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BryanMichael

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  1. Yeah - I only have about $400 into it as a guitar - I'm not thinking of it as a collectors item or anything, but there is always something about keeping things "original" to their nature that seems appropriate. Especially things like this that, despite not being a "classic" instrument, is a relatively rare instrument and an example of the state of technology at that point, if that makes sense.
  2. I have a Casio MG500 - the cool looking MIDI guitar from the 80's. It's in good shape - the MIDI convertor functions as it should, albeit - a bit clunky (35 year old technology) The pickups sound...okay. Kind of weak and rather warm for single coils with a splitable humbucker in the bridge. The trem is a standard strat style trem and the tuners function fine. Overall, it works as is. My thoughts were to replace the trem bridge with an upgraded one (that requires NO drilling or mods to the body) and replace the tuners with something a little more high-tech looking (like Schaller M6's or Hipshot minis with the knurled knobs instead of the "traditional" keys) as well as swapping out the existing MIDI system for a Fishman triple play - for much better MIDI integration. And a new pickuguard done in a carbon-fiber pattern. Basically an updated version of the idea of this guitar. I think it would still be very 80's tech-cool, but updated. But part of me doesn't want to mess up a perfectly functional version of these MIDI guitars, but I think it would be kick ass upgraded. Thoughts? Pros/Cons?
  3. Old Skool (17 years) just stopping by for the first time in forever.
  4. Root notes on the bass drum rhythm is probably as simple as you can get. It isn't very interesting, but a good place to start for constructing simple bass lines.
  5. Evidently, I joined in 2002. 15 years!? Oy...
  6. I have a Martin, a Gibson, and a Recording King. I love them all. The Recording King was $200 used - the others were about 10x that much. That said, they are all well built, but they don't sound the same and they aren't built the same, and they are made from different materials. I truly believe you can get a great guitar at any price point, but the "little things" add up in terms of labor and materials, overall quality, costs, etc. I'm not a "brand snob" in either direction - I don't believe that a cheap guitar brand can't be great - my Recording King proves that, and I actually played a Fender acoustic about a year or so ago at a local Music Go Round that was to DIE for - I even went back to buy it - just to have in the stable, and it was priced at like $200. When I searched the racks for it, it was gone. I started to ask the sales person about it and he said, "you looking for that Fender acoustic?" "Yeah," I said. "You know the one?" "Oh, yeah," he said - everyone in the store played that one constantly - it was fantastic." But I also don't believe that established brands are always just a name on a headstock - they are a way of doing things, and usually a certain STANDARD of doing things - my Gibson and Martin are definitely a cut above in every way construction-wise and even tone-wise. The woods are nicer, the finish is nicer, the hardware is nicer (I replaced the tuners on the Recording King) The tone of the high end instruments is distinct and not really comparable-not even to each other. Apples and Oranges. But I like the neck on the Recording King most of all, and it falls somewhere in between the Martin bright articulate sound and the Gibson warm sweetness sound, but it is "drier" than both with less overtones and harmonic content - sometimes that is a GOOD thing. But trying to pretend that all things are equal between a higher end guitar and a lower end guitar, or even two higher end guitars, and then trying to ascribe a dollar value to it is pointless - even if it is just the LABOR cost - know that labor costs differently in different countries - if you want an American guitar, it's going to cost more than one made overseas - even if that American guitar SUCKS - -doesn't mean one is "better" than the other - there is no magic formula that prevents makers in other places from making great guitars - but they are DIFFERENT - in some ways good, in some ways not so good. Just be glad that we have so many amazing options from $200-$4000!
  7. That's lovely! I like the elegant, simple appointments and that firestripe guard!
  8. I will tell you that I had a Roland Space Echo RE-301 that I bought- it had been restored, and included a new reel of tape. It sounded great. But, it was rather clean sounding - not nearly as much character as my DMM - and the kicker was that I had the Boss DD-20 right there - I A/B'd them for a long time. IMO, the DD-20 pretty much nailed that Space Echo sound, not quite as close on the DMM, but damn! I ended up selling the Space Echo. Of course, that was a Space Echo in pristine condition with new tape. I was surprised at how little difference I could hear or feel. I kept my DMM though (at the time)
  9. I'm down to an acceptable amount of stringed instruments. 2010 Gibson Songwriter Deluxe Radio King ROS-6 (updated with camel bone bridge pins and actual Grover open back tuners) Kohala KP-B ukulele Fender Telecaster Deluxe with factory Tremolo (Mexican re-issue) - I have a set of used Catswhisker full range pickups that I haven't installed yet. Ibanez SA 160 (my "cheap" guitar) Squier Jaguar bass Custom Chandler 5 string bass (was my main instrument during all my gigging years) Truth is, most of these things are inexpensive. The radio king is a $200 Chinese guitar with a solid top, The Ibanez cost me $98 out of pocket and I put another $100 into it replacing the tremolo bar and back plate cover (both not included for my $98) and a Duncan lil'59 for the neck that I haven't installed yet. The Jag bass was also less than $100. The tele, Gibson, and Chandler are the only "expensive" instruments I own now, and I might sell the tele - I simply don't play enough anymore. :-( On the upside, It's kind of unbelievable what you can get for $100.
  10. The width and profile of the neck and what is comfortable.
  11. Right Hand (I am right handed) = 90% first and second fingers like would be expected, but 10% adding that ring finger for an occasional flamenco-ish triplet or something. Left Hand (fretting hand) Spent most of my gigging life playing 5 strings, so mostly used the first three fingers, with the pinky seeing a little action when needed. I cannot really "thump" or slap - I kind of rebelled against using those techniques because of the time I grew up playing (in the 80's and early 90's) Slapping or "popping" seemed to be the mark of "whether or not you knew how to play the bass" - but none of the music I was really into called for slap bass, and it seemed to me to be the mark of "whether or not you wanted to show off" - kind of like the equivalent of guitar tapping, which was popular at the time as well. I know I got at least ONE great gig in the last cover band I was in because their previous bass player slapped and popped all over every song, regardless of genre - the guy was well known as being "a good bass player" - but the band was much happier with someone holding down the bottom end, locking in with the drummer, and singing backup than slapping and popping all over tunes that had no call for it.
  12. Craig, did you mean "sampling" as in, creating a VST or Kontakt patch or "sampling" as in try it out for a weekend? :-)
  13. BACKGROUND: I gigged live around Ohio from about 1990-2001 or so in several well paying cover bands and a couple of original bands, finishing up as bassist for singer songwriter Fred Haring on his 3rd and final album. I have not gigged since 2001, and am now working on my own material quietly at home. BASSES: My main bass was an (expensive) custom built Chandler 5 string that I had done for me in the early 90's, which I later broke the headstock and had to take up a Squier MB-5 I got for $129 at Music Go Round for the larger part of my gigging career, lol. I still miss that Squier - I actually really liked it, although it was neck heavy. RIG: My mainstay rig was a Nady wireless transmitter > Zoom BFX 708>ProCo DI splitter>Carvin PB400 head in SKB Rack Case>1x15 + 2x10 Hartke Cabinets. I experimented with 2x210 cabs (portability) then a 4x10, then settled on the bi-amped 1x15+2x10 combo. I played venues ranging from weddings and corporate affairs to large bars and clubs to outdoor "festival sized" settings such as the Columbus Crew soccer games, the Ohio State Fair, and others, sometimes up to 70+ gigs a year. The key for me was that my rig was really only for myself/ drummer/rhythm guitarist as an on-stage monitor - the tone to the front of house came from the ZOOM! It had this "soft tube" bass preamp preset that I had modified for my basic "tone" and then we played a few songs that required either chorus (James "Say Someting" or some 80's alt pop tunes), wah (Kravitz "Fly Away"), or bass fuzz (Blur "Song 2") etc. - in the "non effects" preamp patch, the treadle worked as a volume control, and it had a built in tuner. I almost always had a mic on the 1x15 as well so the FOH could mix in a little pure low end miked cab sound with the ZOOM'd DI sound. I also worked with good MUSICIANS in the cover bands, once we got the guitarists to turn their amps either to the side or toward themselves, more in FRONT of them, they turned down because they could hear themselves (lol) and the FOH sound was MUCH more controllable. The real trick was getting them to get past the LOOK of having the amps behind them like they had seen from the beginning of time - but the crowd was really getting the FOH mix from the PA, and it was better for us as a band to have the amps within arms reach of the guitarists and at a sane volume level and pointing in toward the band in some way.
  14. Any thoughts or opinions about the Gibson Midtown Signature bass?
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