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daddymack last won the day on April 12 2018

daddymack had the most liked content!

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About daddymack

  • Rank
    HC Anti-Spam Avenger
  • Birthday 12/14/1953


  • Biography
    L.A. based multi-instrumentalist, singer/songwriter, sideman/session player


  • Location
    Poolside, drink in hand...


  • Interests
    yeah, like, music, man, an' like, fixing guitars an' amps an' stuff...


  • Occupation
    looking for one...in all the wrong places...

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  1. Certainly, there are guitars worth more than $10,000...look at some of the auctions for Clapton's strats....look at some of the one-of-a-kind commemorative Martins...somewhere someone will spend a ridiculous amount of money to own something rare and wonderful. But odds are they will not see the light of day very often. Those are investments, collectibles...not gigging instruments. The real question is what are you going to do with that $7000 dollar guitar? Worship it? You paid two grand for a Taylor, and then decided you didn't like it enough to keep it...why did you buy it in the first place? I have a few guitars that are worth more than $3k, and to be fair, they don't get out of the case as much as my lesser axes...because I'm worried about them getting knocked over, spilled on,...dusty... ...really, they only come out on the high paying, large stage, outdoor type gigs where no one can get near them but me, and there is professional security. Would I pay that kind of money for a guitar today? Not likely, because I'm retired, I play a lot of bar gigs and I have plenty of great, good, serviceable and useful guitars...and I have my high-end axes for when the need arises. Same reason my Blackface Vibrolux Reverb has spent most of its existence over the past 15 years in a closet with a dust cover on it. I take it out also for those high end gigs, maybe once or twice a year now...but there are plenty of other amps in the stable that work well and I'm less concerned about. To be fair, I'm a gigging guitarist/singer. I am not doing it to impress anyone with how much my rig cost, but how good I make my relatively inexpensive rig sound.
  2. daddymack

    2 amp setup

    I've been using an AB-Y for decades for large stages, mainly outdoors, and mainly for the ability to monitor [one amp is typically mic'ed, the other not] my guitar as I move around the stage. This actually helps me keep my stage volume at the right level, rather that turning up as I moved further from the amp. It also allows me to not have the guitar in the monitors, so only the vocals are in the monitors, which gives us a much 'cleaner' on-stage mix.
  3. daddymack

    2 amp setup

    ah, the joys of an AB-Y...
  4. If, as you say, you have never played a Gibson or a Martin....just the Norman and the Sigma? Normans are very good guitars, and Sigmas [Sigmae?] are fine as well, but you are stepping into a realm of possibilities with these open ended questions. Do you want deep tone, projection, warmth...and which is most important...because that is some of what you'll need to figure out when you start playing Martins...and don't limit yourself on what woods [really, based on lesser instruments? Never!], because there are combinations available you may have never even considered.Invest in the round trip...experience what you can in a day...and go back in a week and do it again! And...don't lock yourself to Martin only...especially based on the Sigma. Gibson, Guild, Gretsch, Taylor, Breedlove, Seagull...ad nauseum...all worth trying! [Okay, maybe not all...]
  5. you may be able to run it off the monitor out, which may not be powered.
  6. worn out tubes can make any amp sound bad...so yes, tube amps can sound bad...but they can be made better...
  7. meh...maybe a third of those...no, less than a quarter of those are what I consider 'iconic'...and then again, I gave up after a while, too much nonsense...eventually they would list every guitar used by every pro guitarist...who has time for those stupid lists? I knew the list was junk early on when they showed Harrison's Ric... F*** no...the Country Gentleman was his iconic instrument. Then the rosewood tele, maybe.
  8. The Moderne was never a production model. I have seen it, but never played one, so any opinion expressed would be pointless. I've played the V, several Firebirds and the one Explorer I mentioned...none of which really got me. I've also played an ES335S..a solid body 335...heaviest wood guitar EVER! Made my '75 Strat and '81 Lester feel like balsa wood...
  9. And thanks for not including the 'Flying V'...which, based on its appearance, should have been called the 'Y'..as in 'why would anyone want a guitar they can't play sitting down'?😉
  10. I always felt the original 'reverse' Firebird was a big f-u to Fender by Gibson...maybe because Leo went after the 'jazz' crowd with the Jazzmaster...although it failed in that respect, much as the Firebird didn't hurt Strat sales...but certainly did resemble a 'mirror image' of the Jazzmaster in many respects...
  11. Bengs, you really do not understand how the world works. You can set a price on a product regardless of 'value'; there are no absolutes. That is like saying that a car by a major manufacturer [like Honda, Toyota, Nissan] that sells for $5000 used, is no better than a used car by a another manufacturer [like Kia, or Ford] that sells for the same price? No, price is not the arbiter of quality, anymore than looks are. I would buy a seven year old used Honda before I bought a 5 year old Ford for the same price.... Look at a $150 Yamaha classical guitar, and look at a Chinese no-name that 'retails' for $150. Which would you buy? The price is the same, but when you examine them, as to construction, tone, playability and serviceability, and consider resale value, the $150 you spent on the Yamaha will be the better investment on several levels. The Chinese guitar may have more 'bling', a fancier rosette, lavish binding, whatever, but at the end of the day, which sounds better and will last longer? Which is not to say that the no-name is junk, but you know nothing of their history of manufacturing guitars, what their QC processes are, where their woods are or come from, if they kiln dry their woods, what the laminates are, what the truss rod adjustments are [many are pushed to the extreme to make the neck playable, leaving no future adjustment to accommodate wood aging or environmental factors] whereas Yamaha is a known quantity with a history of well made instruments. I realize that you do not have the giant retailers in the PI like we have here, where you can play a wide variety of guitars by a wide variety of manufacturers and compare them side by side, but to assume price is the gauge of quality is to play into the hands of the hucksters. There are actually cases where a lower priced guitar is actually the better deal...go figure.
  12. This^ Frankly, you should ask this of the people who sold you the kit...but, do you have the manufacturer's information on the potentiometer, and the value of the capacitor used for bleed off? Without that, there really is no place for us to start.
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