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ermghoti II

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  1. I did see that, and didn't mean to discount it. Still one is left with a very specific solution for an issue that can be tackled in other ways, so it strikes me as a niche product. Where the L80s triggered a wave of competing products, I don't know that we'll see a similar trend with the FRX series. I wish Sabian the best though, their Vault/V Type/AAX V Crashes are fantastic.
  2. Conceptually, I prefer measuring head tension. The head is what you hear, and lug tension is affected by lubrication, debris, galling, and/or damage. People seem to like them well enough though.
  3. I found the Drum Di a huge help when I had no experience tuning; when a drum is really out of whack, it's difficult to interpret what will fix it until you've done it for a while. Otherwise, I was better off slacking all the lugs and starting over. Also, Drum Dial readings are objective, so they are a much better way to communicate tunings than stuff like "I get my top head really tight, and the snare head really super extra tight." These days it mostly just sits, but I did break it out tuning the resonant heads when I installed Quietstrokes. I found the ideal tunings were so low, it's extremely difficult to get everything matched up.
  4. I've been really impressed with L80s, for at-home practice, but I'm having trouble with these. I'd guess I could reduce my volume about or close to 4dB by using lighter sticks, and not have to refit my kit at premium. If one were starting from scratch, maybe, but I guess you'd better hope you're happy with the sounds available from this handful of models. I already assembled my kit with an ear towards controlled volume, so smallish drums with two ply heads, and thinner cymbals that speak without Gronking them.
  5. You ever wonder why a good electric instrument's tone is described as having balls?
  6. Two sides... Feb. 24, 2018 FYI- Re- Dramatic changes at Heritage Guitars As Heritage’s largest worldwide Customer/Dealer I was alarmed upon hearing they’d let go a dozen employees. The rumors are flying. So, I reached out to find out what’s up. I listened to explanations from Jim Duerloo, Archie Leach. They are OK with what has transpired and see no serious problem with continued Guitar building going forward. Jim felt they had way too many people anyway and Archie pointed out that the remaining shop staff is double what it was when he acquired the Company. My observation is from a guy that receives and inspects more Heritages than anyone else, and what I’m witnessing is quite different than what some understandably unhappy former workers are saying. They’re saying that the new guys are lowering QC standards, but this is exactly opposite of what the new folks say and do. Heritage always made a solid and toneful Gibson style instrument BUT the fit, finish & especially the setups would vary from just pretty Okay to awful. These “old Gibson habits” and standards are a long standing and well known Kalamazoo standard. Wolfe Guitars has suffered with this shoddy Gibson style finishing for 3 decades and we learned early on to either return them or deal with it. We became really adept at correcting the many Kalamazoo glitches. When Mr. Leach took over he vowed to do better, and he has repeated this mantra to me so many times. Has he delivered? YES, in a big way. Since he’s taken over we’ve seem BIG improvements in the new “bone” nut, vastly improved setup, vastly improved finish, and hardware fit. Still solid-toneful Gibson style instruments BUT they now look and play WAY better than before. WAY BETTER! Heritage are now delivering the absolutely finest Guitars ever, and no one knows this better than I. So, why release a dozen workers? Archie has partnered with a large worldwide distribution Company- Bandlab, and those guys “insist” the QC MUST be even better! Archie agrees and told me the long time workers have resisted the changes and continued their old ways. This is unfortunate, but I support their herculean effort to make the “best Guitars to ever come from Kalamazoo.” Am I concerned? Just a bit, as I’ve seen the results of their efforts, and I believe they’ll get the job done. I will say this- the last few Guitars we’ve received are truly the finest I’ve ever seen & played from Kalamazoo, so the proof is here in my shop for anyone to see & play. Their intentions are good, so I will give them a chance and I hope you will too. Sincerely, Jay Wolfe, WOLFE GUITARS, Jupiter, Florida-USA
  7. I've just qjieted up my drums in the last few months. I went with L80s (added the 20" ride and splash to the 14-16-18 set) and a Gen16 china, because I'm a huge douchebag. For the drums themselves, I ended up with Remo Silentstrokes over Muff'l rings, with some strategic moleskin and bits of kick patches. It was a little work, but I've ended up with a very drum-like sound and feel at 80-85dB.
  8. Normal. You have multiple strings and guitar parts vibrating, which are generating various fequencies of various strength, which sum and cancel differently as they sustain and decay. Look at the chaos in slow motion:
  9. I got my AT4050s for under $500 each, looks like that's not a thing any more. How close are the ATM250s to the old ATM25s? Those are fantastic, a poor man's 421, I used to nab them when I found one under $100. Surprised to see an EV20 is still sub $500. Edit: I believe the PL20 is identical to the EV20, but they used to go cheaper used.
  10. I got a D'angelico EXL-1 this year, they go on sale often for $899. They are pretty amazing, they come with lightish roundwounds that make it sound a bit folky, but with a set of flats in .012 they cover the familiar jazzbox territory, plus a surprising range well into overdriven rock territory. Also, they come with an excellent HSC.
  11. Abandoning headphone jacks to make phones thinner? What a laugh. They can make a phone the thickness of a credit card, and it will still be unwieldy because they insist on making everything with a 7.25" screen. It's a money grab, and/or an instance of asking what one can do, versus asking what one should do.
  12. There's that, which is fair irrespective of what subject the test is performed upon. However, there is also this kind of thing: "Many people feel that the true character of individual components is only realized after long term listening and living with the component in question. These people would argue that it takes time to fully appreciate or understand certain subtle differences that exist in various audio components." and "Many people feel that the true character of individual components is only realized after long term listening and living with the component in question. These people would argue that it takes time to fully appreciate or understand certain subtle differences that exist in various audio components." These statements appear (to me) to fall more into the area of "your test produces results I don't like, and therefore I reject it." Moreso considering how often the topic is something that measurably can not have an audible effect, like a network cable or pure unobtainium power cords or magic control knobs.
  13. He did a very thorough job. I feel it conclusively disproves that construction material does not meaningfully affect the sound of a solid-body electric guitar, but it really doesn't speak to whether a given species of wood reliably yields a tonal signature. I wouldn't be surprised if the conventional wisdom of the characteristics of various species of wood are way off. I got ahold of an all-maple Carvin neck-through, which I expected to be unreasonably bright. It was bright, but the brightness was exhibited in a honky to nasal range, which worked fine, as opposed to a shrill or icepicky manner. As another example, mahogany is considered a dark wood, but SGs and Vs are not particularly dark sounding guitars.
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