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"Oasis used to be relivent, Cigerettes and Alcohol and Rock and Roll star defined a generation of music lovers, total anthems for the masses. Now they just arn't as relivent." perhaps I didn't make my point as clearly as I wanted to. I Agree that early on in their career Oasis were more relivent than they are today. I was merely trying to put forth that this is largely due to the "newness" of Oasis' (or more specifically Noel's) songwriting in the early days as opposed to a drop in quality, which IMHO is simply not there. (bearing in mind that any debate over the quality of music is entirely subjective.)

I've got to be honest... I've never really understood what people mean when they claim Oasis "lost it" after WTSMG. Don't get me wrong, I quite like Oasis, but they simply are not an "innovative" band. Whatever they do, IMHO they've pretty much done it consistantly. Therein lies the one complaint about Oasis I (somewhat) see as having a solid basis, they are repetitive. Perhaps I just don't get something, but I fail to see how Oasis later work has differed enough from their early work to cause such universal dislike of the later. Perhaps it's simply that the "newness" of their sound circa 1994 eventually wore off.

Based on Jonny's effects usage in other songs, it's most likely several effects mixed together. He seems to have added a lot of rack mounted units to his rig, so it could be something there as well. I still think the general "heavyness" in the sound comes more from the natural tonal characteristics of the LP than any effects.

I've seen it mentioned that he's using a Sobbat Drive Breaker for Violet Hill, no idea if that's true though. Though, I'm also sure some of the unique tonality has to do with the use of the Les Paul as well (it's one of the old LP Deluxe's with mini-humbuckers like Andy Dunlop from Travis plays)

He averages about 3-4 effects per song, so with that kind of layering, it's often hard to pick out individual effects/settings...:\

The way he uses the MXR micro amp in conjunction with his reverb pedal has a fair bit to do with it. Instead of using the mxr as a signal boost, if you turn up the gain (or whatever they call the function-can't remember at the moment.) while using an valve amp, you can drive the amp into a slight form of natural overdrive (what a typical distortion pedal is designed to model). This in turn alters how said amp responds to other effects in the signal chain. Judging by the setlists w/ effects notations available online, Jon uses this a fair bit when he is also using reverb. (though these setlists are all from old tours and do not include the new songs) As for the space echo, it's only rumored that he's using one (for now.) I think it is used in a few of the new songs but am not sure. Also, the few photos that exist showing his new pedal setup (none of them good) show a box about the right size/configuration for the twin pedal version of the space echo next to his effects switcher.

I've heard he used the Roland Space Echo for some of the tracks on the new album. It can be used to reverse delay, so perhaps this is what we're hearing...

I must confess I fail to be "horrified" by this for 3 reasons 1. Most (if not all) of the s$#ty elements of this contract are fairly common to both modern A&R deals provided to new and unproven bands, contests where people submit creative work, or both. If I'm not mistaken, Coldplay's initial deal only alloted them around 80,000 U.S. to record Parachutes. These days labels (especially the majors) only offer decent deals to artists they absolutely have to. 2. The provisions alloted the winning band are fairly in line with what I would expect to be provided in a situation such as this. I'm not sure what the going rate is for local bands is where the person who wrote this article is from but most of the gigging bands I know (and I know my share) would count a $2000 payday a very good night. Also, about the 24 input channels thing, I really don't know many small local bands that could'nt suit their needs with that (or at the very least make due). As for tickets, assuming a 5 piece band, that's two comps each, which really doesn't strike me as all that bad. This guy seems to be under the impression that this is a big time support slot, which is hardly the intent of the contest; namely to provide a local unknown band a bit of free exposure and a chance to say they opened for Coldplay. 3. Only a complete idiot would sign a contract before reading it in it's entirety. If the terms don't suit you, don't expose yourself to the risk (Jeez, I kinda sound like my dad there...:laugh3:) The "between the lines" thesis of the article (namely that this contest is some kind of eleaborate front for Capitol to amass a royalty free stockpile of songs at the expense of unknown artists, is frankly, a bit laughable. Record labels have been screwing artists since the 1920's, if they really wanted to do so here, there are plenty of easier ways... The simple fact is many of the offending provisions in this contest are simply seldom used CYA provisions found in virtually every contest where people submit creative work (don't believe me read the fine print for America's funniest home videos sometime) I already know that record labels and Live nation suck a$$, so what's new here?:thinking:

Thanks, I've been looking for a decent clip, but with the bootlegs taken from phone cameras, It's really hard to make things out.:\ It's a really interesting tone he gets on this track (though part of the sound is the backing track)

what guitar does Jonny use for strawberry swing when it's played live?

Can anyone who has been to the promo gigs tell me what guitar jonny uses to play Strawberry Swing?

That's what I would have thought too. However, Jon didn't start using that pedal until 2005 by which time most of those songs were phased out of the band's live set.

I know Jon has one of these in his rig, but what songs does he use it on? I've been trying to pick it out for ages but can't figure it out...

What many of you don't seem to realize is that for a band this popular, playing gigs this big, many fans go to the gigs specifically to hear the "hits" pounded out by rote. The band is really put into a no win situation here, if they cater to the "hardcore" fans by playing deep cuts and b-sides much of their audience will likely have no idea what's being played, and if they merely played a "greatest hits" set, they will face critisism from their more dedicated fans. Many bands have talked about how difficult it is to balance these situations. That said, there was a published photo of coldplay rehearsing for this tour with a list of songs to practice and it included a fair amount of lesser known songs (Daylight, Sparks etc.)

Oasis routinely plays 15-16 song sets, and they still manage to sell out stadiums... What most people who complain about the length of Coldplay's sets seem to always ignore is that virtually all the band's the compare them to have far more extensive back catalogs to draw a show from. On the Josua tree tour for example, u2 (a band now known for long sets and setlist mix-ups) played a 17-18 song set that rarely changed (and when it did it rotated between 2 or 3 pre determined setlists). I think some people are put off not so much by the length of the sets per se, but rather the price per ticket. if $98+fees is too much for you to feel the show's worth it, it's probably going to be a disappointing show no matter what. If you fall into that catagory, you'll probably be happier staying home (and I don't mean that in a sarcastic or negative way) EDIT: Did Kylie really play a 26 song set? I'd absolutely love to see her live but she never tours the states...:cry:

Perhaps not in America (though that is argueable as they still play large venues especially in larger U.S. markets) But they are still major STADIUM headliners in the U.K. and last tour they played a 15 song set for those gigs which are MUCH bigger than any gigs Coldplay has ever played. If you want a "major U.S. Headliner" though, I've seen at least one Aerosmith ahow on every tour since the Nine Lives tour in '97. They've been major headliners since the late 70's and have a much bigger back catalog to draw from. (in addition to larger ticket prices. I've never seen them do a show longer than 20 songs. (sometimes fewer) As someone else said. Nobody here has anything to do with the length of Coldplay's shows, if you disagree with prices or the length or quality of the show, stay home.

If you honestly think that that Coldplay plays the shortest sets of any "major headliner" you've obviously never been to an Oasis gig (among others). Also, once again, who knows how long their NEW sets will be? quit posting the SAME F%$KING MESSAGE in every thread! We get it, you think the band doesn't play long enough. SO...DON"T GO!!! Do you think if you post enough times the sets will magically get longer?:laugh3: (mind you, Im not one of these people who takes offense at any critisism of the band being posted on these boards, I'm just tired of seeing the same post from you in every thread I look at...nothing personal)

2 things: 1. We don't have A CLUE how long the sets will be on the new tour. All the critisism over the length of sets on the TL tour was a bit unfounded considering they only had three albums of material to draw from. At least wait until you actually have evidence of the length of the new sets from this tour before slagging them off. 2. an 18 song set is well within the range of what I'd condsider "normal" for a headlining set. Yes some people play longer, but a lot of "big name" headliners play for around the same amount of time/songs (or less) I hardly think a three band bill is a ploy to make the set shorter, it is probably just an attempt by the band to give exposure to young unknown bands and add a little something extra to their shows

I have an old tab of Airbag around somewhere from when my band covered it a while back, will try to unearth and post it...

Also, as regards Mike Hill (who builds Jonny's rigs), he's quite well regarded as something of a guitar rig wizzard. He's built rigs for Noel and Gem from Oasis among others. Any rig designed and built by him would definately cost a ton of money...

It's my understanding that there was an encore, but it wasn't clear that it was an encore (if that makes sense). In theory, everthing played after the band came down off the balcony was intended as an encore, but many people thought it was part of the main set. (on a side note, my friend in NYC was lucky enough to score tix, and I traveled in from Chicago to be her plus one and don't really give a s$#t about the length of the show, it was totally AWESOME!!! IMHO)

Jon's full rig for twisted logic: 4 vintage thinline telecasters vintage Fender Jazzmaster Gretsch 6122 Jr (used for the "semi-acoustic" set on a few shows, seen at Glastonbury '05) Gibson Jumbo Acoustic 2 Fender Hotrod Deville 2x12 combo amps Various effects and pedals (BTW- Jon does not have his own Ric 360, he borrowed Chris' for live performances of Daylight on the AROBTTH tour)

Actually, there are a few companies who mass produce MIDI controlled pedal switching units such as these. Voodoo Labs makes several different models based on amount of effects needed etc. Also, I know Matt Bellamy from Muse uses a Rocktron All Access MIDI switcher, his is stock, and they retail for about $900-1000 U.S. (I've posted a link to their website) http://www.rocktron.com/frameset1.html

I know there has been a thread for the new pedals and effects, but does anyone have any idea what else has been added/changed? Does he have any other new guitars besides the Les Paul Deluxe? Is he still using the fender hotrods? I've not had the opportunity to view much of the new live footage, so I haven't been able to see what's new. Can someone please fill me in?:)

I tend to agree with you miracle drug, however, I believe the situation can easily be explained by two factors 1. This board is mostly populated by people who are big enough fans of CP to seek out, and post on a forum dedicated to them, meaning that they are also far more likely than the average person to be defensive (sometimes in the extreme) of the band. Coupled with the fact that coldplay tends to be the reciepient of more "bashing" then a lot of other bands, and the situation compounds somewhat... 2. The population of these boards is skews young. Although the Sex Pistols, were a hugely influential band, a great deal of their influence was cultural (unlike say, the Beatles who both influenced the culture and produced a huge amount of music that's still listened to widely today) Most of the posters in this forum probably have only the slightest awareness of who The Sex Pistols are, as aside from fans of old school punk, few actually listen to their music today. Seeing as half of Coldplay wasn't even born until after the Pistols had imploded, I'd be willing to bet that few of their fans remember, or even have any concept of the cultural upheaval surrounding the pistols and see them simply as "some dinosaur band". Ironically, Lydon's work in PiL probably paved the way for the ambient soundscapes used so heavily by band's like Coldplay...