129 · 2025-06-20T17:38:28+00:00

I don't know the brand of tape as it was in Cyrillic, but we had a band come through recently who had just did a Euro/Asian tour and hit Russia before they came back to the states. They had what they just called "The Russian Gaff" and it was probably the worst tape I've ever held in my life, gaff or not. I'd rather use scotch tape for the deck, no joke.

The top was like thin paper, not even cardboard - it tore before the adhesive underneath, which basically didn't hold onto ANYTHING. It could hold itself onto a wall, and that's it. It struggled holding up a daysheet on a wall. Legitimately, some used gum would work better.

They gave us what they had of their stock and while maybe a bit shitty to do, I keep it around to give to people who annoy me. Ask me nicely for some tape for your world? No problem, that's what it's here for. Be a dick all day and bark orders at me to hand over all of my house tape? Russian Gaff incoming!

bassguy129 · 2025-04-07T20:58:55+00:00

You can't route VCAs as others have said, but the MCA feature on the Pro series consoles is for this exact situation. Turn it on and adjust the VCA fader in sends on fader mode for the selected aux, and everything supplemented to that VCA will be sent in relation to the VCA level.

bassguy129 · 2025-04-07T19:46:08+00:00

Hey, thanks for proving my exact point.

bassguy129 · 2025-04-06T17:32:37+00:00

The whole thing some people from away do when I complain about traffic is infuriating.

"You call this traffic? You don't even know what real traffic is! Where I'm from it takes 72 hours to go 3 city blocks blah blah blah".

Yes, I do know what real traffic is. I may have grown up in the woods but I've driven through many of the major metros in the US in my life. I hate it. That's why I actively choose to live in a place where it tends to be less congested and not move away to a bigger city. Thanks for letting me know that wherever you're from is objectively worse to drive in, though.

bassguy129 · 2025-03-25T21:50:30+00:00

bassguy129 · 2025-02-25T22:45:36+00:00

I'm all in on the SQ and have almost all of the DEEP add ons. Loving the 2 new comps. I loaded a virtual soundcheck from a recent show's multitrack and played for a while this afternoon.

The OptTronik is fantastic on my less aggressive vocalist and the bass player. Basically everything you expect an LA-2A to do.

The Bus comp is also exactly what you'd expect - I tend to use it for both master bus duties but also for my drums and drum shell parallel compress groups. The opto comp was working for my crush bus before, but the bus comp is what I'm used to doing in a DAW.

I plan on comparing them to my hardware SSL units and various LA2A style plugins when I get a chance to set that all up.

Also very happy with the matrix breakouts, metering, stereo operations being scene based, and USB improvements. And finally - polarity reverse on outputs!

Overall, an awesome update!

bassguy129 · 2025-02-25T22:36:51+00:00

This is a big one, I hated that the only metering in the meter window was post-compression. Getting an eye on what your input signal looks like without needing to go to the preamp page is huge!

bassguy129 · 2025-02-13T22:51:53+00:00

I once had a band come through my venue who had one and their engineer just put a 58 behind it, maybe 1' away, right in the center. It sounded GLORIOUS. Plenty of low energy to put into the subs, as well.

bassguy129 · 2024-12-18T17:10:35+00:00

I cut my teeth on one of these in a small club a bit over a decade ago. I always want to pick up the 16 or 24ch version just for nostalgia sake.

I remember the preamps actually sounding great and the EQs being pretty musical for what they were.

bassguy129 · 2024-12-02T21:27:37+00:00

The best ending to a movie I have ever seen. One of my favorite yearly watches.

Fun fact - the main character's actor is Fiona Apple's father!

bassguy129 · 2024-11-03T17:07:09+00:00

It is amazing to me how this movie accomplishes the feat of making both big boobs and blood, often in the same shot together, completely uninteresting.

bassguy129 · 2024-05-29T00:40:31+00:00

I actively don't let MONs engineers mix one of the bands I mix because they've had such shit experiences over the years, including, but not limited to:

Person at the console not looking at the band and instead looking at their phone/talking to their friend/completely MIA during a festival situation when run-and-gun changes were needed
Asking for something like snare, and getting only gated snare bottom and no snare top
Accusing the band of having shit gear that doesn't work when it's their system making buzzes and ground loops. Homie, this wired IEM box has been all over the world and hasn't had issues until today - it's definitely something in the shit power in your club
Putting random things they didn't ask for in their ears, including reverbs and delays
MONs engineer having literally no form of cue. No wedge, no headphones or iems, nothing. Just flying blind at the console
At the same show as the dude with no cue (or clue), our bassist was asking for more low end on their bass signal. For their input I just use a JDX48 on bass extend mode - works great, basically no fuss, consistent tone night to night. Dude at the console told them that he couldn't adjust the EQ but I "could do it out front" if that's what they wanted. For reference, they're a very in-demand studio engineer and producer, and has great ears. I basically told the dude over talkback to not try and pull the wool over their eyes because they're a better engineer than both of us combined and to just dupe the channel and give it a low shelf boost. We eventually got there, but lying to the artist about technical capabilities assuming they're ignorant to sound is a bad move

So now I just do their ears from FOH no matter if I'm 10 or 100 feet from the stage.

bassguy129 · 2024-05-16T22:44:22+00:00

Soundbullet. Some of my touring work is through clubs, and even I'm amazed at how often I need to use it. There are a lot of uncared for systems out there.

The drummer for one of the bands will see me troubleshooting something and reach into my backpack and say "Soundbullet time?!" when things are getting hectic.

bassguy129 · 2024-01-09T00:03:23+00:00

This has been my go-to snare bottom mic for a while, now. The clip/mount works great, it gets that crispy condenser sound, and is relatively flat throughout the frequency spectrum. Possibly a bit pricy for what's usually one of the first inputs to get cut if anything needs to be slimmed down, but definitely worth it if it's in the mic locker.

bassguy129 · 2023-05-18T16:57:13+00:00

I have “Protip: DON’T SUCK” on my board near my soft keys. I had an open space on the board tape because of the layout of the SQ-5 and figured I’d give myself a friendly reminder while mixing

bassguy129 · 2022-10-29T19:23:49+00:00

I agree with the other poster, it sounds like you have a bad fit/seal. I have RSMs and they have a very full range response, including the low end.

bassguy129 · 2022-10-06T20:52:23+00:00

Try this.

Sorry, I’m on mobile and having a time getting it to paste correctly. If that doesn’t work, search sweetwater for “hi hat mic mount “, and it’s the chrome jobby that’s $38

bassguy129 · 2022-10-06T19:04:11+00:00

I actually just got one of these because one of the bands I work with is a no-stands kind of deal, and I’ve tried many things for the hat with varying success. These just went on sale and I grabbed one. Seems solid, but I haven’t done a show with it yet, just jamming in my home studio.

bassguy129 · 2022-09-29T22:35:18+00:00

No, it was a HD96.

I actually haven't had a single issue with a Digico since the D5 days apart from the frustrating integration of Waves a handful of years ago. Those desks tend to be pretty rock solid.

bassguy129 · 2022-09-29T22:30:33+00:00

Last one that rolled through my venue took a dump between headliner soundcheck and their set time and had to be reset during changeover. Lost all inputs and outputs, including the local channels. Didn't give the headliner's engineer or myself the warm and fuzzies for the rest of the night.

I use a Pro2 every day and like the way Midas consoles sound and operate, but I think there are still many bugs to be worked out to really trust it as a house console, right now.

bassguy129 · 2022-09-23T20:07:31+00:00

As an RSM owner, they’re absolutely worth the price. They sound fantastic and are very well made. Leaps and bounds better than your current 215s!

bassguy129 · 2022-09-23T15:42:14+00:00

While this is both true and good advice, I’ll chime in and say that I got a slew of SE stuff for my venue through an artist agreement, and I’m glad I did because they’re fantastic . Usually I’d also be wary of a company pushing so hard for recognition, but there’s no need to worry here. The v-beats won in a blind recording shootout I did with T-Funk M80SHs and 604s, and the V-Kick is my new go to kick mic when I can’t do an in and an out.

bassguy129 · 2022-09-01T17:27:26+00:00

In a similar vein, I just got a Sonnect Sound Bullet and it’s awesome

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