Goredho

That’s easy. They are thinking the elections will be won without the need to garner the legitimate vote totals to win. And anyone who believes the 2020 election was stolen will accept that as a necessarily evil response. We think of free and fair elections as being in peril. The MAGA brain views them as long gone and believes that we are already living in a post-Democratic nation.

At what point does this GOP disunity signal that the GOP has effectively splintered into two parties that are as unable to work with each other as they are democrats?

Yeah, there is a learning curve that could be a barrier depending on one’s tolerance for such things. But they’ve done a nice job making it to where the complexity is kept squarely front loaded from any performance. It replaces 3+ pedals and during a gig, I’m only pressing up/down to switch between presets/boards or the 3 stompbox switches to turn the 3 fx on/off as needed. For me, that’s much preferred over fiddling with knobs across 3+ pedals between songs or sets to dial things in to how I had them at a rehearsal for that song or set. I would give my left nut for something similar for boost/OD/dist/fuzz and common gain/clipping circuitry patterns. EP boost, blues breaker, tube screamer, Klon, Rat, etc… arrangeable in various ways.

Yeah, it’s a real nice most-in-one thing along the lines of those Zoom chorus/delay/reverbs, but its much easier to control and does not audibly suck. The sounds are great and I can’t perceive a sonic diff from their standalone versions of everything they threw in this. My pedal board isn’t small, but I’ve got a lot of stuff on it to enable the one man band thing. The guitar signal chain is just a Rat clone -> Tonex amp profiler -> the Plethora x3. With those 3 pedals into a PA or similar FR/FR I can fit in with any musical style with any of electric guitar, acoustic guitar or electric bass plugged in to the front. I have room for one more wildcard pedal and I’m thinking it’s gonna be an envelope filter/auto wah for funk and psychedelic jam band noodling. Pic shows that signal chain footprint with a guitar pic for scale.

No help with the rotary pedal, sorry. What you describe about pickups and compressors is why I tend to like stuff with presets, so I can have different presets for different guitars, amps, songs or scenarios. I don't mind complexity if dealing with it is front loaded. I can take all the time in the world to dial in what I need, store it and then just activate it later whenever I need that back. Latest thing I am really enjoying in this regard is the TC Electronic Plethora X3. Basically every TC electronic effect you would put in an amp's effect loops (reverbs, delays, phaser, flanger, etc...) are available and assignable to 3 stomp box switches with different settings in a group called a "board" which is just their term for a preset. So you might make board/preset 1 for "country" and have a light reverb and slapback echo. board/preset 2 might be for "psychedelic" and you have a vibe, long echo and wet reverb, etc... Its pretty stinking cool. Yeah, there's complexity, but once you have a few "boards" made for different contexts, you are just choosing the one you want for a context and playing.

Would bang bang

They need to just come up with one derogatory label that applies to anyone who is not white, Christian and male to avoid all this confusion.

Joe Biden and the liberal media would have you believe they are milktoast. They are really trying to get you to believe that. Do you want to know why? Do you want to know why? I don't know, exactly. They aren't milk, or toast. Anyone can see that, but not Joe Biden. No. I think someone left sleepy Joe's bedroom door unlocked and he's out looking for breakfast.

Cletus: Go back to Mexico, n*gger! Other racists in the truck:

A murderers row of milquetoast

Yeah, I have never been a more informed voter than I am since we moved to Colorado. It’s clear, there’s plenty of information and I can consume it and vote from home via mail as my schedule allows. I’m not walking into a voting booth not knowing who or what half the ballot is.

Thanks guys, gonna be fun.

Sorta not my music, but cool nonetheless. My step brother used to be a Nashville songwriter in his 20s & early 30s with some success. He had some tunes recorded by Martina McBride, others. Anyway, he's almost an empty nester and so he's been getting back involved singing/songwriting. He entered Mo Bandy's 10th Annual Texas Troubadour Songwriting Classic and was picked as one of 6 finalists invited to compete on November 11th. Anyway, he is allowed one accompanist and he asked me to join him on electric guitar. Fuck yeah, lets do it. Here's a recent practice session of my favorite of his 3 songs. He's singing and playing acoustic guitar, I'm on the electric guitar. Mix isn't great as I'm just playing against his recording, but you get the idea. Wish us luck!

Arch should start.

I think there is a not-insignificant number of conservative politicians that don't want any part of a hot ideological war. They want to ride the cold ideological war gravy train. Its like they are suddenly realizing this shit is real vs paid performance art.

Yep, the only difference between Musk and that OceanGate titanic sub CEO is that Musk caught the wave of opportunity formed with the birth of the intardnet. Well, I guess that's not the ONLY difference between them.

This thread is nothing without the wisdom of Philomena Cunk.

I would like to state for the record that I would go down on Jo at a kid's musical.

Further follow up to this. I've played a couple guitar gigs with this Laney amp and Tonex pedal, and got enough out of it to completely shake up my live rig. Sold my AxeFX, power amp, speakers, foot controller and more and built a pedal board around the Tonex pedal and this Laney amp. Then to go completely fucking bananas, I got a 61 key Roland Fantom keyboard to take out live, either as a one man band or sitting in playing just keyboards. Started working with it all last night with the Aeros Loop Studio pedal (bottom left) where all the things could be looped, and it sounded great. This is a shitty no-low end recording with my phone here, and its sloppy because I was high AF, but you'll get the idea listening to a minute or so of this. The keyboard is voicing the drums, organ and synth bass all played into the looper, then with that looping, I played guitar with the tonex pedal and a few other effects from this board. All of that was going into the Laney amp at once, and then it was recorded with my phone. Given an unlimited amount of money, storage space and roadies to haul shit around, purpose-built equipment for all these different concerns would be sonically better, but for what I'm doing and the resources I have, I am super happy with the Tonex pedal and the Laney amp. I've owned two high end modelers, a Helix and an AxeFX, both priced well over $1000, and for pure amp/cab tones, this $399 Tonex pedal is as good or better. As for the amp, I now have one 1x12 combo sized package that works for any one of electric guitar, electric bass, acoustic guitar and keyboards or any of them in combination in a 1 man band context. I'm no longer lugging around a PA mixer, amp, two speakers, etc... All of that is built into the Laney's 1x12 combo sized package.

Saw Les, Bernie Worrell and Buckethead as Colonel Claypool's Bucket of Bernie Brains in Portland back in 2004. Was mind blown. Fantastic funk jazz country rock space fusion gumbo. Not from that show, but was a lot like this.

Les Claypool and anyone he plays with is ridiculously good.

You can replace it with the SurlyComp! I could see there being a useful single positional knob compressor that just has canned settings for styles. 1. Chick’s Pick’n 2. Funk 3. Clean Sustain 4. Hard 5. Soft. Each position comes with some appropriate settings for things like ratio, threshold, attack, decay, knee, etc… given the context. Bonus points for positions 6-12 to be user defined presets with an editor that gives full compressor controls and meters to see what they do. Also allow tweaking of the stock presets. I would put that on my board today.

Yeah, not saying that’s how that song was recorded, just what I’ve done to be able to poor man replicate what is heard on the record. You can use the release knob to drag out sustain without gain/overdrive. Totally agree about the arbitrary names. Like some of these compressors don’t have a ratio control, or it’s called something else, or level and ratio are combined in a single knob and called something else. With the meters on a studio compressor, I can see what’s happening as I fiddle with the controls and it makes what they do so much more comprehensible. I increase attack, I see compression happening faster on the meter. I increase ratio, I see more db reduction on the loudest parts. I increase threshold, I see the overall signal being compressed less as it’s just applying to peaks. When you can see what your knob turning is doing, you know how each of them affect the signal and you can let your ears take it from there. @AnotherUTFan needs to make a SurlyComp with a single knob labeled “Bevo Juice”. It should help manage dynamics without altering the signal throughout its control spectrum. Which is to say it’s just a no op pass through pedal with an unconnected pot.

I like to think of compressors as giving you the ability to fine tune dynamics, and unless your doing chick’n pickin’, funk or EDM kick pumping, you want it subtle and to balance it between note clarity and having a dynamic range to allow your playing intensity to come across in what the listener hears. Like who cares if you have the most beautiful melody if no one can hear it because your playing dynamics have it falling below everything else in the mix. Likewise, you can play technically brilliantly and be heard distinctly and it can feel flat and lifeless because there is no audible change in intensity/dynamics. For guitars specifically, a compressor at the front of your signal chain can significantly alter how your guitar’s signal hits the tubes and how saturated your final tone may be. I’ve mostly found this to be not desirable, but some people talk about it like it’s a feature. I like studio compressors added to a track after the fact as they don’t alter tone, just dynamics and I find studio compressors easier to dial in with a full set of controls and meters that give a visual cue as to how much compression is happening, when it’s engaging, when it’s dropping off. The pedal compressors tend to have gimped sets of controls and I find them hard to dial in unless I’m going for something not so subtle in the styles Deej mentioned. There are some less common uses of compressor pedals specific to guitars. If it’s got a level control (used to make up gain cut by the compression), you can use it as a very clean boost. If it’s got a decay control that controls how long compression affects your signal, it can be used to increase sustain without gain. Think Gilmour’s “Another Brick In The Wall Pt 2” solo where his guitar is clean as a whistle but he has this amazing sustain.

When your party shits in your eye and gives away your pizza pie That's not amore