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Inazone's Achievements


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  1. I haven't taken a "family photo" in years, but nearly all of my guitars are Jacksons, plus a Charvel/Charvette mutt and Charvel bass. That being the case, anyone who wants to see my guitars has to tolerate seeing me as well. There are others, but these are the most unique for one reason or another. DK2M w Mike Learn "Alien" graphic: JDX-94 Concept: JDX-94 w Dan Lawrence snakeskin graphic: USA DR2: TH2 Stealth: USA AT1, w/o yours truly to ugly it up:
  2. Just chiming in on what has been my only negative experience with my Saffire, or more specifically with MixControl. Being of the "save and save often" mindset, I made a point to save my MixControl settings once I had everything dialed in for the various recording sources I have connected: two mics, a Line 6 TonePort DI and an old Korg pedal that I use for a cab sim. Life was good, and I didn't make any changes for a few months. At some point, I decided to check the Focusrite website for firmware updates and found one, so I downloaded it and installed it as instructed. Everything when fine, except that MixControl would no longer recognize my saved settings file! Now, this isn't catastrophic by any means, but for a set-it-and-forget-it sort of person who dials in their settings and then ignores them, it could be a real pain in the rear end. This also wiped out saved settings for the EQ, compressor and gate routing.
  3. I bought one of these in the first month or so they hit the market, and as an absolute rookie in the world of modern computer-based recording, I felt like the Saffire 24 was the best choice. I'm sure that some folks will consider VRM to be a gimmick, but I can think of many situations where it'll be useful. Having two headphone outputs was another major factor, and the software mixer was almost overwhelming (a mixed blessing, I guess) with so many routing options. I've only scratched the surface so far, but this seems like the type of interface that could last someone for years. My only complaint is that the power supply plug isn't very secure, and has popped out if I so much looked at it funny. I might try just running it bus-powered, although I tend to avoid that for no particular reason.
  4. (Sorry, no picture since I'm posting this at work. Pics available later on request.) I bought this (used) a few years ago, put a few hours on it in my smoke-free home studio, and that's it. The preset selection dial skips/sticks from time to time, but other than that, the only wear is a little bit of rack rash. I have the original manual and power supply. 12AX7 tube is still original as far as I know. $200 shipped, in the USA only. I accept PayPal or USPS money order. I'll also consider trades (plus cash difference) for 7-string pickups, either a DiMarzio Blaze Custom or Seymour Duncan Full Shred 7. PM if interested!
  5. I can't imagine getting over $300 unless it was a museum piece. With a few rare exceptions, the Japanese Charvels don't command big money, even though they are generally very nice guitars.
  6. Too bad about the lack of VST support. That seems like a major strike against Record, and for me personally, I don't think that the included Line 6 features are enough to make up for it.
  7. This is the Pro Review I've been waiting for! A friend of mine seems to change DAWs every six months, and when I asked for his advice for my own purchase, he said I should read some Record reviews. Being a guitar guy with lots of rack toys, and a fair bit of experience with traditional mixers, Record looks like it would make far more sense to me than anything else I've looked at. I'm noticing a lot of Line 6 references. Does Record include some sub-set of the GearBox/POD Farm product?
  8. If you want something closer to your Ibanez, you'd probably prefer the Jackson "speed neck" as found on the KV2. I don't know if any of the import models have the same neck profile, but it is thinner and flatter than other Jacksons.
  9. I've been playing guitar for 18+ years, and most of my guitars have been Jacksons. I've always been especially fond of their "non-standard" `90s models, because they seemed a little more adventurous in terms of wood, finish and pickup offerings. I specifically wanted one with an ash body, SLS headstock, and overall smaller profile, so a Super Dinky fit the bill. I keep an eye on eBay, and an opportunity presented itself! Other than the smaller frets, everything about this guitar is what I wanted. Different pickups may be a future consideration, but there's nothing in need of immediate change. The tone is good as-is, and the playability is tough to beat.
  10. I am considering Invaders for some of my other guitars, as some no longer quite measure up. I've been playing since 1990 and have used roughly the same gear for at least five years now, with pickup swaps being the only major change. I own several Jackson guitars (including basswood and ash models, like those with the Invaders installed) with Duncan JB and Full Shred pickups, among others. Although there are certain situations where another pickup might work slightly better, I've found the Invader to be the right choice for most purposes.
  11. A few years back, we played a local festival that had a band from Indiana on the bill. One of the guitarists, clever guy that he was, was playing an Indiana guitar. (This was probably wasted on most people in attendance, who neither knew nor cared where the band was from.) It was an LP copy of some kind, and although I suspect that it was of the Samick/Cort mass-manufacture variety, it looked and sounded pretty good. I've only seen them at Music Go Round stores here, and priced for the beginner market.
  12. I really dig the EHX Tube EQ in my live rig, which replaced a good-sounding but unreliable ART Tube EQ. For studio use, I have an ART Tube Channel. I've been meaning to try out a Boss EQ-20, but the Knockout sounds more useful for my purposes.
  13. I'm thinking graphic may be the best thing but I did happen upon one thing that seems like an EQ filter hybrid, Electro Harmonix Tube EQ. What do you guys think of that one? It seems pretty versatile, but I can't find much information on it. It seem like the bass and treble are fixed, but are they subtractive only or are they additive? I've had one for close to a year now. I bought it to replace an old ART Tube EQ that flaked out after being stuck to my pedalboard for a long time. The first EHX arrived dead, but the replacement has been fine. To be honest, I'm not sure about the bass and treble being fixed, as I use it mainly to tweak the mids at venues where the guitars sound sound too tinny through the PA. Less noise from the EHX than the ART, and it's extremely sturdy. I don't know how much effect the tubes actually have, but I've been very pleased with the results.
  14. Definitely some nice features, but like a number of other "cool" products I've looked into, the trend of including USB editing or onboard recording capabilities seems to overshadow or even reduce live-playing functionality. I have this pipe dream of being able to gig without being tethered to my amp with cords or footswitches, and the Pandora comes so close (at least in theory) but isn't quite there. A few years ago, I bought a wireless to avoid getting tangled in my own cables. Then I decided that my pedalboard was taking up too much valuable floor space and started replacing pedals with rack units, but of course that meant replacing a few stompboxes with MIDI controllers requiring as much or more space. So now I am using a simple preamp/processor and power amp that can run off a single two-button footswitch, but unfortunately that is pretty barebones and doesn't allow for multiple effects or variety of tones. Maybe the PX6D will do what I want, a few years from now.
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