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Some authorities are questioning the legality of the whole enterprise. And there are lingering concerns about gambling and addiction , particularly with the number of people sequestered at home and the opportunities that could be suddenly available to lose significant amounts of cash. Mobile betting for professional sports could theoretically function in a similar way.
Currently, the servers for horse betting are located at the racetracks. In both Cuomo and the legislature's proposals, the servers for mobile sports betting would be situated at places where bets are already taken, like casinos. The system would be akin to how the state-run lottery functions, with possibly only one or a small number of operators overseeing sports betting. Overall, sports betting is now legal in more than two dozen states. An identical statement was sent to Gothamist from Freeman Klopott, a budget spokesman for Cuomo.
In New Jersey, which is generally viewed as a success given the number of people who place bets, there are as many as 17 legal online sportsbooks. We are outside looking in. New York right now is a three-wheeled car limping along in the right lane. New Jersey and Pennsylvania are speeding by us. Bennett Liebman is a government lawyer in residence at Albany Law School who previously advised Cuomo as the deputy secretary for Gaming and Racing.
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We are laying the draw on odds of 3. The underdog team scores first goal and their lay odds go down to 1. At this point we have to use Metaltone strategy: back the draw at odds of 3. What happens next? There is a timely equalizing goal from favorite team If the pre-match favorite team scores an equalizing goal soon after you have placed Metaltone bets, you will be awarded with nice profit. There is a late equalizing goal from favorite team If the favorite team manages to score a goal late in the game, it may not be enough to make you a profit.
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In fact, just leave it turned off like I do. GEQ is not used to make each sound. We just had this discussion over at the Jackson fansite. Someone just had the opportunity to open for Whitesnake. He said that they sounded amazing. He checked out the rig and the settings. And then the next night, he got to jam on that rig.
He was amazed that there was so much gain because he was always under the impression that too much gain is bad. Everyone in the discussion, but me, was telling him to turn the gain down because "it won't sound purdy". Dumb lollipop mother lollipoppers, the very celebrity musicians that they admire all have their gear at The guy just said that he saw the gear at 10 and loved the sound.
He said that he sounded amazing when he played that same rig tone is not always in the fingers and was getting all sorts of tones out of his rig yet, they still told him to turn it down. They're so stupid. Find what you like and do the opposite? What kind of philosophy is that! IMO if you want to fool around and learn about compressors - start with a clean patch and pop the compressor in and out playing at various settings.
For say a country tune if you are hitting the rhythm pretty good it will keep the volume spikes in check. For the lead parts I wouldn't use one too much but that's not a rule. High gain is awesome if you have some good technique down - palm muting, accuracy, etc.. However, I'll give you the fact that each person has to come to a conclusion about gain to match their own tastes. But to say Whitesnake is the example we all want to follow?
Hendrix used relatively little gain in most of this songs, Clapton or George Harrison or even Stevie Ray Vaughan weren't huge gain monsters. That being said, if you're taste is purely hard core metal, then gain is likely your best friend.
But you should be aware of the double-edged sword that comes with it. It was part of a larger discussion. So, no, it wasn't just Whitesnake that we were discussing. In that forum, yes, Whitesnake and bands similar are the tones we look for. I wouldn't go to a classical music forum and expect people to look for an electric guitar as the answer to their questions.
So no, here, I would even bet there are people who don't even know who Whitesnake is. It's a demonstration as to how the rules we were taught don't use too much gain for metal don't translate into the real world. Back in Jimi's day, the rule was "no feedback. Obviously, you need to make it sound 'good', but so many people are afraid to turn it up. I stand behind my statement here the same as I did there. Turn it up! I find it baffling, that the guy over there said that he found his dream tone and how to make it, but caught criticism because it wasn't "following the rules".
How can that be? Less is never more. More is more. I'm always baffled by people that say less is more. That may be true, but only in some circumstances. The trick is identifying when less is more and when more is more. There is no absolute either way. Therefore, it's a dumb "rule", or even guideline, to begin with. Go with what works. Find out what works through experimentation. Well when the initial complaint is "my high gain tones are muddy and getting lost in the mix", which is basically what the OP said, then he's got nothing to lose by trying another recipe.
Back in the good old days Maiden, Priest, etc, weren't playing with the super-saturated tones that you hear so often today. It's not any better or worse Don't think anyone is accusing those guys of not sounding "heavy" enough. Many times its the "Metal Zone" syndrome. The pedal sounds kick lollipop in the bedroom - awesomely scooped EQ. With the band - oopsy doodle - better EQ the mids back to be heard. Unfortunately in my almost 50 years of playing live and in recording studios it seems like the curiosity level of people new to the business seems to have dropped off considerably.
Granted 40 years ago technology was just beginning to make it's entrance into the business. But most people were eager to understand it and learn how to use it and tame it. That's what I really appreciated about this original poster of this thread. I work with a lot of younger musicians and the trend has been to jump on the bandwagon of something new without really understanding what's under the hood.
I realize there's a lot more technology not only in the market, but amassed into the small footprint of a unit like the POD HD. At least this poster seems to be genuinely interested in how things work and what they do, which means he'll likely be more successful at using the unit and getting what he wants out of it. I know through the years I spend countless hours in book stores and later on the internet reading and trying to grasp the intricacies of these technological advances.
Now we feel blessed if a new user comes on here and has actually read the manuals. In my younger days I would have traded my left leg for access to the depth of information available instantaneously like we have now. You can post now and register later.
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HDX tone building videos. Update to 3. Reply to this topic Start new topic. Recommended Posts. Posted March 21, Share this post Link to post Share on other sites. Posted March 22, Because it has been all of 3 hours since I had to say this, I think it is time for a repeat.
To make myself more clear I am wondering what steps one needs to take to achieve the best high gain tone no matter what amp and what settings for recording, and live performance,. And metallica is using fractal now and testament is using kemper I have just started messing around with some different combinations..
I'm not sure I like them any better. I like that I can control the distance with the stock IR's.. I've been experimenting a lot with blending cabs and IR's.. A couple of tricks I use on all my presets: use the amp bass control to cut the low end out if you want a tight tone - you can always add low end with an eq block after the amp.
I do use gate on the input block - it does affect my sound but not in a negative way. And compression can also be added to taste. I'm into testament, slayer, exodus etc. Sometimes i also use 3SA's but not so much. I hated the Mark IV patch at first for high gain stuff - it took a lot of tweaking.
But I've dialed it in pretty good. I have a Mesa JP-2C that I love, and use for rehearsal and live settings - but I've been looking to get close with the Helix for home recording and practice to save wear and tear on my tubes. It's not quite the same, but I've worked at it a while and finally got a great sounding Mark IV patch. I'm similar - I do use a slight amount of delay on my rhythms - more to round out the sound then for sustain you need for leads - and it works well.
One thing with Helix - you sometimes have to think outside the box. Like I mentioned above - the Mark IV patch I've been working on took a while to get there and I've had to do things that I wouldn't normally do with a traditional amp signal chain.
I also use 2 very different IR's in a dual cab setup, both from Ownhammer - but one is a Mesa 4X12 rectifier, and another is an Orange 4X12 - I played with the different mics and placements quite a bit to arrive where I am. Like I said, not stuff I would do in a conventional analog world, but the great thing about helix is you can really experiment with just the cost of the unit and a few IR's.
In the real world, this type of tweaking would cost many thousands. I wasn't too thrilled when I first downloaded it probably because the user who made it is using different output speakers and guitars , but sounded closer to what I wanted then a bunch of other patches.
It gave me some great ideas for my own patch - and fiddling with it got me some good results. Another thing, find a decent base tone with a patch, then save that patch, then again to another spot and you can experiment without destroying the base patch It won't take you long to get where you want to go. Finally - the old adage is true - you dial in tone with your ears, not eyes. With Helix, it really goes further in trying things you normally wouldn't then listening to the results. It seems limitless, and it is, but it doesn't have to be a lesson in agony.
I've now got live patches for my traditional tube amp in 4CM, as well as patches for about 5 different genre's of music, heavy metal included. I have always struggled with the Rec amp in Helix. I tried to dial it in again last night with a bunch of different IRs, for no more reason than my own enjoyment. I keep coming to the conclusion that the Mark IV gets me much closer to the Rec sound I hear inside my head.
I am starting to agree with you there.. You can post now and register later. If you have an account, sign in now to post with your account. Note: Your post will require moderator approval before it will be visible. Paste as plain text instead.
Only 75 emoji are allowed. Display as a link instead. Clear editor. Upload or insert images from URL. Delay in Support Request Responses. Update to 3. Reply to this topic Start new topic. Recommended Posts. Posted May 7, I have been working feverishly and losing sleep trying to get my sound.
I think I'm pretty close. At times I hear things I don't like. At other times it sounds amazing. Everybody talks about cutting the low in the highs excetera excetera. I would love to think I could get a good sound without all of that out of this unit. Sonar Pro.. I've tried compressing. Which I've never had to do before. I'm sure there's a huge learning curve here to match a real rig. What's your secret for a good metal tone on this. Mutant guitar amp speaker mic thing in a box. Share this post Link to post Share on other sites.
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