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Post by DaveC on Jan 11, 2019 15:01:32 GMT
You can 'walk' up Mathew Street using Google Earth (Street View). The image is dated 06/2014. The doorway to the old Cavern is still marked and the new one is further up on the opposite side. Weirdly, the older statue outside (not Cilla) has had its face pixelated to protect its identity -- so I won't compromise it . DaveC.
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Post by DaveC on Jun 17, 2018 14:51:48 GMT
Hi Toni, You might have to do some searching on TWKAS because you will make life much easier if you acquire an old 162 module rather than the newer 1602 (look for "JHD162A"). It will mean that you don't have to add or remove resistors. Be sure to get a Yellow/Green (Y/YG) rather than Blue or Red. Also the pins on the LCD are standard but the dimensions of the screen aren't -- so you will almost certainly have to do some filing to modify the MStomp casing. Go to: shadowmusic.bdme.co.uk/viewtopic.php?f=21&t=13333 for some more info, and it will lead you back to: charliehall.proboards.com/thread/12914/magicstomp-display-failureRegards, DaveC
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Post by DaveC on May 23, 2018 16:32:32 GMT
Hi Pete,
The tension-springs always have the same total tension as the tuned strings, as long as the bridge is free to move.
Adjusting the claw simply moves the balance point, i.e. the height/angle of the bridge-plate.
Changing the number or type of the springs doesn't alter the total tension -- it alters the spring-rate, i.e. how easily you can deflect the bridge plate from "zero". This is how you change the "sensitivity". You then have to adjust the claw to regain the correct balance point.
Winding the arm in and out against the compression-spring controls the total friction on the helical bearing surface -- it is not a screw thread that has to be "torqued up". Do not wind the arm to adjust height.
So: 1. Add, remove or change the tension-springs to give more or less "sensitivity". 2. Adjust the balance point (using the claw screws) so that the back of the bridge-plate sits at the correct height above the top of the guitar. This should be about twice the thickness of a credit card -- more if you want to assist wound 3rd string bending. 3. Wind the vib-arm in (against the force of the compression spring) until you have the absolute minimum friction required to stop the arm flopping. Too much friction will accelerate wear of the bearing surface.* 4. Check the height of the arm above the top of the guitar and bend the arm to the position you require. You will have to remove and replace the arm to do this.
If you have made any drastic changes to the original balance point then you will need to tweak the saddles for action and intonation.
Regards, DaveC.
* I remember that you prefer your vib-arm to flop -- so ignore 3.
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Post by DaveC on Nov 20, 2017 14:07:24 GMT
Hi Mike,
These checks work for most, but not all, pickup sets:
1. The resistance and colour coding -- as explained by Chris.
2. If there's one that's physically wider than the others (measured between the outer poles) then that will be the bridge.
3. If there's one with opposite magnetic polarity (use the end of a bar magnet to check for attraction or repulsion) then that will be the middle.
Connect the wires of each pickup to an old-fashioned AVO (set to Volts) or centre-reading needle Voltmeter and move the tip of a non-magnetic screwdriver downwards towards the poles. The needle will kick in one direction (it doesn't matter which) as you move towards the poles and, as you retract the screwdriver, it will kick in the other direction.
Switch the wires as necessary so the initial kick is in the same direction for all three pickups and make a note of whichever wire is connected to the positive terminal. That wire can be called the HOT wire for that pickup. (You can call it COLD if you prefer -- it's only a logical nomenclature -- as long as you are consistent for all three).
DaveC.
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Post by DaveC on Oct 13, 2017 10:26:40 GMT
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Post by DaveC on Jul 9, 2017 11:13:13 GMT
Note that Fender don't supply their decals to anyone else -- so the decal itself is almost certainly a copy/fake. That means copyright is being breached.
DaveC.
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Post by DaveC on Jul 1, 2017 11:40:48 GMT
If you are going to buy "new/remastered" Beatles LPs or CDs then, for anything up to and including Sergeant Pepper, be sure to opt for the Mono version.
DaveC.
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Post by DaveC on Jun 3, 2017 10:53:45 GMT
Great number but what a rubbish video, what were all the pshyco swirly bits for, gave me a bluddy 'eadache. Come on who cares about bass players plonking a couple notes We want to see the FINGERS.of Dave Edmunds Mike. The cameramen at the BBC soon refined this into the "Left Nostril Shot" and this remains a staple of modern TV. Any time you need to see the hands of a chef or the fingers of a guitarist you get a close up of a nostril instead. You can always tell when the cameraman was trained by the Beeb . DaveC.
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Post by DaveC on Jan 23, 2017 11:44:15 GMT
Trex? - wasnt that what our Mums used to make cakes with? Some kind of cooking fat?! Ian A friend of mine had a cat called Trex . DaveC.
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Post by DaveC on Jan 14, 2017 14:35:40 GMT
Hi Glen,
Now you've got me baffled. Do you mean that the Tech Guy removed the neck plate and the neck and noted that there was no truss-rod (or gearbox) fitted? And -- if there was no truss-rod -- was there a space/hole where it should have been?
Regards, DaveC.
Afterthought: I assume you are talking about Burns' "The Drifter" model and not the "Drifter LG50" model, which has the cover plate on the headstock.
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Post by DaveC on Jan 14, 2017 11:50:51 GMT
Hi Glen,
The truss-rod adjuster is located under the neck plate and adjusted (using the t-bar Allen key supplied) via the hole in the plate. I'm surprised the "tech" didn't know that.
Regards DaveC.
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Post by DaveC on Nov 12, 2016 22:37:17 GMT
Hi Mike,
The manufacturers of pickups design them to give a predetermined field strength under each string. The relative difference in a set of strings is catered for by relative pole heights but, if you don't have your pickups custom-made, the manufacturer will have to make assumptions about the mix of your strings and your fingerboard radius.
Nowadays, an average radius of 10" will cover most situations but averaging out the strings is a different matter. Strings 1 & 2 are always plain and strings 4,5 & 6 are always wound -- so that's bit is easy. Nowadays string 3 is usually plain and modern pickups assume this. Back in the 50s it was usually wound and the pickups of the day reflect that.
If you want to experiment with a wound 3rd string and a modern pickup, then you have no choice but to adjust the field strength of the 3rd pole -- otherwise it's not a sensible comparison. The trick with the sliver of metal makes it easy test the two possibilities. All you have to do is decide which you prefer. Nobody else can tell you what is right or wrong: just go with what sounds right to you.
One other point: don't forget that the magnetic field of a pickup still influences the vibration of a string -- even when you aren't "using" that particular pickup.
Regards, DaveC.
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Post by DaveC on Nov 12, 2016 17:57:13 GMT
Hi Mike,
Wound strings give less "output" than plain strings. Your third string pickup poles will be good for one or the other, but not both.
If the pole is intended for a plain string (the usual choice) then you will have to raise it when using a wound string, or the volume will be lower and possibly "dull sounding".
A trick for "raising" the pole is to place a sliver of mild steel (approximately 1mm thick and cut from a 4mm or 5mm circular rod) on top of the pole. Magnetism will hold it in place but you can also use a small dab of superglue if you wish. Some people suggest a small circular neobydium magnet (easily bought in packs of 10 on TWKAS) but these are very strong magnets and would have a disproportionate effect.
Regards, DaveC.
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Post by DaveC on Sept 15, 2016 16:50:56 GMT
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Post by DaveC on Aug 2, 2016 13:20:05 GMT
There's a short interview with Lee Anderton in Guitarist Magazine (Summer 2016, Issue 410).
DaveC.
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Post by DaveC on Jul 28, 2016 18:55:06 GMT
They're worth exactly what someone will pay for them. Anything between £800 and £4500.
DaveC
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Post by DaveC on Jul 19, 2016 9:08:23 GMT
In the 70s, Kramer made guitars with aluminium necks. They were very playable but suffered from tuning problems caused by thermal expansion.
DaveC
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Post by DaveC on Apr 22, 2016 8:16:28 GMT
The springs are attached to the block, the block is attached to the bridge and the bridge is held in place at the pivot points. The bridge cannot twist --so how can the strings be affected individually? The total tension in the springs matches the total tension in the strings and the bridge adopts the required position.
Putting the springs at an angle simply stretches them a little more and increases the total tension -- so the bridge sits flatter. You get exactly the same effect by adjusting the claw.
Baffled, DaveC.
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Post by DaveC on Aug 20, 2015 21:29:10 GMT
Hi Charlie,
The Summer Issue (397) has been out for a few weeks. The September Issue (398) arrived in W. H. Smiths today -- Thursday 20th.
Regards, DaveC
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Post by DaveC on Aug 10, 2015 10:48:12 GMT
Hi Matthew,
Open G tuning is D-G-D-G-B-D. Keef removes the 6th string completely -- to leave G-D-G-B-D.
Regards, DaveC.
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reverb
Jul 16, 2015 16:48:05 GMT
Post by DaveC on Jul 16, 2015 16:48:05 GMT
Another MagicStomp . Regards, DaveC
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Post by DaveC on Mar 28, 2015 10:53:06 GMT
Hi Richard,
The single (and important) advantage of a factory made US Strat is that it retains or even increases its value. This only applies if you don't alter it in any way -- and you know you wouldn't be able to resist!
If you assemble it yourself, from parts, then it isn't factory made -- it's a "Bitsa" and no better than any other Strat.
Regards, DaveC.
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Post by DaveC on Jan 14, 2015 20:17:19 GMT
I've checked on the string gauges in the recommended sets and they are as follows:
Rickenbacker (Compressed Round Wound, Part No. 95404):
E 10/10 B 13/13 G 20w/10 D 26w/13 A 34w/20w E 42w/26w
Pyramid Gold Nickel Flatwound 310/12 (available from Thomann)
E 10/10 B 13/13 G 19w/10 D 30w/13 A 35w/19w E 465w/30w
The Pyramids were fitted by Rickenbacker originally and they are the "Gold Standard" for the sound of The Byrds. They are heavier in the bass than the Rickys but both have that anomalous 10 for the octave G.
The D'Addarios favoured by Julian (EXL150s I think), are heavy in the bass (like the Pyramids) but use lighter strings for the octaves -- including an 8 for the octave G and an unwound 18 for the octave A!
E 10/10 B 13/13 G 17/08 D 26w/12 A 36w/18 E 46w/26w
DaveC
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Post by DaveC on Jan 14, 2015 13:47:00 GMT
I don't suggest changing the gauge of all the strings -- just the 3rd/octave (high G). If you use the 10 (within a set of Rickenbacker 10s) then it will be at a disproportionately higher tension to the others. Go down to a 9 or an 8. I have to say that Jim Nugent on the ShadowMusic site gets credit for the idea. I always tune a flat-top acoustic 12-string down by a full tone because it puts less strain on the top in the area around the bridge (and it sounds great when strumming the open strings ) but I don't think that's necessary on an electric 12 -- or any guitar with a tailpiece. Regards DaveC
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Post by DaveC on Jan 13, 2015 11:58:08 GMT
Hi Bill, If by the "Ricky sound" you mean The Byrds rather than The Beatles, then be careful. Most of that "jangle" is created by compression/sustain. On the early recordings McGuinn was putting the signal through two compressors in series. If you want to recreate that try: www.janglebox.com/When McGuinn got his signature 370 it had a compression/sustain circuit built-in (basically a non-adjustable MXR or Dynacomp) and he played through a Roland JC120 for a clean sound. The wiring diagram for the internal sustainer is available ( www.diystompboxes.com/smfforum/index.php?topic=51936.0;prev_next=next ) and I see no reason why it couldn't be fitted to any other 12-string, provided that you've got room for a 9volt supply. Also remember that in those days electric 12-string guitars had only six saddles -- so you couldn't intonate the octaves separately. This drove McGuinn nuts and he nagged Rickenbacker into making a twelve saddle bridge. I bought one (at great expense from Manny's in N.Y.) and fitted it. Guess what -- I went back to the six saddles! The subtle detuning of the octaves is an essential part of the sound. Recommended strings are Pyramid Golds or Rickenbacker's own brand but be aware that the 3rd/octave is a 10 and this means that it's at a much higher tension than the others. It's worth going down to a 9 or even an 8! I think the Rimini is the way to go: if you start tinkering with it you won't devalue it. Regards DaveC
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Post by DaveC on Jan 11, 2015 21:34:04 GMT
Hi Søren,
You're right: the normal way to build a 12-string is with the octaves above. That way picking with a down-stroke hits the octave string first. Rickenbaker have always done it the other way round. There's no "why": they just do! It makes quite a difference to the overall sound, especially when strumming.
Bill is right about the Ricky (3xx series) having a very narrow fingerboard. I have small hands so it doesn't bother me but many people just can't get on with it.
I remember that the Italia Rimini 12-string had a wider fingerboard and it was almost flat. Julian will probably be able to give you the exact dimensions. I also remember that it was extremely "playable" and I liked it a lot.
I found the lack of a pickup selector a bit strange but I'm sure you'd get used to it. Roger McGuinn famously said that despite all the options on his stereo Rickenbacker, he only ever used the bridge-PU and with the tone full on.
Regards DaveC
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Post by DaveC on Jan 8, 2015 10:58:10 GMT
Hi Søren, I have a Ricky, and the sound is unique, but I agree about the high price. Take a look at the Italia Rimini 12-string, designed by Trev Wilkinson www.jhs.co.uk/italia.html & www.youtube.com/watch?v=kTocVWjK6e4 -- it's a superb guitar and much more reasonably priced. You'll find places in the UK selling them for under £500. Regards DaveC
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Post by DaveC on Nov 15, 2014 13:00:35 GMT
Hi Alex, The original driver (supplied on the MagicStomp disk and widely distributed around the Net) never worked properly. A more up to date USB/MIDI driver for each operating system, including MAC OS, is available from the Yamaha site: download.yamaha.com/usb_midi/index.html. Please look at Post7 in this thread charliehall.proboards.com/thread/11709 where everything is explained. Whenever you install newer software (such as Sound Editor V2.1) on your PC, the installer program will keep asking you to install the old drivers. Just ignore it and persist with the new driver. You will need to install Sound Editor V2.1 and "double initialise" the new driver with the MagicStomp plugged in to the USB port and powered up. Regards DaveC
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Post by DaveC on Sept 17, 2014 11:00:05 GMT
Julian's got the right answer -- the long drill bit is the way to do it.
I'd also point out that you are drilling into relatively soft wood (swamp ash or alder) so you don't need a high speed drill. A hand drill or an electric screwdriver (with a chuck attachment) is much more controllable.
Regards DaveC
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Post by DaveC on Aug 25, 2014 9:22:59 GMT
Hi Charlie,
Please confirm me on your "definite list".
Regards DaveC
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