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SandrOliva

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  1. I own a VL4 since a couple of months, and I'm still in the experimentation phase, no live use yet. I have found out the following important rules (some of them are in the manual, but it doesn't hurt posting them again). 1) the quality of the synthesized vocals is rather good but is not as thick as the real thing... => 2) =>...so it will work better for acts which work in pubs, lounges, ballrooms and all those clubs where carefully listening to the music is not the primary activity 3) it will work very fine in a band with more than one singer. With two REAL harmony parts plus a well programmed VL4 it's hard to tell there's not 2 or 3 more mikes on! 4) the singer has to sing ABSOLUTELY IN TUNE, PERFECT PICH! 5) the guitar has to be ABSOLUTELY IN TUNE as well 6) I would split the mike signal before the VL4 so a dry vocal is available for the board mix 7) as soon as I will hit the Lotto I'll immediatly hire 3 backing singers (as well as 4 horns, orchestra percussion, one more guitar and keyboard player, and...), but as for now, I'm sure this new box will improve 150% my band's sound!
  2. Hi guys, I'm new here, but as I've happened to work with some of Frank's musician, I have a few stories to tell. During one of the Grandmothers' tours, Jimmy Carl Black told me of the time Jimi jammed with the Mothers at the Garrick Theatre in 1967. As usual, he borrowed Frank's rig which included a new Vox Wha. He was so impressed by that new device that he had to get one. We all know what happened later. Later on Frank used to have a Fender Twin, and it was set so loud that Jim's ears would hurt even from behind it (I guess this story had a secret message for me and my '65 TRRI, but I didn't get it...) As for Frank's Wahs, I've seen a picture of him in 1974 using a big Morley, the very rare oil-tank kind. I tried one, and though I can exactly duplicate Frank's tone with my gear, that one didn't sound like Frank at all! I'm sure the missing link was.... mr.Zappa himself.
  3. I think I've been very lucky to find one of the few SG400 which feels good, sounds good, and in the end doesn't look too bad, in spite of the horribly matched top (I will fix the finish later). A great buy!!
  4. I first played a Gibson in 1972. It was a 2PUps black Les Paul Custo. I borrowed it from the guitar player I had to replace in "the best band in town", but I got sick so the band broke up and I never bought it from him. My dad bought me a Goldtop a few months later, and I had several SGs and Les Paul since then (not countin all the Fenders, a Guild, a Rickenbacker and more). I have also owned a few Epiphones, a 67 Casino, and many Japanese and Korean Epiphones. Except for the 67 (which was fantastic, but too dangerous to carry on the road) I alway got sick of all those eastern EPIs, as none was up to my "serious" guitars, even after upgrades. A few of them were real tuning and intonation nightnares. I'm sure I've been lucky to get a guitar way above average. Or maybe Chinese crafters have learned how to make guitars. Anyway, I wish I could have this one in 1972.... With the money saved, I could have bought a REAL amp one year earlier!!!
  5. SandrOliva

    yamaha SA1100

    I've been playing since 1966, and I own or have owned tons of gear, as well a small but efficient recording studio. In past years I have Toured both Europe and the States, and have recorded quite a few records of my own music. Yamaha semis are a great value, so I would buy one again if I would lose this one. In fact, this is exactly what I have just done. This SA1100 is replacing the SA2000 I had to sell years ago, and though that one was a cosmetically "better" guitar, I don't miss the ebony fretboard as well as the block MOP inlays and slit coil facility. The only semi I would like better than this one would be a 1959 Gison ES335 I played once in a music shop. But I keep on buying lottery tickets every week.....
  6. I play electric guitar since 1967. Own a lot of gear (both tube and SS amps, lots of guitars, keys etc) and a small but well equipped recording studio. Have toured Europe (7 times) and the U.S. (only once, but THE WHOLE THING!!). I would like to get another 65 Twin RI for stereo, but nowadays it's hard to get gigs which might make it worthwile carrying that much equipement. By the way, this is the perfect amp for my needs. Or maybe a vintage one would make it....... OK, let's say TWO vintage ones!!!!!!
  7. I've been playing since 1966, and I own (or have owned) about every piece of guitar equipement. My current rig is: 1981 (modified) Les Paul Custom, 1974 SG Custom, 1990 Gibson Lucille, 1996 (modified) E.C. Strat, 200 Custom Shop 60 Strat, Reissue 52 Tele, a few more assembled strats, Gibson J200, Guild Electro-Acoustic, Alvarez 12 String, and a bunch of Banjos, mandolin & Sitars. 1994 '65 Twin Reverb RI, 1979 SuperTwin, '70s London City (Marshall Clone) Head with 1960Ax cabinet (plus a few more cheap ones). If stolen or lost I wouldn't replace it, as I own way too much equipement, and I don't tour anymore (..but...you never know!!!!) I like this amp WITH THE MODS. I would reccomend to replace the reverb tank as well. I see somebody has dropped a couple of Vintage 30s, but that's going too far... It would be too expensive for this kid.....
  8. SandrOliva

    Eden Strat body

    Even with all its flaws, I would buy another one right now (I like the cherry sunburst kind). And I'll probably do it, as I still have spare PUps and tuners, and a horribly looking but well working neck laying around! Maybe an open D tuning strat??
  9. SandrOliva

    EKO S-300

    I have been playing guitar since 1966, and my first instruments have been EKOs. I wish back then starter's guitars were like this one!! I still own a little 60s EKOs collection, and none of those vintage guitars can compare to this S-300, even stock. BUT. Those were THE LEGENDARY ORIGINAL EKOS, while this one is only one in a million strat rip-offs. Not the worst one, one of the cheapest for sure (at least in Italy). I have owned several Fenders, both vintage and modern, and my main guitar is a heavily modified 1986 EC Strat. I also own a 62 Custom Shop replica (L.Fralin PUPs), and a no-name 60s strat which I use for slide. And a stock 52 RI Tele, Gibson LP, SG and Lucille, Guild and Gibson Acoustics and many more stringed instruments. I have played a lot in Europe and in year 2000 I have also toured the US. I use Fender and Marshall tube amps, but recently I have found out Fender SS amps as a really nice (and lighter) alternative for club work. Loads of FX, mainly vintage Ibanez. And Vox and Morley Wahs. If this EKO was stolen I wouldn't replace it. I already have my Fenders, the reson why I bought it was because I had plenty of spare parts around and no body/neck. But what I have now is a good jamming tool. So I don't have to bring one of my main axes around. If THOSE were stolen, I could never replace THEM!!!
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