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| THE GUITAR PLAYER'S THREAD
Posted: 6/14/2005 11:11:37 AM | dannyabe
on a strat........
pickups
humbucker in the bridge for sure
duncan distortion
bill lawrence----xl-500
dimarzio steve special......etc
neck/mid
depends on your tolerence for noise
noiseless:
bill lawrence s-290 is nice
the new fender noiseless sarium colbolt magnets(designed by bill lawrence) are very cool
kinman if you are rich
SUPERSOMMA
yes $3000 (gibson commercials!!!!----you got to love the usa)
and are they worth it
no way
I build guitars ..........and I know
I am more of a superstrat man
les pauls are not nearly as comfortable and the scale is too short
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| THE GUITAR PLAYER'S THREAD
Posted: 6/15/2005 9:56:45 PM | once again....Gman comes thru....
your awesome dude....thanks for the info.....
danny | |
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| THE GUITAR PLAYER'S THREAD
Posted: 6/15/2005 11:08:59 PM | no problem dude
a recording tip for you all:
try
reamping
-record your guitar direct no distortion just a clean boost to get a good level "to tape"
fire your well played performance out to you amp and then record it as many time as you like with different amps
I use this all the time with my studio clients
saves hours and allows you to experiment later with different amp/mics etc
try this dudes it is key | |
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| THE GUITAR PLAYER'S THREAD
Posted: 6/15/2005 11:16:14 PM | There is a catch, ....line level out, will not "hit" the front end of an amp in the same way coming from recording media.........
Fret not!!!
um,........... there are ways:
The Radial JD7 Injector is a creative recording tool disguised as a guitar signal distribution amplifier that allows a guitar signal to drive as many as seven amplifiers simultaneously without loss or coloration.
Front panel control makes selecting amplifiers, ground paths and polarity (phase reversal) easy. The JD7 utilizes a newly developed Class-A audio signal path that has been optimized for use with electric guitars and is 100% discreet (no opamps or chips) producing the most accurate and faithful signal at each output. To eliminate such problems as 60 cycle hum caused by ground loops without signal degradation, the world’s finest audio transformers by Jensen® are employed.
The Radial JD7 also features a 600-Ohm balanced direct output to allow the engineer to record a dry guitar track or to use the JD7 as a direct box. A balanced input allows a pre-recorded track to be sent back into the JD7 which can then drive amplifiers, effect pedals and other devices.
Second best bet, ........ JDV mk3
On a budget (but far less fun) the single channel JD1 | |
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| THE GUITAR PLAYER'S THREAD
Posted: 6/16/2005 3:54:15 PM | I am just researching products to purchase
-little labs ibp
is probably the one for me
-cause it has multiple degree phase correction
"phase the bane of my existance"
others...........
-millenia media td-1
-reamp-by john cabettilli | |
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| THE GUITAR PLAYER'S THREAD
Posted: 6/17/2005 2:12:40 AM | Gman and Late.....
right on dudes....i'll remember this tip....its an awesome one !!!!
thanks | |
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| THE GUITAR PLAYER'S THREAD
Posted: 6/17/2005 8:20:37 AM | dannyabe
the first time I did reamping
I fire a guitar track through a marshall jmp half stack
I had to look at my hands for a moment to make sure I was not playing guitar
it is that cool dude | |
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| THE GUITAR PLAYER'S THREAD
Posted: 6/19/2005 11:54:29 PM | The history of re-amping
We recently looked into the history of re-amping and were amazed at the response we received by asking around. These are brief historical accounts and letters we received. Many thanks to Frank Wells at Pro Sound News and Mitch Galagher at EQ magazine for helping us track down these folks.
When we asked recording historian Doug Mitchell (*1), Associate Professor at Middle Tennessee State University the question: 'Who invented re-amping'. Doug gave us this reply:
"The process now called 'reamping' has actually been utilized since the very first days of recording, though it may not have been referred to as such until perhaps the late 1960's or 1970's. From the early days of sound recording, composers and experimenters have used techniques that include what we now call 'reamping' to take advantage of the recording process and expand upon its possibilities. In 1913 Italian futurist Luigi Russolo proposed something he termed the 'Art of Noises'. Recordings of any sound (anything was legitimate) were made on Berliner discs and played back via 'noise machines' in live scenarios and recollected on 'master' disc cutters. This concept was furthered by Pierre Schaeffer and his 'Musique Concrete' electronic music concept in the 1930s and 1940s. Schaeffer would utilize sounds such as trains in highly manipulated processes to compose new music ideas. These processes often involved the replaying and acoustic re-recording of material in a manipulated fashion. Other experimenters in this area included Karlheinze Stockhausen and Edgard Varese."
"With the possibilities presented by magnetic recording the process of what might be termed reamping was utilized in other 'pop' music areas. Perhaps the first person to take advantage of the process was Les Paul. His recordings with Mary Ford often utilized multiple harmonies all performed by Mary. Initially these harmonies were performed with the reamping process. Later, Les convinced Ampex to make the first 8 track recorder so that he might utilize track comping to perform a similar function. Les is also credited with the utilization of the reamping process for the creation of reverberant soundfields by placing a loudspeaker at one end of a long tunnel area under his home and a microphone at the other end. Reverberation time could be altered with the placement of the microphone with respect to the loudspeaker playing back previously recorded material."
"Wall of sound pioneer Phil Spector is perhaps the most widely accredited for the use of the reamping process and because of his association with the Beatles, is potentially regarded today as the developer of the process. However, Phil was actually refining a process, which had been utilized for decades, and exploring its possibility for use in rock music."
"The process of reamping is often used in film sound design as well. In order for sounds recorded in a post production environment to match the scene, it is common for them to be re-recorded utilizing a reamping procedure. In film sound this process is also termed 'worldizing'."
"The history of first use of the term 'reamping' is vague. It may have come into the recordist's vocabulary as early as the late 1960's, but I am not sure when the term was first utilized."
We then posed the same question to Bob Ohlsson (*2) of Motown fame, (Stevie Wonder, Marvin Gaye, Kinks, Animals, Donovan, Herman's Hermits). Bob kindly answered:
"I began doing it in 1968 shortly after we got the sixteen-track machines because for the first time we could separately record direct guitars, clavinets and e.pianos. I had never heard of it being done and am pretty sure I was the first to try it at Motown but I can't imagine lots of others weren't doing the same thing. It seemed like a very obvious thing to do in a world where electric instruments were taken direct primarily to cut down on bleed rather than for tonal quality."
We then contacted Roger Nichols (*3) (Steely Dan, Crosby Stills and Nash, John Denver, Roy Orbison, Zappa) and when posed the question: "Roger, I know you have been re-amping for a while, when did you start using this process?"
"That would be 1972 when I built the re-amper we used on the first, and almost every Steely Dan album after that. We used it to play direct guitar tracks back through an amp. We were going through a lot of amps. The speakers would get tired or the tubes would melt or something during a night of guitar overdubs."
"We would go through one amp to make sure we got the sound we wanted, and then when the right guitar and settings were locked in, we recorded the direct signal and let the amp rest. After the part was completed, we ran the signal back through the guitar amp and it only had to last long enough to print the results to tape. I still have the box around here somewhere."
Interestingly, when Jensen® introduced the JT-DBE audio transformer in 1980, the application notes on this unit contain a complete paragraph discussing using it to convert low impedance balanced lines to guitar levels. This same application is mentioned in the Radial JDI direct box owner's manual and referred to as 'using the JDI backwards'. In the 1980's, the Whirlwind company also produced a device that could accommodate low-to-hi conversion using a transformer.
In 1994, Reamp® commercialized the process by producing a box that incorporated a transformer and a volume control. This allowed the user to adjust the volume at the amplifier instead of at the mix position. In 1996, the 1st generation Radial™ JDI was introduced.
The 1st generation Radial JD7 Injector was released in 2001 with a balanced output and input to allow re-amping and subsequent re-distribution of signals to many amplifiers. In 2003, Radial will be introducing the Radial X-Amp which is an active device that allows a pre-recorded balanced signal to drive two amplifiers at the same time.
* References
(1) Doug Mitchell, Associate Professor MTSU Department of Recording Industry http://www.mtsu.edu/~dsmitche
(2) Bob Olhsson Audio Mastery Recording, Project Design and Consulting Box 90412, Nashville TN 37209
(3) Roger Nichols Mastering 11461 SW 93 St. Miami, FL 33176 http://www.rogernichols.com | |
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| THE GUITAR PLAYER'S THREAD
Posted: 6/22/2005 1:07:38 AM | @ Gman....
holly cr*p man.....i take my hat off and bow man.....
you know your sh*t dude !!!!! and i really enjoy reading your post.
danny | |
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| THE GUITAR PLAYER'S THREAD
Posted: 6/23/2005 2:07:25 PM | 2001 1975 Rickenbacker Bass Guitar.
I'll never sell this classic used by Chris Squire of Yes. The tone is great and plays great. Never had anything done to it, but haven't had any problems since 1975. Notes ring clean with clear intonation. | |
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| THE GUITAR PLAYER'S THREAD
Posted: 6/24/2005 9:30:53 AM | I eat, sleep, breathe, and poop guitar.
i read through most of the posts but, 24 pgs...DAMN!
Gear
Washburn Dime Sig
Dean ML
Jackson ps7
Epiphone strat style(Screamin Demon/bridge, Alnico II Pro/neck)
Ovation legend series
Epiphone PR5E
Alvarez 12 string
De Armond Bass
Kustom amp
Marshall cab
Peavey transtube head
Peavey transtube combo
Peavey 112 bass combo
Boss Pedals | |
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| THE GUITAR PLAYER'S THREAD
Posted: 6/24/2005 4:54:30 PM | | The first electric i bought was a Les Paul Studio! Im convinced that the guitar taught me how to play even though i guess im self taught. My digital Crate has let me go wherever i needed as far as amps and effects | |
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| THE GUITAR PLAYER'S THREAD
Posted: 6/24/2005 7:21:23 PM | | Whats the breakdown on Orange amps. Theyve always caught my eye fer some reason but never heared one. | |
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~Jim~
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Joined: 11/10/2004
Msg: 590 | |
| THE GUITAR PLAYER'S THREAD
Posted: 6/25/2005 8:00:41 PM | | I just picked up a Dean starter set, guitar amp etc.. The Fender Squiers are going for $279, I saw earlier someone said $100-200. I found a sight, guitertricks.com, but don't really like it that well. Anyone have any suggestions for a beginner? | |
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| THE GUITAR PLAYER'S THREAD
Posted: 6/25/2005 9:33:27 PM | rainstranger
you like them cause they are orange.................
idocman
there is a book I reccomended about 5 pages back by RIchard Chapman
every guitar player should have it | |
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| THE GUITAR PLAYER'S THREAD
Posted: 6/25/2005 10:59:00 PM | Whats the breakdown on Orange amps. Theyve always caught my eye fer some reason but never heared one.
The desireable(vintage, not sure about current production), tube models, use active Baxandall tone circuitry, usually found in Hi Fi gear. This circuit allows for independant cut/boast of "lo mid hi" EQ, like on the "V" series Ampegs from the '70s and a '60s Silvertone offering, ....can't remember the model designation but I think it was "4812". These are different from the standard tone stacks found in Fender/Marshall/Vox/Etc. amps which are coupled band-pass filters = you can only "take-away" bandwidth.
These amps "dial-in" differently and when used with high efficiancy speakers (Altec/JBL/EVM), yield a palette of tonal variation you can't achieve on most amps. Most guitar players, unfamiliar with this tone stack, configure it as if it was passive, and in doing so, ........fail to use these amps in the way they're designed.
The "V" Ampegs for example, have from 28db to 48db + or - range, the center freq. of the mids is variable 300/1000/3000hz, ......as this is a different beast from what most are used to? .....they tend to dial them in wrong. For example, the potential range of bandwidth from a Fender or a Marshal is approx. 100 to 7000hz, the "V" can reproduce 20 to 20,000hz.
I love these. | |
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| THE GUITAR PLAYER'S THREAD
Posted: 6/27/2005 11:42:34 AM | Is that why many vintage Oranges explode in such spectacular fashion?
(That's not a dig, I undertsand they were very picky)
I recently tried an ad-30 combo. nice amp unique sound, but virtually impossible to find to test. They are always back ordered according to a dealer in NJ. This was a new amp. Loved the dirty channel but the clean channel seemed to be lacking something. | |
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| THE GUITAR PLAYER'S THREAD
Posted: 6/27/2005 2:33:27 PM | WANT THE UTIMATE TUBE AMP RIG ?
here is a trick I have been doing for a long time which will give you alot of tube amps for "cheap"
1-buy a good quality stereo tube power amp
-I went with the Mesa Boogie 2:90 and a Mesa Boogie 2:95
2-now buy different pre-amps
you now have lots of different choices for sounds
It is like having many amps for half the price
AND ON EBAY THERE ARE TONS FOR SALE $150-$500
yes........ I know you are using the same power ,but, If it is good and neutral sounding then the preamp will assume the character/qualities
(the "mesa boogie" sound comes from the mesa pre's ...................
if you just tried their power amps you would see they are quite neutral sounding and very well built)
preamps I own and would suggest:
1-gt trio 3 channel tube preamp
2-digitech 2101 tube preamp with effects(this one kills all the modeling pramps)
has a wet/dry blend knob so you can use mostly the analog signal and only 10%digital effects signal for reverb/delay
3-soldano sp-77 tube pre-amp
4-boogie triaxis(great for jazz/blues)
I run the system in mono
channel a- is for 'the house mix'
channel b- is a my "personal monitor mix"
because they are matched sides the monitor you are getting is the same as "the house" gets
and you get individual volumes
try this once for a live gig and you will never go back
-get bored with your tone? switch pre-amps
It is like getting a new amp
-want a 5 channel tube amp?
- I use an a/b loop switcher(banzai)
a------>gt trio(3 channels)
b---------->peavey 5150(2 channels) | |
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| THE GUITAR PLAYER'S THREAD
Posted: 6/28/2005 12:49:41 PM | | thats awesome guitarman... the dream job. i have a question, while ive been playing for 12 years in my time i really havent learned to much about gear. i have an old sixties model les paul that i picked up at a pawn shop when i was 17, i love it, its my baby however i think its about time for new tuners and pickups, so what kind would you suggest?\ | |
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| THE GUITAR PLAYER'S THREAD
Posted: 6/28/2005 3:04:01 PM | great question
IF it is a original Les paul
leave it stock !!!!!!!!!!!!!!
If you mod it you will kill yourself later if you try to sell it
you will lose like half it's value
if it is a copy
what kind is it? | |
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| THE GUITAR PLAYER'S THREAD
Posted: 6/30/2005 10:41:20 AM | | i dont think i have any worries about ever trying to sell it. that would be like selling my child. hehe. thanks though. i do know that i will have to buy new tuners, cause the others are just plain worn out. | |
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| THE GUITAR PLAYER'S THREAD
Posted: 6/30/2005 11:25:00 AM | | Just recently received a catalog from a music store here in Michigan that deals in vintage instruments. Name of the store is Elderly Instruments, and they have on there cover a 1960 Les Paul Flame Top, all original. There stock number for this guitar is 30U-12528. Asking price for this guitar is 140,000. Nope, I did not misprint this price from there catalog, although I wonder if they havent. Over the years in receiving there catalogs, ive noticed that Vintage Gibby's bring much much more in price over Fenders. I know that a lot of the new Fender stuff also carries Made in Mexico as well as a few other countires. Did this have anything to do with Fenders not bringing such a high price in Vintage guitars? Just a little curious here, and I figure gman will be able to give a good answer to this. By the way, this Gibby is a beaut! | |
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