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Post by DaveC on Nov 26, 2011 20:16:24 GMT
Hi Paul, Another option would be a "Pseudo P90". This is the famous Gibson single-coil, but slightly reshaped to fit in a Humbucker package. Quite a few manufacturers make them (e.g. the BareKnuckle Mississippi Queen): www.enotes.com/topic/P-90Regards DaveC
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Post by DaveC on Nov 12, 2011 12:27:14 GMT
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Post by DaveC on Nov 11, 2011 15:49:42 GMT
Hi Scott, The biggest user of a compressor for "sustain" was Roger McGuinn of The Byrds. That famous "jingle-jangle sound" was achieved by feeding the output from his Rickenbacker 360/12 through two studio compressors in series! When Rickenbacker produced the Roger McGuinn Signature 360/12 it had a compressor built into the guitar. Similar circuitry is now available in the JangleBox www.ricsrus.com/Janglebox.html , which is probably the best stompbox compressor available. It's a bit pricey and no use whatsoever for Shadows stuff . Regards Dave
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Post by DaveC on Oct 22, 2011 9:11:21 GMT
Hi Scott, I worked for BA for 37years and I 've seen things done to baggage (around the World) that would make your eyes water! However, literally millions of rigid suitcases are transported by air every day and they get to their destinations unharmed. I hope we haven't scared Jon out of taking his guitar to France. I think his biggest problem will be RyanAir's charges . Regards DaveC
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Post by DaveC on Oct 21, 2011 9:00:15 GMT
Hi Scott, You are quite right about the baggage handlers usually being employed by handling agents. But around the world many airports are state or local government owned and the baggage handlers are subcontracted by the airports. The airlines take what they get. In the UK BA has it's own airside handlers at the main bases (LHR/LGW) --- but the people running the conveyors inside the building (and loading/unloading the baggage trains) may not be BA employees. My point was only that they have no reason to care about passengers property. I have a lot of experience of this . Regards DaveC
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Post by DaveC on Oct 20, 2011 19:23:20 GMT
Hi Dave, I use a 100W Marshall Acoustic amp, which has built in reverb, 2 instrument channels, 1 mic channel and a stereo aux channel. However, don't forget the self contained Karaoke option: www.the well known auction site.co.uk/itm/Vocopro-Soundman-80w-Karaoke-Machine-CDG-System-Echo-/170610161185?pt=UK_Karaoke_Systems_Equipment&hash=item27b9287621 www.musiciansfriend.com/pro-audio/vocopro-gig-star-pro-ii-karaoke-machine-packageRegards DaveC
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Post by DaveC on Oct 20, 2011 14:47:09 GMT
Hi Jon,
It has always been the case that large musical instuments need their own (paid-for) seat if you insist on taking them into the passenger cabin. Julian Lloyd Webber has been buying a seat for his cello for years. Smaller instruments used to fit in the overhead lockers but this is no longer an option.
You are limited in the number of items you can carry and they must fit through the measuring gauge (at Check-In and at Security). This restriction is enforced by Airport Security not the airlines --- so thank Osama Bin Laden. It's probable that your guitar won't fit so you will have to put it in the baggage hold.
If it won't fit into your well padded, rigid suitcase then airlines have different policies about extra hold items. BA will accept it as an extra bag (max 23kg) above your 1 or 2 bag allowance, and charge you £35 (£28 if you pre-book). I can't speak for RyanAir but I'll bet it won't be free.
They will weigh it at Check-In but, if it is an odd shape that might get stuck on the conveyer belt, then you will be asked to take it to a special Check-In point where it will be manhandled to the baggage trolley/train and out to the aircraft. On arrival it will may well appear at a point away from the baggage carousels.
Whatever you choose to do make sure it is well protected in a rigid case. A soft gig-bag (even well padded) would be a big mistake. Baggage handlers are employed by the airports, not the airlines and they have no interest in the protection of your property. They would think absolutely nothing of stacking 20 other suitcases on top of your precious instrument.
It's also worth noting that the baggage holds are unheated on many aircraft so your guitar may be subjected to a temperature change of minus and then plus 50degC. If you bring a freezing cold guitar into a warm humid atmosphere then expect condensation!
Regards DaveC
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Post by DaveC on Oct 18, 2011 10:37:33 GMT
Hi Jon, It's worth taking a look at this thread: charliehall.proboards.com/index.cgi?board=general&action=display&thread=10388&page=1Since you are starting from scratch, you might as well get a good Strat copy (you can upgrade the pickups or the entire guitar at a later date), a Zoom G2Nu or G2.1Nu and Charlie's EFTP patches. Then plug everything straight into the auxiliary socket of your home hi-fi. You could even get a cheap Karaoke setup which would allow you to play backing tracks alongside your lead! Regards, DaveC
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Post by DaveC on Oct 5, 2011 19:34:00 GMT
Interesting to hear about Elixirs. I use Elixir Nanowebs on my acoustics and I swear by them.
I see that the electrics are available in 11s and 12s with a wound 3rd. Must try.
DaveC
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Post by DaveC on Oct 3, 2011 22:57:09 GMT
Hi Derek, Welcome back ! The Burns will make a great contribution to the guitar sound and the Line6 amp will provide excellent simulations of all the Vox amps (AC15, AC30/4, AC30/6TB). I believe there's a Matchless in there as well. This means that all you actually need is the echoes and for this the best candidate has to be the MagicStomp. Although I don't share Eltrasero's distrust of the well known auction site, he's quite right to point out that MagicStomps are now fetching silly prices. Last week one (without EFTP) sold for £215. I think that the Line6 will also produce good clean acoustic sounds so you could still consider the Zoom G2 range. This would mean that the pedal provides echoes + amp simulation and the Line6 merely makes it all louder (or takes no part at all if you use headphones). I have no personal experience of the Zoom pedals so I'd hesitate to recommend or condemn --- only point out that the top of the range G2.1Nu (with integral foot pedal) can be had for £120 new. This seems like a bargain entry price to Shadowland. Regards DaveC
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Post by DaveC on Sept 28, 2011 12:46:42 GMT
Hi Martyn, I've had a Morley PWF (that's Power-Wah-Fuzz) for almost 40 years and it still works perfectly. It's mains powered and uses something other than a carbon potentiometer (I think it may be optical or a Hall Effect transistor). The trouble is that it's not only built like a main battle tank, but it's nearly as big as one and weighs about the same. Only this week I started looking around for something smaller and immediately ran into the same problems as you. Firstly, build quality obviously adds to the price (and the size and weight) and a carbon potentiometer is a source of wear. This inclines me towards an optical system, which would be active. Also reading around I find that any passive system can be a source of "tone suck" (no, I don't know what it means either). The input impedance needs to match the guitar --- 25kOhms for active pickups and 250kOhms for passive pickups (I think I've got that the right way round) and I've been unable to find a passive unit that can cope with both. So I've finally opted for this one: www.morleypedals.com/dmmv.htmlI'll let you know how it performs. Regards DaveC
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Post by DaveC on Sept 27, 2011 15:46:27 GMT
Hi Eltrasero,
It's worth pointing out that Charlie's list is his preference regarding the echoes only. The amp sims come with the units and mostly you take what you get.
It's also worth pointing out that the MagicStomp will not do amp simulation and EFTP at the same time. Although some of the other patches are pretty good they aren't going to be any use for Shadowing. (Actually some of them are useful for Bruceing and Liquoricing --- but not Hanking!)
Charlie's new unit will be dedicated to EFTP only, so Derek would still have to make a decision about the amp.
The output from any of the amp sims is "ready to go" apart from volume. It is intended for headphones, home HiFi, an acoustic (i.e. flat frequency response) guitar amplifier, the house PA or the studio mixing desk. Putting it through a typical guitar amplifier just adds an extra layer of colouration. I suspect this is the problem that Rick had.
Please get back to us Derek, you've triggered a fascinating thread!
Regards DaveC
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Post by DaveC on Sept 26, 2011 16:01:10 GMT
Hi Derek, Confusing isn't it . There are a number of links in the chain that leads to "That Sound": 1. Your brain and fingers 2. The guitar (including strings and pickups), 3. The echo unit, 4. The preamplifier, 5. The power amp, 6. The cabinet and speakers. Then: 7. The microphone in front of the speaker, 8. The mixing desk, 9. ...etc. (at this point I await "Incoming" ). Just dealing with the first six of these; I can't help you with 1, and 2, but your search for a pedal covers 3, 4, 5 and 6. If you already have a Vox amp or Vox amp-simulation then you've dealt with 4, 5 and 6 and are only worrying about the echoes. In this case the obvious choice is the MagicStomp + EFTP. These units fetch about £150 on the well known auction site (£200 with EFTP installed). If you buy one of these, I or somebody here will explain the software and usage to you. If you also need the amp/cabinet simulator (4, 5 and 6) then you could stick with the MagicStomp (for the echoes) and add a Korg Ampworks, a Line6 POD --- or even a second MagicStomp (for the amp sim). However I think that this would be getting a bit expensive. There are quite a few units that combine the echoes and the amp/cabinet sim and most people seem to favour the Zoom G2 range. However there are others such as the Alesis Quads and the Behringer (which I think Tony favours). Regards DaveC
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Post by DaveC on Sept 21, 2011 10:42:41 GMT
Hi Peter,
The links I posted are both from David Borisoff, the inventor of the Tremsetter and the boss of Hipshot.
I wish I'd had that video when I installed mine! It took me days of messing about. I worked out the setting technique by trial and error but the video makes it quite clear.
Regards DaveC
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Post by DaveC on Sept 20, 2011 21:03:30 GMT
Hi Peter, I've used a tremsetter for years and I'm totally sold on it. Charlie has commented that it makes very fine vibrato a bit tricky --- because it needs slightly more hand pressure to operate it --- but I think the stable tuning makes up for that. It must be installed properly (fiddly but not difficult) and there are instructions and a video demo available: www.hipshotproducts.com/files/all/faq44108b515302d.pdfwww.youtube.com/watch?v=Jvl0fLOzwi8You also need to be aware that you will almost certainly have to drill a small hole inside the spring cavity. It's well hidden --- but don't do it to your valuable vintage Strat! Regards DaveC
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Post by DaveC on Sept 14, 2011 10:23:27 GMT
Hi Tony,
I live in Bucks but spend part of the year in Latchi, Cyprus --- or Latsi as they insist on spelling it on the road signs!
DaveC
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Post by DaveC on Sept 1, 2011 19:07:31 GMT
Hi Alan,
Why don't you get a Variax? Then you can experiment with all sorts of guitars at the twist of a knob.
Regards DaveC
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Post by DaveC on Sept 1, 2011 15:29:47 GMT
Hi gc24,
The MagicStomp has plenty of reverb and delay patches supplied by Yamaha --- as well as Charlie's EFTP delays.
If you use the Sound Editor software it's easy to program any delay/reverb characteristics that you want into a new patch.
The trouble is that you can't use two patches at the same time. For that you need a second MagicStomp or another pedal.
Regards DaveC
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Post by DaveC on Aug 30, 2011 19:57:49 GMT
Hi Bo,
Yes, but the downloadable Sound Editor is only v1.0 (last time I checked). It works OK and will get you started, but try to get hold of v2.1 at the first opportunity.
The Drivers offered on the website are good so download the relevant one. Actually it's a Driver Installer rather than a Driver so you need to run the program (as Administrator) with the MagicStomp powered up and connected --- and then reboot the computer.
I forgot to mention that the other difference between the Mk1 and Mk2 (apart from the Headphone Socket and the Deep Editor) is the Auto-Feedback suppression, which is available with the Acoustic patches.
DaveC
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Post by DaveC on Aug 30, 2011 14:55:34 GMT
Hi Bo,
The Mk1 did not allow "Deep Editing". This is the ability to modify and store the patches using just the switches on the MagicStomp (i.e. without a computer). The Mk2 does allow Deep Editing but why you would want to do this is a puzzle to me. It's much easier with a computer and a USB link. I believe that you can now download a file to change the firmware in a Mk1 to a Mk2.
Modifying the patches and making backups of existing patches (such as EFTP) is easy if you use the Sound Editor software on the disc. This should be supplied with the unit but don't worry if you don't get this disc from the seller --- all the software is available from other sources.
If you obtain the latest version of the Sound Editor (v2.1, 2004) then it includes all the preset patches for each of the three versions of the MagicStomp ---- Guitar, Acoustic and Bass --- and you can choose any of these to install as User Patches alongside EFTP (as well as the 99 Factory Presets).
The main limitation of the MagicStomp is that it can only use one patch at a time. This means that you can have an amp simulation or an EFTP patch ---- but not both. For that you need another Magicstomp!
Regards DaveC
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Post by DaveC on Aug 24, 2011 12:13:40 GMT
Hi Colin, After reading your previous post about playing onstage with a band, I'm not sure if you are looking for the right thing. If what you want is the sound of an amplified acoustic guitar --- but with the physical presence of a Strat --- then take a good look at the Line6 Variax range. These are regularly available on the well known auction site. The original model was the 500. The newer range includes the 300 (fairly basic but sells for about £200, SH), the 600 (a much better quality build, and with a vibrato) and the 700 (a beautiful carved top/vibrato model). As well as doing a good imitation of a '59 Strat, various LPs, Gretsch's and other electrics they will also emulate the sound of a few top acoustics from Martin, Gibson and Guild. And all in a Strat type package with a slim neck and electric gauge strings! Whenever I sit down to learn something new (or just noodle), the first guitar I reach for is my 600. It's so playable. I think Noel Ford has a 700 and he might like to comment. Regards DaveC 300: www.the well known auction site.co.uk/itm/Line-6-variax-300-Guitar-Excellent-condition-/280725285206?pt=UK_Musical_Instruments_Guitars_CV&hash=item415c87e956 www.the well known auction site.co.uk/itm/Line-6-Variax-300-/290601433985?pt=UK_Musical_Instruments_Guitars_CV&hash=item43a931fb81 www.the well known auction site.co.uk/itm/Line6-Variax-300-Black-Nylon-Soft-Case-/290602533442?pt=UK_Musical_Instruments_Guitars_CV&hash=item43a942c242 600: www.the well known auction site.co.uk/itm/Line-6-Variax-600-/250877791424?pt=UK_Musical_Instruments_Guitars_CV&hash=item3a697b4cc0 www.the well known auction site.co.uk/itm/Sunburst-Line-6-Variax-600-electric-guitar-/300590690752?pt=UK_Musical_Instruments_Guitars_CV&hash=item45fc99f1c0 700: www.the well known auction site.co.uk/itm/LINE-6-VARIAX-700-/320745403730?pt=UK_Musical_Instruments_Guitars_CV&hash=item4aadea7552
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Post by DaveC on Aug 20, 2011 23:35:15 GMT
Hi Colin,
I'd advise you to make the neck/fingerboard/fret combination your No.1 priority. If you want to play fingerstyle then you'll be using heavy strings and you'll need room to move on the fretboard without inadvertently catching other(undamped) strings, so it will probably be wider than your electric.
The shape of the neck can be critical. I have small hands and I like the Ovation V-shape (with an ebony fingerboard) --- but you need to try to decide your own preference. Your fretting hand works harder on an acoustic guitar, so comfort and playability really matter.
Even if you can't afford to buy them, check out Taylors, Martins and top end (US) Ovations to see how good a neck can be and what you are aiming for.
Then it's really a matter of how much you want to spend! There are some fantastic acoustic guitars around now for just a few hundred quid. Vintage and Tanglewood spring to mind but there are plenty of others. Five hundred gets you into the bottom end of Yamahas and Takamines. Once you get up to a grand then you're spoilt for choice. Just don't buy anything you haven't held.
My personal collection:
1970s Jedson Dreadnought (a Martin D28 copy) Ovation 1994 Collectors' Edition Ovation Custom Legend12-String Martin Resonator Martin OM28V Epiphone Chet Atkins (Nylon Strung)
With the exception of the Epi, all have the V-neck that I like.
Regards DaveC
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Post by DaveC on Aug 16, 2011 15:43:05 GMT
Hi Mike, The "Drummer At The Wrong Gig" was the title someone gave to the video they posted on YouTube, which then went "viral". Steve Moore is better known as "The Mad Drummer" themaddrummer.com/headlines.htmand plays with Rick K. and the Allnighters who apparently are booked for more than 200 gigs each year. If you listen to the sound without the video it's clear that the guy is a good solid drummer. The arm waving is just theatrics --- and excellent publicity. Other drummers seem to treat him like Marmite! DaveC
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Post by DaveC on Aug 5, 2011 16:54:11 GMT
Hi Alan,
I agree with Fenderibo, IE8 is better --- IE9 keeps crashing. Much more important is to get rid of Vista! Either upgrade to Win7 or go back to XP.
DaveC
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Post by DaveC on Aug 4, 2011 18:45:32 GMT
Hi Bertil,
A crude but effective solution is a car-dashboard mounted CD/MP3 player. You would need to provide a blank rack mounting plate and cut a hole in it, and also a 12volt supply.
Regards DaveC
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Post by DaveC on Aug 2, 2011 14:51:53 GMT
Hi Mike,
I didn't know that!
DaveC
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Post by DaveC on Aug 2, 2011 14:47:14 GMT
Hi Fenderibo,
The X3 Live (the floor unit) has a switchable effects loop --- I think the X3 Pro lacks this.
I use the AC15 emulation and route the loop (Pre, not Post) out to a MagicStomp with EFTP. I think it sounds pretty good (unlike me).
DaveC
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Post by DaveC on Aug 2, 2011 11:04:20 GMT
Hi Peter,
A-tuning (on your ¾ guitar) isn’t really an “alternate” tuning --- it keeps the relationship between the strings the same --- but it changes the tension. If you put ordinary strings on a ¾ scale guitar and tune to EADGBE then they will be quite floppy and will tend to buzz. Also, on a steel-strung guitar, you may need to adjust the neck relief using the truss rod.
If you tune your ¾ guitar to ADGCEA then all chord shapes and fingerings are the same as EADGBE but the pitch is shifted by 5 semitones --- exactly as if you placed a capo at the 5th fret on a guitar tuned to EADGBE --- so an E chord shape actually sounds an A chord. This transposition can be very confusing to a beginner, which is why I suggested the D’Addario strings to permit EADGBE tuning.
A Baritone guitar (with a longer neck than standard) is usually tuned to BEADFB. Many Rock/Metal guitarists tune “One Down” (DGCFAD) i.e. all strings one full tone down, or even “Two Down”. As with the A-tuning this retains the relationship between the strings. I tune my Acoustic 12-String "One Down", just to reduce the strain on the top/bridge, and then I put a capo on the second fret.
True Alternate tunings change the relationship between the strings and the positioning of the notes on the fingerboard. This requires a different mindset and many good guitarists claim that it’s conducive to creativity. However, most Alternate tunings grew up out of necessity.
Probably the only alternate tuning that is used by classical guitarists is “Drop D” (DADGBE) which simply permits the playing of a nice bass D note when in the Key of D. I use this quite a lot when playing finger-style. Because it’s only one string (changed by two semitones) it’s very easy to retune and doesn’t require much rethinking.
The well known open tunings (Open E --- EBEG#BE, Open D --- DADF#AD and Open G --- DGDGBD) also grew out of necessity. Slide guitarists realized that all you had to do was place the slide across all six strings and you had a moveable Major chord. It’s great for accompanying but not so good for soloing (although that didn’t worry Elmore James). Open G is often called “Blues G” (the names of these tunings are not consistent) and the top four strings are the same tuning as a Banjo.There is also a common tuning used on a Dobro called “Reso G” (GBDGBD).
“Nashville” or “Angel Hair” tuning is usually EADGBE but the bottom four strings are the octaves out of a twelve-string set. This makes for great duets if you play exactly the same chords and notes as your partner. Unfortunately you will need a dedicated guitar for this as the nut will have to be altered to accomodate the smaller gauges.
As Mark says Keith Richards uses Open G for most of his classic riffs (Brown Sugar, Jumpin’ Jack Flash etc.) but to confuse matters he removes the 6th string completely! Again, you really need to have a dedicated guitar for that.
The commonest “weird” open tuning is DADGAD as popularized by Davy Graham. You have to try this to understand how it changes the sound of songs. John Renbourn uses it almost exclusively.
DaveC
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Post by DaveC on Aug 1, 2011 21:53:58 GMT
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Post by DaveC on Aug 1, 2011 10:05:56 GMT
Hi Norm, As Piet says, a good way to establish a safe storage/backup system (external to the computer) is to use a network drive in a "mirror" (RAID 1) configuration. I bought an Iomega 2Tb/2Tb unit from PC World a month ago for £260. It took 10mins to connect it to my modem/router and set it up, and about 45mins to transfer all the data on my computer and MP3 jukebox. Of course this still requires your computer, software and soundcard for playback. If you are hellbent on having a stand alone MP3 jukebox then consider the Brennan JB7 www.brennan.co.uk/which has its own 60W amp and allows you to rip, file and play back all your music. The internal hard disk will store about 10 CDs per Gb. Prices range from £366 for a 160GB model to £479 for a 500GB model. The 1Tb USB drive (which you just bought) would then be used as a backup to this. DaveC
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