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Everything posted by Inazone

  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.
  15. Is the PX5D (or any its predecessors) really cut out for live use? I recently had the idea to pick one of these up to have as a push-button replacement for my pedalboard, namely dialed in for a volume or EQ boost and delay, but requiring a footswitch would defeat the purpose. Does it have a simple bypass function for the entire unit? Something that a person could do with one push right before and after a solo?
  16. My brother has the 412MS, which he bought upon my suggestion to go with his old Heritage VTX head. It still has the stock speakers, and sounds great as far as I can tell. He just bought a Triple XXX and is keeping the 412MS. I have the 212M and 212MS (upright) that I'm also quite happy with. I guess if someone wants to shell out three times the cash for a different logo on their cab, they can obviously feel free, but if you fully expect to bang your cab around at and en route to gigs, a logo and high-digit price tag won't hold it together any better.
  17. The ART Xtreme, Korg HyperDistortion and H&K Warp Factor are all excellent.
  18. I don't know what model of Sheffields I have, but my Peavey 212M and 212MC both have them now. I record with both cabs, sometimes combined with V30s. I have no problems with them at all - more balanced to my ears than V30s actually - and I'm more likely to switch amps than to switch cabs. But again, I don't know which exact model they are. One pair is original to the 212M cab, and those in the 212MC cab came out of a XXX cab. For what it's worth, my current recording setup is a Carvin T100 power amp with a Peavey Rockmaster pre and Rocktron Multi-Valve on one side and an ART DST-4 and ART Tube Channel (parametric EQ) on the other.
  19. I had every intention of gigging and recording with this amp, same as with the first one, but it wasn't meant to be. I have switched to using a rack rig live as well as for recording, and had high hopes for my second DST, so I'm disappointed that it didn't happen. For the right price, I would be tempted to pick up another or get the first two fixed, as the features and tone are great. Nothing lasts forever, though, and I don't know how much expense and effort I'm willing to put into getting my DSTs functional again.
  20. If the V-Twin rack pre is essentially the same as the pedal version, then I can't imagine that you'd benefit much from buying one, based on the preamps listed in your sig. Probably a waste of money. I've tried the V-Twin pedal a few times, and it seemed rather muddy with less gain than the Mesa name implies. Between the Studio Pre and the MP-1, I think you have it pretty well covered.
  21. I've never heard of them, and would take any claims they make with a grain of salt. That being said, there are some genres (or more often, subgenres) where compilations are often worth paying a little bit. I'm thinking specifically of metal, where there are so many subgenres that seemingly similar styles may have vastly different fan bases. It would help to know what type of music your son is playing, as there may be some reputable labels that are established and respected in a particular genre.
  22. Inazone

    Jackson TH-2 Stealth

    I have been playing since 1990, and have made a point of buying some of the guitars that I wanted but couldn't afford or find earlier on.I was specifically looking for this Stealth model, and I am happy with it so far. I knew it would need a few changes to suit my playing style, and with those changes, it sounds and plays exactly the way I want. I also like the fact that it plays as comfortably and sounds as good as any Jackson I've ever owned, yet has a unique appearance. With any luck, maybe I'll be able to track down another one!
  23. I've used a Boss DD-2 or DD-3 as a solo boost for years. I generally set the "E. Level" knob to 1 o'clock for a subtle boost and go from there. Actually, I set it for 800ms mode and all of the controls to 1 o'clock.
  24. Whoracle is one of my favorite albums, period. The other IF albums have good songs as well, although Soundtrack had way too many annoying electronic elements for my tastes. I tried to like CoB, but I thought that their first couple of albums sounded patched together and had too many keyboards. The newer stuff just hasn't inspired a second listen. Darkane and Dimension Zero are where it's at.
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