|
Post by Cruachan on May 18, 2018 20:55:09 GMT
Hi Charlie,
What a fascinating article! This is all new to me, but now that I’ve taken some time to study the detaiI I feel I’m becoming familiar with concepts such as ‘Fourier Analysis’ and ‘Fast Fourier Transforms’ which reveal the harmonic frequency domain of the output waveform. Also, how small changes of the negative grid bias voltage of the EF86 (and hence current) can produce varying amounts of crossover distortion.
I suspect this has given me some small insight into the complexities of what has been involved in the research and development of the ‘EF86 Project’ and points to the technical wizardry and inspiration necessary to emulate and implement all this goodness in solid state.
Thanks for that link, Charlie. It’s an eye opener and certainly underlines the fact that we are all in for a treat when the pedal is eventually released to market. Can’t wait!
Regards, Mike
|
|
|
Post by Cruachan on May 17, 2018 9:26:38 GMT
This is because of the power amp emulation that creates crossover distortion and sag. I wouldn't say it could replace a distortion effect but both together could be very good sounding. Hi Charlie, I’m afraid you’ve lost me there - techie knowledge not up to scratch and all that... lol! Any chance you could elaborate a little for me and those others who may be reading this and are feeling similarly challenged? Edit: Perhaps a few audio files would whet our appetites and help us appreciate the capabilities of this new pedal. Would that be possible or, indeed, sensible at this stage? Regards, Mike
|
|
|
Post by Cruachan on May 17, 2018 2:25:54 GMT
Hi Mike, There has been no progress just lately as Stephen is waiting for news of the code for the newer type H & C display. Our plan was to deal with that and the hum issue on the new "EF86" board at the same time since it is nearly a 300 mile round trip for me every time I go to the factory, and I also have to wait until Stephen is free to see me anyway. Sorry I can't report more positive progress right now. I'm sure you will understand why I wouldn't post any non news just for the fun of it! Regards, Charlie Hi Charlie, Thanks for that and, right now, I sense you might be feeling a little frustrated about the current lack of progress. Actually any report, negative or otherwise, would be helpful as then we can better appreciate the reasons for any delays. I’m sure we are all eager to see the ‘EF86 Project’ released to market particularly as it does appear that the core development is pretty much completed bar a few minor issues such as the aforementioned hum. Hopefully the wheels of progress will start turning again very soon and we can all anticipate some exciting news! Regards, Mike
|
|
|
Post by Cruachan on May 16, 2018 17:55:58 GMT
Hi Charlie,
Time for another project progress update, perhaps? I’m sure all those who have registered their serious intention to purchase would appreciate regular updates in this thread without the need to keep badgering you for information. Also, it would help to keep this intriguingly unique project alive in our minds and go a long way towards generating fresh interest....and, yes, the likelihood of rising sales forecasts.
Best regards, Mike
|
|
|
Post by Cruachan on Feb 24, 2018 19:28:38 GMT
Hi Charlie,
Not wishing to distract you needlessly from your endeavours, but I’m wondering whether you are in a position to provide us with an update on further progress made with this exciting project?
Best regards, Mike
|
|
|
Post by Cruachan on Jan 16, 2018 12:37:15 GMT
If I Could Be Where You Are is track 4 on Amarantine, Enya's 6th studio album released in 2005.
The tune accompanied a tender moment between Arwen and Aragorn in the film 'Lord of the Rings'.
C4 it is then, thanks! Musical theory is not my strong point and previous attempts at recording have left much to be desired, so I wouldn't hold your breath. Still, you never know, it might happen 😉
Regards, Mike
|
|
|
Post by Cruachan on Jan 15, 2018 22:45:11 GMT
Hi Ian,
Thanks for your help with this and I apologise for the delay in responding.
Yes, I think you are correct in referring to this chord line as being part of a bridge in the tune. If you ignore the Intro there are 6 sections including 2 bridges - 3rd and 5th sections. In each case the C at the end of the bridge moves to a Bb at the start of the next verse. The first chord line of each of these verses is: Bb - F - Bb - F
So, I'm thinking the Csus4 before the C is likely to be the correct choice for the Chord Name.
BTW, in case you are wondering about the title of the tune, it's Enya's hauntingly evocative "If I Could Be Where You Are". Pete Korving has recorded a beautiful cover version which I'm doing my best to try to emulate.
Kind regards, Mike
|
|
|
Post by Cruachan on Jan 14, 2018 19:21:52 GMT
Hi, I've been working out the chords of a new tune for my rhythm playing buddy. Only one wee problem and it presents in the last line of a couple of verses of the song. The key is F major (I think!) The time signature is 4/4 The Chord line is: Bb - F - G7 - '?' - C (The '?' and C each have a count of 2 beats) The question relates to the '?' chord. The finger pattern for this chord, as analysed by ear, appears to be: X 3 3 0 1 1 (X = muted and 0 = Open) Referring to this very useful website: jguitar.com/chordname?string5=1&string4=1&string3=0&string2=3&string1=3&string0=1I am provided with 3 options for the Chord Name: Csus4 (C Suspended 4th) Fsus2/C (F/C 7th Suspended 4th) G7sus4/C (G/C 7th Suspended 4th) Now, while all are correct, which one would be the appropriate choice in this context? Thanks. Kind regards, Mike
|
|
|
Post by Cruachan on Dec 11, 2017 18:50:32 GMT
Hi Charlie,
How about a wee update on progress with the EF86 Project? I'm sure we're all dying to know how it's coming along.
Regards, Mike
|
|
|
Post by Cruachan on Dec 11, 2017 18:45:22 GMT
Merry Christmas and a Very Happy and Prosperous New Year everyone!
From Mike and Lexie ☃️🍺🍹🥂...........😴
|
|
|
Post by Cruachan on Nov 10, 2017 8:32:18 GMT
Speaking of Chet, back in 2013 I recorded and posted this one: app.box.com/s/tibsn2m1qmgrycx2k0yiTook me an age to work out how to play it so you might like to give it a try, Steve 😉 When I finally succeeded I do recall feeling very pleased with myself. Give it a shot, it's quite tricky in places. Winning over a new challenge is often the way to extricate yourself from a rut. I too have been a lifelong fan of Chet Atkins. I believe I have most of his albums on vinyl. His playing inspired me to pick up the instrument....not that I've ever been able to master his techniques or even get close! Sometimes it's best to just sit back, appreciate, admire and dream rather than beat yourself up over stuff that will forever remain beyond reach. Regards, Mike
|
|
|
Post by Cruachan on Oct 31, 2017 10:23:50 GMT
Hi Mike, Hall Effect is something I had thought of many years ago, but decided against using it. Let's not turn this into a repeat of the scenario where everyone was trying to think of names for the Hall & Collins Signature Echo! Regards, Charlie Hi Charlie, Yes, I had my doubts about that as well. However, " Project EF86" may still have some merit and would be in keeping with your thoughts about "project the sound". In this instance turning around "EF86 Project" to "Project EF86" would imply both the project itself and also the projection of the EF86 sound. Regards, Mike 😀
|
|
|
Post by Cruachan on Oct 29, 2017 0:08:14 GMT
Hi Gary, I was wondering whether to call it the EF86 Project (as in project the sound)! Regards, Charlie How about: " Project EF86" or " The Hall Effect" Regards, Mike 🤓
|
|
|
Post by Cruachan on Oct 28, 2017 0:21:39 GMT
Hi Charlie,
I'm afraid I am a little late joining the party, but now that I've caught up I realise that owning this unit has to be another no brainer. So, please add my name to the growing list of eager prospective purchasers of your latest intriguing and ground breaking creation.
Thank you. Regards, Mike
|
|
|
Post by Cruachan on Sept 15, 2017 17:05:10 GMT
Hi Peter, You will find all you need to know at this address: www.hallandcollins.com/index.php/buyRegards, Mike Edit: Blimey, where did all those replies spring from? When I arrived on site a few minutes ago all I saw was Peter's question!
|
|
|
Post by Cruachan on Jul 24, 2017 13:08:52 GMT
Hi Chris,
Now you are in the recovery phase, take heart from the knowledge that my neighbour (79) has had two hip replacements, last a few weeks ago, and he is talking about climbing trees again! Nothing would surprise me where he is concerned. He started mowing his grass (not on the banks, his son-in-law is doing that meantime) a month after his second operation AND he had his second cataract op. a couple of weeks ago! There's hope for us all 😀
All the best, Mike
|
|
|
Post by Cruachan on Jul 9, 2017 8:56:49 GMT
Hi Everyone Well it's been nearly two weeks since my H & C arrived and I have to say it's the best piece of kit that I have purchased in 20 years... I absolutely love it! Charlie I have owned a fair few echo units over the years ( Still have both the Roland Re-301 and Re-501 ) and I have to say that the H & C totally lives up to and far exceeds expectations The patches are well designed and thought out.... I had the 301 and the H & C set up side by side so I could compare and I have to say it totally blew me away just how good in comparison the H & C is.... You have totally nailed it.... John RIP and yourself should be extremely proud of what you have achieved.... Play ability wise this unit rocks the Instructions are well set out and concise and programming is an absolute breeze. The years of R & D from Yourself and John has certainly paid huge dividends.... This unit is an absolute joy and pleasure to use....Thanks once again Charlie for your hard work and toil.... Cannot wait to see how it evolves from here
Kind Regards Whimpy (Peter) Hi Ted, With respect, I think you need to read all the posts from the legions of satisfied H&CSE users, like the one above which truly reflects how we all feel about this extraordinary unit. Regards, Mike
|
|
|
Post by Cruachan on May 25, 2017 14:53:57 GMT
Hi Paul,
Okay, fair enough. Didn't really mean to put you on the spot but you can't blame a chap for trying!
Regards, Mike
|
|
|
Post by Cruachan on May 25, 2017 11:10:51 GMT
I forgot to add that some tracks were completed with the CS54's and some with the Kinmans. Can you tell which is which? Regards, Paul. Now there's a challenge! Speaking for myself I wouldn't have a clue. Thanks for your contribution, Paul. Do you know whether Hank visits these forums, or are you under an unofficial 'NDA' and are not permitted to say? 👹 Regards, Mike
|
|
|
Post by Cruachan on May 23, 2017 17:18:54 GMT
His full length photo occupies pride of place on the front cover of the magazine. He is holding his iconic Signature Strat. With the help of a magnifying glass I identified the 3 pups as hum cancelling Kinman Hx. Can we assume he used this Strat on his latest album?
Mike
|
|
|
Post by Cruachan on May 22, 2017 18:56:41 GMT
That's a different style from the one we usually here from you Istvan, I liked listening to that and Zoltan played the Dobro well Indeed, and what a refreshing change from our usual fare. Enjoyed it very much! Regards, Mike
|
|
|
Post by Cruachan on May 19, 2017 20:59:24 GMT
just been on gorans site it seems to be working now ok Yup, just tried the link in his Provider List entry and appears to be working fine. Mike
|
|
|
Post by Cruachan on May 19, 2017 8:55:28 GMT
Hi Ron,
I too Echo the comments made by others in this thread. Thank you! Please check your Messages inbox.
Regards, Mike
|
|
|
Post by Cruachan on May 17, 2017 20:58:54 GMT
Hi Everyone,
Just a quick heads up to say there is a 9-10 page article featuring Hank in Issue 420 of 'Guitarist' magazine. It includes a collection of 'interviews' by various luminaries including Brian May, Peter Frampton, Steve Howe, Dave Davies, Martin Taylor, Phil Manzanera, Steve Hackett, Guthrie Govan and several others. A very interesting read and, I'm sure, answers many of our questions as well.
Regards, Mike
|
|
|
Post by Cruachan on May 7, 2017 18:41:00 GMT
|
|
|
Post by Cruachan on Apr 24, 2017 0:04:05 GMT
Hi Rosemary,
Glad you're finding it helpful.
Here's a tip: I'm not playing any bar chords in WL. Instead, I am using what I call the 'F' shape to play the F and G chords. That way when you slide your hand down from the G your 4th and 5th fingers are in position to play the Em. All chords are played down at the bottom of the fretboard including C, D, Dm, Fm and Bb. At times it can be helpful to have learned to play chords like E, Em and Am using your 3rd, 4th and 5th fingers instead of the traditional way. I call it economy of movement with fewer finger acrobatics as you switch chords. You don't need to play all 6 strings all the time. Often it's more effective to play just the first 4 (think of that Bb) or 5 or, indeed, the middle 4 strings while muting the 1st and 6th - depends what sound you wish to create. Mini chords are widely used by guitarists. Sometimes playing just 2 or 3 strings within a chord can deliver the sound you want. You get the idea.
Regards, Mike
|
|
|
Post by Cruachan on Apr 22, 2017 18:05:23 GMT
If anyone is interested I have just tabbed this out and managed to remove most of Hanks guitar from the backing. Both tab and backing are on my website www.stevereynolds.co.ukHi Steve, Thanks very much Steve. I've sent your Tabs and BT to my son in New Mexico along wth a link to the YouTube video. His family are great fans of Dr Who, as am I, so this one will go down well with his kids. He is learning to play electric guitar so this should not present too great a challenge. Might try it myself 😉 Regards, Mike
|
|
|
Post by Cruachan on Apr 22, 2017 17:21:10 GMT
Bruce don’t play only : G – D – F – C – C – F – Bb – G and during 4 bars for each chord but G – D (each for 4 bars, right, but) then F - Dm - C - Am - C - Am - F - Dm (for only two bars each) and then Bb – G (each again for 4 bars) Hi Patrice, Yes, that's the way I had it charted originally, but my trusty friend found all these chord changes quite tricky. So, I simplified it a little and we found it still sounds okay. I'm assuming that when you wrote 'bars' actually you meant to write 'beats'. Regards, Mike
|
|
|
Post by Cruachan on Apr 22, 2017 17:11:11 GMT
Hi Rosemary, Me again! Now, the rhythm pattern. I've created an audio file for you illustrating how I would play Wonderful Land. The levels have been adjusted to bring the rhythm guitar to the foreground while still maintaining sufficient original track in the background for you to follow. If you have Audacity then you could slow the track down until you get the hang of what's going on. BOXapp.box.com/s/1cl2qjaqk8nutgtdtbdcb979t9w2h7rl FilesAnywherebackup.filesanywhere.com/fs/v.aspx?v=8d6f67886064757ab298You can download from both links. Please keep in mind that accomplished rhythm guitarist I ain't! - last time I played rhythm backing was back in my teens when I was in a group called 'The Orbits' so the rusting technique may be all too evident 😀 Now, if you listen carefully, you will quickly realise that most of the rhythm is played with downstrokes while upstrokes appear in the 'Ching- che-che-che-Ching-Ching-Ching-AND' bits equating as Down- down-up-down-Down-Down-Down-AND strokes of the pick.The 'AND' is where you lift off the strings, while your hand rises on the upstroke during the last beat of the bar, to move to the next/first chord/beat of the next bar. Hope that all makes sense. The intro is played: Down-Down, Down-Up-Down-AND (G-G, F-F-F-AND) for the first two chords G and F. The lead starts on the second rhythm downstroke, so Rhythm starts WL first. You might find it easier to listen to the track and get the Rhythm pattern in your head. The rest should then come naturally. Hope this helps. Regards, Mike
|
|
|
Post by Cruachan on Apr 21, 2017 13:44:11 GMT
Hi Rosemary, As you may be aware by now, I meet with a friend every couple of weeks for an evening's jamming session. I play lead to his rhythm, we are both learning so we tend to be very forgiving of mistakes... However, my knowledge of music and timing is a little more advanced than his and so it falls to me to create chord charts, which he finds helpful, for each number played. Using Wonderful Land as an example: If you would like to download the pdf file: backup.filesanywhere.com/fs/v.aspx?v=8d6f67885a6172b09ea7Wonderful Land, as you will know, is played in 4/4 time with 4 beats to each bar. Note the numbers above some of the chords. Take the 2 above the first 'G'. This means that the 'G' chord is played/held for 2 beats and every other chord following is also played for 2 beats until that number changes. The next change occurs at the first 'G' in Verse 1 which is played/held for 4 beats. This carries on until the Bridge when every chord is played/held for 2 beats until the 'Em' at the end of the line which is played for 12 beats (4x3). When we embark on a new tune I encourage my friend to forget all the fancy stuff meantime until he has a firm grasp of the timings for each chord. After all, I rely on him keeping accurate time otherwise it is all too easy for us to get out of sync and I am waiting for him or skipping notes to catch up..not good! He starts by playing each chord arpeggio style with a slow and measured down stroke through the first beat. That way he can be sure he is striking each selected group of strings cleanly. It is not always necessary to play a full chord to be effective. Then the chord is muted for the remaining number of beats (a useful playng technique in its own right) allocated while allowing him thinking time before moving on to the next chord in the sequence. Throughout it all his foot is keeping a steady unbroken rhythmic beat by tapping the floor. This last is very important as correct timing is always the key to success and you need to cultivate the habit of counting silently to yourself until it becomes second nature. Once his confidence grows, he then holds each chord for the duration of its allocated number of beats. Finally he will play downstrokes for every beat of every chord. Using this approach there will come a time when he can introduce upstrokes to establish an appropriate rhythmic pattern to suit the melody, or embelish without overcomplicating, in any way he sees fit. Nothing is cast in stone! Regards, Mike
|
|