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  2. as an addendum...I started this forum when I was starting out on the solo path in order to pick the brains of the folks I could attract to the forum, and I learned so much about things to do, not to do, gear to try, material that may or may not work...so there it is, almost a decade of absorbing data from others in similar situations. And so I will take this opportunity to thank all the great people who contributed here over the years, although many have moved on, and I have put my solo act on hiatus several times as situations arose.
  3. Thanks guys - we really didn't want to have a repeat of some of the past platform switch fiascos.
  4. Voltan is correct.... To the OP, your Taylor is a good standard choice for acoustic. Work with it, build up your left hand. I don't bring an electric/semi/hollowbody for solo gigs. I know people who do, but honestly, I found that no one really cares about your soloing [even with a looper, which if you don't have one, I suggest you get one and start working with it], they are expecting a person who sings and plays guitar. If you can manage fingerstyle jazz, [which I can't seem to do] then bring the Gretsch, otherwise, work on your act with just the Taylor. Why? Because it sounds to me like you have developed some bad habits regarding your singing and playing, most likely from working in bands with 2 guitars [just a guess] where you were not the lead vocalist. You are not alone; I had similar issues when I started out to build my solo act [although I work in a variety of band configurations, usually as the lone guitarist]. Doing a solo act is a 'warts and all' proposition. You are the act, no one to help you, cover for you, etc. Rethink the songs to suit you and your gear. No one has ever complained to me that I did a song on acoustic and I didn't do it just like the record...the audience really wants to be entertained and they don't care if you play the solo note for note....sell them your version of the song. I am in the process of retooling my solo act, but the least of my issues is guitars. I did a lot of things right and wrong starting out, but on my last solo gig, I stripped everything back to me and the guitar and a mic...and it worked fine. Oh, sure, I could have impressed them with my mad skills with the Beat Buddy, Vocal harmonizer and the looper...I can sound pretty close to a full band...but frankly, it was far more work than I needed to do to put on an entertaining show...and that is what you are really trying to do: entertain your audience. Focus on the song. Pick songs that work with your voice and with the rest of your material. Focus on singing, and accompanying yourself while singing. Remember, the audience wants to hear you perform, not a jukebox. Also, a hard lesson learned: trotting out covers of 60s and 70s rock tunes won't get you where you think they will. If you are going for that era, look to the folkier material like CSNY, S&G, JT, Croce...I do a medley of Everly Bros which goes over well as well, and the occasional rework of one hit wonders, like 'Don't Walk Away, Renee'. I am currently digging in o the Great American Songbook material, finding standards that 1: I like, 2: I can arrange the guitar parts to suit my style, 3: I can sing well and 4: not may other soloists are covering... Be bold, be different, but above all else, be entertaining!
  5. Although I have the guitar behaving now and I'll likely wear those strings out, it's a pretty sure bet I'll try something else next time. Another thing I found odd was that the string pins don't fit into the holes as snugly as I'm used to with other acoustic guitars, it almost seems odd that they are able to hold the strings in.
  6. Today
  7. I'm not sure why no one replied yet, but using tube amps with keyboards is not at all uncommon. In fact, I don't think that a B3 is quite the same unless it's running through a tube amp-equipped Leslie speaker. I'm not above reamping a keyboard part in the studio to give it some acoustical ambience, and sometimes I'll use a full-range powered (solid state) speaker for that, and other times I'll use a tube amp - it just depends on whether I want to muck up (warm up / distort) the sound a bit or not. I know a lot of big-name producers and engineers who will do the same basic thing, so while tube amps are generally not the first choice for live use with keyboards (outside of Hammond / Leslie players), they do get used occasionally - at least in the studio - so don't be afraid to experiment yourself and see what you think!
  8. Amy! Glad you could drop in. Moving to Sweden? Life must be rough! I still fantasize about moving to Italy, but can't work out how to do it.
  9. I believe that if you read his first post, the OP says he is going to use a "Bigsby-like trem approach".
  10. Agreed. Mine's very stable with the standard trem and I use the trem alot.
  11. David... if you hired me to lay down drum tracks and you noticed my cymbal pads... I wasn’t doing my job...
  12. First off... welcome to the boards! You’re going to find a lot of info here... I like your taste in gear, but imho, you’re overthinking this thing, pick up a guitar and go play... stop trying to plan what the unpredictable humans are going to enjoy and have a little fun of your own... you’re worrying about subtle instrument differences and playing to folks that have little discernment for basic intonation... and then they add alcohol... what kind of pa are you using?
  13. I would agree, looks better than it has in years.
  14. Glad to hear it is going to be repairable! I thought it might. Please let us know how it turns out...
  15. If you use trad strat tremolo, why would you need roller bridge? The whole bridge/saddle assembly goes up and down, and no string drags over saddles as would be case with a TOM bridge/saddle. Correct me if I am wrong (as if you guys wouldn't! haha)
  16. You've got me curious. I need to go measure the one I was storing. Most OM's are fairly wide necks - the ones that I have built are 1-3/4 at the nut and 2-5/16 at the bridge. I'll report back when I've measured the Eastman.
  17. Yesterday
  18. When I build a guitar with a Bigsby, I use roller saddles. - it just doesn't make sense to drag a string back and forth across a knife edge. I'm also totally impressed by Kahler bridges with their roller saddles. I don't really care for locking nuts and prefer not to use them but Kahler specifies one to be used with their bridge. Edit to add, be sure that the radius of what ever bridge you choose will work with what ever radius your fretboard is. Also, of course, make sure that the geometry works with your neck angle, overstand, etc.
  19. The T5 sounds like a candidate for acoustic/electric strings, such as DR Zebras or GHS White Bronze. Strings are (relatively) cheap and it might be worth a try.
  20. I can speak to the Taylor T5, I bought one at Sweetwater Gearfest 2018. I got it for $2k because it was the one they'd been using in the tent and apparently didn't have others within reach. I'd actually gone to Gearfest with the intent of getting one. I'd put in notice with the band I'd been playing keyboards with for several years and was waiting for them to find my replacement while meanwhile my wife and I had been going to open mics and jams putting together our own duo show. I liked the guitar right away because it played very much like an electric (more gibson than fender) and I totally intended to do some occasionally extensive noodling while my wife held down the rhythm on keys. It does sound good with a decent range of tone but I, and others I know, aren't overly impressed with the acoustic position. I quickly became frustrated with the guitar because I was having a great deal of trouble keeping it in tune. I changed out the strings with the recommended Elixir strings but the problem persisted. I seem to have gotten past that at this point however by stretching the hell out of them and turning that guitar into my bitch. Perhaps that is the nature of those strings? For many years I've preferred the GHS Boomers on my electrics. In any case I've been using it as my main guitar for our duo gigs and although I think it's over priced for what you get, it fits nicely with the classic pop music format and approach we're taking, ie; a nice clean tone and the ability to play lead guitar parts.
  21. Unfiltered Audio LION lets users synthesize like a King, roaring into release with Plugin Alliance as a versatile VI “LION is a really remarkable achievement in soft synths — truly a new paradigm. There are familiar tools with an exotic and inspiring workflow — less software and much more like having patch cables around your neck and a couple of hundred modules! LION is a fresh and inspiring new instrument with a remarkably intuitive interface and best-in-class DSP... a must-have!” - BT, award-winning composer, musician, technologist, creator, 2019 SANTA CRUZ, CA, USA: Plugin Alliance, supporting all major plugin formats and uniting some of the best-known international audio companies under one virtual roof, is proud to announce availability of LION — latest release from fellow Californian company and plugin-creating partner Unfiltered Audio that this time sees it welcomed to the synthesis jungle with the King of soft synths, an extraordinarily deep VI (Virtual Instrument) anchored around an easy- to-use interface providing everything needed for quick patching, endless experimentation, and intuitive sound design — as of September 17... Unfiltered Audio advanced audio processing plugins by developing some of the most innovative and forward-thinking tools in the world. With the cutting- edge Californian company's groundbreaking first foray into the wonderful world of software synthesizers similarly scaling new heights, it is set to become the King of the synthesis jungle! Jesting apart, LION is an extremely versatile synthesizer with a very simple signal path, putting two oscillators through a mixer and running them through a filter — much like a traditional subtractive synthesizer. Saying that, LION is far from traditional in its exotic execution, however, effectively encouraging endless experimentation in typical Unfiltered Audio innovative and forward-thinking fashion. For below LION’s hood hides a dual-oscillator architecture with each oscillator featuring 26 modes, ranging from familiar classics to unique oscillators found nowhere else — pick and choose from FM (Frequency Modulation) synthesis, subtractive or additive waveforms, ‘super’ oscillator stacks, microsound, noise, or variations on each! All algorithms have been specifically designed for deep modulation. Moreover, each oscillator engine features an optional Stereo mode, whereby WIDE images are available at the synthesis level. LION lets users thereafter take advantage of its deep Unison manipulation of every parameter and (optional) tuning DRIFT for creating rich, full, and lush sounds using the oscillators alone — and all before starting to reach for any external effects! LION is also rather unique in the way that it turns oscillator mixing into another opportunity for creative synthesis since the Mix(er) offers distinct modes for combining the two oscillators (OSC 1 and OSC 2) in ways not seen in any other synthesizer! The default algorithm (ALGO) acts as a standard crossfader while more experimental modes all create non-standard relationships between the two oscillators themselves. These include: Bitter (bitwise operations are applied to the oscillators); Ash (various sample-and-hold algorithms are applied to the oscillators); Ring Mod (the two oscillators are ring modulated together); Min-Max (amplitudes of the two oscillators are analysed and the minimum and maximum values are found between the two with the mixer then crossfading between them); Terrain (a series of wave terrains are created that are then navigated by the two oscillators); and Compare (comparisons are found between the two oscillators). Obviously all lead to truly stunning sounds! Still better, Unfiltered Audio’s acclaimed modulation system is integrated into LION, but better than ever! It includes a massive MIDI Input modulator that translates playing into numerous opportunities for deep expression — users can control the filter CUTOFF knob with the last MIDI note value or modulate the oscillators’ timbre through V (velocity) control, for instance. Indeed, full MPE (MIDI Polyphonic Expression) support permits using ROLI Seaboard or Sensel Morph next-generation MIDI controllers for phenomenal per-voice articulation! LION lends itself to creatively crafting powerful sounds that feel as though they were produced by a colossal chain of plugins, tabs, and automation — and all from within its innovative single-screen GUI (Graphical User Interface) with clear, intuitive controls. Clearly, time is better spent focusing from the outset on the musical job at hand by harnessing LION’s king-sized sonic complexity and versatility, rather than resorting to watching time-consuming tutorials to learn the intricacies and hidden features of a badly-executed synth — software based or otherwise. Other soft synths may well only provide a small library of forgettable effects almost as an afterthought, yet LION lets users ditch the need for external effect plugins, should they wish, with Unfiltered Audio’s already-legendary BYOME effect row also integrated as a flexible library of over 40 modulatable effects. LION’s synthesis engines and BYOME processing engine all have access to the same modulation sources, so users can create complete presets with detailed effect chains that react to their playing. Possibilities are truly endless — enter LION’s fruitful factory library of nearly 600 presets spanning many musical genres and styles to hear how powerful the King of the synthesis jungle is in action! Ask award-winning composer, musician, technologist, and creator BT. After all, he has become well versed in LION, having already attended a successful ‘synth tasting’ event hosted by Plugin Alliance at Sphere Studios in North Hollywood earlier this year, where a prerelease was showcased to industry insiders and fellow electronica luminaries like Paul Haslinger (ex-Tangerine Dream) and Tom Holkenborg (a.k.a. Junkie XL) to critical acclaim. All three talented musicians happen to be also award-winning modern music-to-picture scoring specialists, so surely know somewhat more than a thing or two about standout synthesized sound between the three of them! Unfiltered Audio’s LION is available for purchase — as an AAX Native-, AU-, VST2-, and VST3-supporting Virtual Instrument plugin for MacOS (10.9 through 10.14) and Windows (7 through 10) — exclusively from distribution partner Plugin Alliance for an introductory price of $169.00 USD until September 30, 2019, rising to an MSRP of $199.00 USD thereafter — from here: https://www.plugin-alliance.com/en/products/unfiltered_audio_lion.html A fully-functional, 14-day trial is available to anyone registering for a free Plugin Alliance account here: http://www.plugin-alliance.com/en/registration.html Unfiltered Audio LION is included in Plugin Alliance’s new MEGA Bundle (https://www.plugin-alliance.com/en/products/pa-mega-bundle-monthly.html) and Unfiltered Audio Bundle (https://www.plugin-alliance.com/en/products/unfiltered_audio-bundle-monthly.html) monthly — and annual — subscriptions at no extra cost! Note that the proprietary Plugin Alliance Installation Manager means users can select, download, and install only the products and formats needed for their system. For more in-depth information, including several superb-sounding audio demos, please visit Plugin Alliance’s dedicated LION webpage here: https://www.plugin-alliance.com/en/products/unfiltered_audio_lion.html Watch an informative, in-depth video overview of Unfiltered Audio’s LION by professional sound designer and programmer John ‘Skippy’ Lehmkuhl (PlugInGuru) here: https://youtu.be/KJqA8W2TuPc Watch Plugin Alliance’s play-through video for Unfiltered Audio’s awe-inspiring LION here: https://youtu.be/Eg17YlD2ALQ Watch Plugin Alliance’s teaser video for Unfiltered Audio’s awe-inspiring LION here: https://youtu.be/8hyYsLVrA70 About Plugin Alliance (www.plugin-alliance.com) World-class plugins. Dongle-free. Plugin Alliance is supporting all major plugin formats and uniting some of the best-known international audio companies under one virtual roof. The Santa Cruz, California-based company empowers world-renowned analog hardware companies with a digital strategy and provides software developers with services that allow them to develop products with increasing quality and quantity. It does this by providing professional marketing and distribution as well as platform features like a state-of-the-art authorization system. An open invitation is eternally extended to all developers, engineers, and artists to join its fast-growing community. About Unfiltered Audio (www.unfilteredaudio.com) Unfiltered Audio is a creative audio effects company based in Santa Barbara, California, creating AU (AudioUnit) and VST (Virtual Studio Technology) plugins, plus Rack Extensions... from academia with love. © 2019 Plugin Alliance LLC
  22. I've heard the nylon string version of the Godin played live (except of course with no humbucker) and it sounded pretty darn good considering the guy was playing through a Mesa. Godin is great bang-for-the-buck too.
  23. PreSonus Ships Versatile PX-1 and PM-2 Recording Mics PreSonus PX-1. Click for larger image. Baton Rouge, Louisiana, September 2019... PreSonus® is now shipping two new microphones suitable for a wide variety of recording applications. Whether purchased at the same time or separately, the new PreSonus PX-1 large-diaphragm cardioid condenser mic and PM-2 stereo set of matched small-diaphragm cardioid condenser microphones give you the core of a high-quality microphone collection. The PreSonus PX-1 is an excellent solution for recording vocals, guitar, podcasts, and much more. A true large-diaphragm, side-address condenser microphone, the PX-1 features a 1-inch (25 mm), gold-sputtered capsule designed to provide exceptional clarity throughout its frequency response range. Rugged construction and top-quality performance specifications make the PX-1 an excellent addition for any home recording or streaming studio. A fine choice for stereo recordings of acoustic instruments, drum overheads, ensembles and more, the PreSonus PM-2 set comprises a sonically matched pair of small-diaphragm cardioid condenser microphones. Each PM-2 microphone is equipped with a ¾-inch (19 mm), gold-sputtered capsule housed in an ultra-light chassis, making it easier to perfectly position your microphones without fighting gravity. The PM-2 set comes with a stereo bar for XY mic placement, and the two microphones can be used together or individually, making them an excellent addition for any home or professional recording environment. Both new microphones are available now at PreSonus dealers at U.S. street prices of: PX-1 $129.95 and PM-2 $129.95. For more information, visit www.presonus.com/products/Microphones. PreSonus PX-1 front view. Click for larger image. PreSonus PM-2. Click for larger image. PreSonus PM-2 front view. Click for larger image. PreSonus PM-2 with stand. Click for larger image. About PreSonus Audio Electronics, Inc. Founded in 1995, PreSonus Audio Electronics, Inc., is a leading designer and manufacturer of audio-recording and live-sound software, hardware, and related accessories. PreSonus's software, microphone preamps, signal processors, digital audio interfaces, digital mixers, control surfaces, loudspeakers, and other products are used worldwide for recording, sound reinforcement, broadcast, sound design, and Internet audio.
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