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I've been worried a few times, more about theft than damage.
I use a PedalTrain 2 with the had case and has a spot to put a lock on it.
If you are really worried you could even bike lock it through your cab handles or something before and after use.

I've knocked out teeth with the nice swing of a Jazz Bass, blowing through the entire poly coat and undercoat in one hit. I'd have done it with my vintage stuff too if that's what it took.

As far as stuff breaking, stuff breaks. Have a backup rig/multifx with you that will hold you through until you replace the stuff that's toast. Use the good china though, no point in having it if you don't use it.

Particularly delicate gear excepted, there's no reason to not use the same stuff that makes you happy.

In the internet age almost anything is replaceable.

I don't gig any more but I used to joke about bringing 10k of gear in 1990 dollars to a $50 show.

Never thought twice about it.

Firstly, thanks for the input everyone.

I'm not so bothered about stuff breaking, as at the end of the day, they can be all be repaired, it's more the idea of someone making off with them, or other gear. Pedals, as it's been said, are very easy to make off with.

It's the same reason my violin is literally never out of my hands/off my back when we're out and about.

As far as my stuff goes, even she has a few scratches now. I'm no kind of dude to keep shit pristine. Notoriously hard on my instruments.



What I've gathered is, touring=maybe handy to have more immediately replaceable items. Otherwise, spend the money on a trigger happy Ovcharka to circle my things?

Alternatively, stop worrying and learn to love the bomb?

wfs1234 wrote:I worried about that for a long time until I made this


It gives me my most basic tones for playing pretty much any instrument. I think keeping a backup for some of your older/more delicate pedals isn't a bad idea not really a necessity though.

Are you serious? That thing looks amazing. Cornish but awesome about sums it up!

Always learn to love the bomb.

But if you're in a situation where the distance between gigs is 500 miles, you have one day to get from A to B, you arrive in town with two hours to kill before your set and realize that when you were getting drunk on the promoter's floor and eating his cold pizza and drinking his warm beer you left your AWESOME SOUND 9000 back in Bumfuck Wisconsin, it's nice to be able to head into the local GC/whatever and pick one up because the AWESOME SOUND 9000 is actually just an NYC big muff or whatever.

I've pondered this idea as well, mainly the smaller effect route. Like a Boss PS-6 instead of my pog2, or a Phase 90 over my Piggy EP2. M9 helps A LOT! Even an M5 could save you one pricey or bulky pedal.

masked elwood wrote:

Mudfuzz wrote:

Worth buying stock effects for live performance?

Fuck that shit! Why get pedals for the sounds you want if you aren't going to use the fucking things to get the sounds you want?

what he said.

F'realz. Never had a problem. and I've played the fucking SKETCHIEST places, with my prized Rusty Box. That shit is my baby. And, it's fine.

King BUzzo does this.

Moustache_Bash wrote:King BUzzo does this.

ODB-3 ftw

It kind of defeats the whole purpose of buying unique effects, using them and then using sub par or completely different ones for shows. If you are concerned about your gear then play / use less expensive stuff and keep the "good" stuff at home.

If I was playing out, I would just make sure that I physically have everything with me and I don't do what time and time again happens. Someone leaves it in the van/ with someone else/ at the venue / out in the open.

9/10 most people are not going to know the value of items they steal. and 9/10 your not going to have a problem.

My friend got some gear stolen from him at a show once. They broke the window of his car and took a srsly beat to shit totally shitty pink chinese strat copy and a bag of factory 2nd drumsticks. They ignored all of his super nice zildjian cymbals and whatever other nice gear was in there that I forgot about.

So I guess the moral of the story is just keep a shitty decoy strat around. They think they're worth a lot of money apparently.

Officer Bukowski wrote:My friend got some gear stolen from him at a show once. They broke the window of his car and took a srsly beat to shit totally shitty pink chinese strat copy and a bag of factory 2nd drumsticks. They ignored all of his super nice zildjian cymbals and whatever other nice gear was in there that I forgot about.

So I guess the moral of the story is just keep a shitty decoy strat around. They think they're worth a lot of money apparently.

Shitty decoy gear is a nice idea. Maybe you should rather buy some of that.
But seriously. If you can coax the sounds you want out of cheaper gear, then sell the expensive stuff and buy the lady a dress.

I'm flying for a few shows in a few months and I'm compressing down my huge board to stuff that can fit in a backpack. It just means I'm going to have to play the songs different and will have to make do without some things that people who've never heard us live before aren't going to notice anyway. If I ever went overseas to do shows I'd probably do the same thing.

Also, I know a dude who has an OG Space Echo, and uses the pedal version because it does all the sounds he wants out of one and is easier on his back and he's less worried about it getting damaged or pinched.

So like, there's situations where it's totally called for but personally I'd never have stuff for home use only or whatever. Sure I miss my old JCM800 that up and exploded on me, or my shitty SG copy that got smashed to bits, but well...the memories of all the rad shows I did with them are pretty awesome.

If your really concerned:

- Rehousing is an option
- Keep that shit on a table instead of the ground (I like this for tweaking purposes anyways)

I like the options that come with effects. As a primarily acoustic musician for years and years, the novelty of them, and the potential of them, is still very new to me.

I make pretty extensive use of effects when I get the opportunity, but recent rehearsals stripped down to a delay and an Overdrive make me wonder if it's worth losing something I like, and paid a good bit for. The violin is fairly expressive anyway, so I can do a lot on the physical side of things to get the sounds I'm after.

If that Boomerang went missing, that's like... a big thing. I use it all the time for practicing, setting up drones to keep intonation sharp(ish), figuring things out etc. Seriously. With strings, that thing is magical. And the FUCK I use a lot for violin/guitar stuff I'm working on, and it is the crunch for me.

If I was headed overseas, I wouldn't be using my own amp, so I figure, since the audience doesn't give a damn anyway, two overdrives, an eq and a delay would get me far enough. If I could find one, a cheap looper.

You're going to spend money on cheaper versions so that if those get stolen you could replace them with the same cheaper versions? Basically bringing that total to the same cost as replacing the original fancy ass stuff.