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ermghoti II

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Everything posted by ermghoti II

  1. A friend is looking at the Ampeg GVT series... really interesting.
  2. "Recorderman" is a Johns variation that I like a lot.
  3. I was looking around for a thread to rant in about this badly belated shutting of the barn door, but the bolded section makes me feel a lot better than any response I would have anticipated. The recognition that the brain trust behind the last year or so was the root of the problem is the best possible outcome. Hopefully, the forums aren't mortally wounded.
  4. Hey Guys, you are the only other people i have ever seen that have been blessed with the barringtons. I actually have a prototype model that was sent to Guild, from barringtons shop in Illinois. Guild was going to buy barrinton out, so they made a few prototypes and sent them to guild, but they never ended up buying them out. So the guitars were auctioned off... Five year thread necromancy, that's a personal record! Anyway, I have in my hands my girlfriend's Barrington by Guild, so apparently they got past the looking-at-prototypes stage.Maybe it was produced after one of the restructures? It's not a Krameresque superstrat, but something reminiscent of a BC Rich Eagle crossed with a Warlock. Imma try to sell it at my yard sale tomorrow, but I'll get some photos for posterity first. EDIT: I'm an idiot. It says "Burnside," not "Barrington."
  5. The only thing I can think of is the Roland amp in the flying V acoustic. Is it all the same guy? I was being facetious. The use of the drill made me queasy.
  6. Have you seen the vid where he hot-glues a Line 6 to a Dean acoustic? I think there's a thread about it somewhere.
  7. What would be the best trem for a 335 copy? Agile AS 1000 to be exact, Bigsby? Probably the way to go. Get a ZZ Guitarworks retroplate, and the install will be effortless and reversible. The Vibramate looks awesome to, but it's about $100 more, and won't take the import Bigsbys, so the package will be near $200 more. Not a good value for a $300 axe.
  8. Do it. Then, put a Telecaster ashtray bridge on a Les Paul. Then, put a Floyd Rose on a 40's D16. Then, put a curling iron on your foreskin.
  9. after seeing both live several times, I much prefer the variety of Malmsteen. I like Vai too, but in terms of chops, I don't think there's much of a contest. You heard it here first, folks. Malmsteen is the overinflated-pair-of-milkbags-on-an-ugly-chick of shredders.
  10. haha, no, the traditional was "like the post norlin years". anyhow. maybe someone can phone gibson and ask. the guitar is still listed on the japanese site, but has no detailed description. The Traditional Pro is part of the Traditional line. Plain top*, push-pulls, locking tuners, satin back, BB3/57. No need to phone Gibson, a rep confirmed the weight relief at MyLesPaul. I'd pull up the thread, but you can't search 3-letter terms over there. A solid back Paul is a Custom Shop or Historic-only feature. If it appeared on a normal production model, it would be allcaps in the description. Mine, inexplicably, has a nice flame top.
  11. i know it can be misleading. but i remember the ad copy for the trad pro rambling on about how this model was not relieved, just like they used to be done etc etc. it was a very specific feature. anyhow, its lost in time and space now. Just like it used to be done in the early post-Norlin years. It was crappy copy, which is why it was fixed.
  12. musicians friends description says not weight relieved. gibson doesnt have it on their site anymore. every reference i can find online says its not weight relieved. It says non-chambered.
  13. For the life of me, I can't understand why Gibson would do either of these things; I mean, it's a les Paul, dammit; they are supposed to be heavy. Not for girly men... nancy boys either, LOL... Yesterday morning, your guitar was fine, now you're not sure. 50's Les Pauls weighed 8-9.5 lbs, most between 8.5-9. Les Pauls became heavy in the early 70's when it became impossible/uneconomical to buy the better quality, lighter mahogany in pieces large enough for a guitar body. By the early eighties, there were monstrous 14lb Pauls floating around, and the consumer was getting tired of it. Gibson figured out a way to reduce the weight, without having to spend an exorbitant sum on the body blank (and realistically, there isn't sufficient lightweight mahogany to sustainably produce Gibson production levels at any price). The chambering is an entirely different construction technique, with it's own sonic properties, and is not (solely) a weight reduction strategy. If you don't want holes, buy a Historic. If you don't want to pay that much for a guitar, you just figured out why Gibson weight-relieves.
  14. Would an '06 classic have weight relief holes? Chambered, since '05.
  15. [A bad toaster oven is serious business. I don't know the brand, and I think it was older, but a woman I know who lived with her semi-disabled father had a toaster that wouldn't shut off. They bickered back and forth about whose resposibility it was to replace it, until, one day, it went up like a Pinto. She looked up from her chair to see the wall silently engulfed in flame, separating her from her father, she screamed at him to get out, grabbed the closest cat, and ran down the stairs. Fortunately, a neighbor had noticed the flames, and gone up the back stairs to drag her father down. A delay of a couple of minutes would have spelled his death. The fire department is barely two hundred yards from her house, on the same street. They lost everything but the clothes on their backs. I was in there, the house was perfectly gutted, it was surreal to see. No furniture was recognizable, maybe where the ceiling had fallen, or where some dry wall collapsed, there would be charred possessions here or there. They couldn't fill the trunk of a sedan with what they got out. The other cat and the ferret did not get out. Her father declined to hire a private insurance adjuster, and after a couple of years of dancing around, he sold the house to a developer, who promptly leveled it and put up condo units. His father had built the house. Hope they got good use from the money they saved not buying a new toaster.
  16. Yes, his STYLE is in his hands... his tone is in his gear. EVH sounds like EVH playing through EVH's gear. You would sound like you playing through EVH's gear. The sound of the gear would not change. This would be a good point, were it not factually incorrect. Since you mentioned EVH, I need only relate the very famous story of Nugent and EVH playing through each other's rigs, and each being disappointed that they sounded like themselves.
  17. Noooooooooooooooooooooooooooooooooooooooooooooo.... That's the problem with drawings: you make one friend, and a dozen enemies.
  18. This was covered in a big, acrimonious thread a couple months back. It is possible that the converters on your gear have filters better suited to higher sample rates, but the sample rate itself can have no audible difference above 44.1.
  19. I never said they were from Texas. I said never buy a cheap Asian guitar NAMED AFTER a Texas city. It's a handy rule of thumb. If somebody is selling a Vietnamese-built guitar on eBay called a "Waco" or a "San Antonio", don't bid on it. It's almost certainly crap. We don't go for that fancy city-boy readin' you carpetbaggin' homuhtesticles are always doin'. [spit] [ding] [weds cousin]
  20. Mastering != limiting. Mastering is preparing mixed songs for the destination media, be it vinyl, wax cylinders, CD, DVD, whatever. It includes arrangeing the songs in order, applying fade in/outs, and any conversion needed. It MAY include some EQ and compression to create a consistent feel among the songs, and to ensure optimal sound on a variety of playback devices. Very rarely, a last-second effect or two may be applied (the phase over the bridge of Kravitz's "Are You Gonna Go My Way," for example). It DOES NOT mean a final mixing step. If, as a home recordist, there is something about a song that doesn't sound right, you are not done mixing (or maybe tracking). There is nothing about mastering that can't be accomplished with the typical DAW, except for the treated room, flawless monitors, and a dispassionate and unbiased set of ears. Maybe you need to d/l a sound analysis application, at most. A dedicated sound editing software suite would be handy/ideal, but hardly mandatory for the weekend warrior. Commercial loudness is acheived at the expense of the overall quality of the mix, every time. Blue Bear can sertainly be abrasive, but when the first response to a thread liek this is "limiters!" it's the exact same thing as somebody asking "how do I sound like EVH?" and the first response is "get a variac!"
  21. Keep reading. That has been covered.
  22. whatever. If they continued recording in 44.1, their clients would go down the road to another studio running 96 because the results would sound better Because, as we all know, musicians never buy into hype. Or maybe they'd convince themselves that the recordings sounded better, despite the laws of physics.
  23. I'm not buyin that. You don't need to. Their clients are.
  24. And again, I'm only telling you what I heard with my own ears, the difference was remarkable. And I've spent fifteen minutes tweaking an EQ in bypass.
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