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Everything posted by daddymack

  1. I have heard so many negatives over the past ten years that I will NEVER sell on e-Bay. Reverb, sure...and I'm not a fan of our CL here in LA...claiming 'all sales final/no returns' does not protect you on e-Bay, probably never did.
  2. good choices! The SuperChamp is 15 watts and can be set to emulate a wide variety of amps, and actually sounds great on the 'A' chanel; drawback is the limit on inboard fx. You can pick up used Quilter Aviator heads under $400...add a cab and cleans til the cowz cum home...a Used Blues Junior would also work...or a used Vox Nighttrain 15...an Orange Tiny Terror....and a light weight 12" cab with casters...
  3. I agree completely that the life of the gigging musician is slowly coming to a close. I remember doing 5 night 'strips' for very good money in the 80s, but 'pay to play' killed that in the 90s here. I am staring the 'God's waiting room' gig in the face, eyeball to eyeball, if I want to keep doing solo work. Maybe it was a temporary aberration that there were so many venues looking to hire. Maybe social changes [DUI, smoking abatement] did indeed damage the club scene, and what we are seeing now is a bleak future...
  4. If you love what you do, then the money is secondary; it is still good to come out ahead...and whoever said that what you are doing with the gongs is 'silly' will never understand.
  5. and the correct answer is that they do not have the legal right to manufacture someone else's chorus design...sorry, the CE-1 was a great early effort, my Boss multi-fx pedal from the late 80s came with a CE-1 circuit, so I am familiar with the capabilities, and I still use it on occasion...but it is not the be-all and end-all...that distinction, at the moment, probably goes to [insert high end boutique manufacturer's name here]. Phil mentioned the WAZACraft version...according to someone I know who bought it, it hits an odd balance point between the CE-2, and the CE-1; it is neither, and yet both in many ways...but not the 'finest' ...
  6. well, I've watched the decline from the mid 80s when I got back into band gigs. Some might consider my band a 'dad band' since we are all old guys over 55, but we play blues, swing, R&B, Soul...not rock'n'roll [i'm starting a band for that though ]. We are at a level here in Los Angeles where the competition is brutal, yet we managed to get into the opening act rotation at BB Kings, play large festivals, hotels, open for name acts, etc, as a local act of part timers. We went the 'corporate' route about 15 years ago because it paid better, and we were treated better; sadly that niche has dried up in these austerity years. I have hosted blues jams for a number of years, and occasionally attend open mics. WHY? Well I get paid okay to host the blues jams [doing it tonight!]. And when I am looking for other musicians, I find jams and open mic nights to be a simple way to check local talent without putting an ad on CL. Last year I was offered a host slot to do an acoustic open mic night, for TIPS...I almost laughed in the guy's face. "Does your bartender work only for tips?" "No he gets $15 plus his share of tips." "Okay, does he bring in the booze, glasses, cherries, ice and the drinkers?" "No, of course not, we supply all that" "so why should I bring in a PA, mics/stands/cables etc, and people, and then only work for tips? You're not going to get any kind of quality if you are not willing to pay." " Look, if you won't do it, there are other guys-" "good, hire them!' He did, it lasted about 3 weeks...that manager is no longer there. Here's the thing: Club/restaurant/lounge owners/managers for the most part understand that live music can be a draw. But they do not understand why, or how it should work. They also don't understand what they need to do if they want live music [well some do, and they hire 'originals' bands to get around the ASCAP/BMI/SESAC agreements]. So many of these operators don't understand the music industry side of things, or showmanship. I won't work a room without a stage*, because that immediately says the room does not support live music, and that they don't see the musician as a service provider who should be 'elevated'... I was hired to play a restaurant several years ago by a leader I worked with regularly. He told me it is a new place and he is trying to develop it, okay, fine...I get there...no stage, inadequate electrical, no lights...a linoleum floor in the corner by the door. I did the gig, got my money and told the leader 'NEVER, EVER will I do a non-stage indoor gig'. They eventually got nailed...no ASCAP/BMI license ! As a leader, I ask the owners to show me their license/agreement when I book, because I won't do that either. Some show me their jukebox agreement...nope, sorry. *a few years ago I built my own 4x8 'riser' for my solo act...it is a PITA to haul around, but I'll do it if I think the gig warrants it.
  7. the 10" punch is why I keep** my '65 Vibrolux Reverb* for large stage gigs. It just has that ability to be heard no matter what. I find, though that that same punch works against me in clubs, and depending on shape, some hotel ballrooms. I thought that going with a 10w 1x10 [Epi Galaxie] or15W 1x10 [superChampXD] would work better, but it didn't. There is some magic with 2 or more 10" speakers...but IMHO, 2 is plenty; for several years in the mid 80s/early 90s I drove a Fender 6x10 cabinet with that amp for large stage work. I would rather mic an amp than haul that kind of weight, but I'm an old man now, and I will be hauling 2 1X12 amps to my gig tonight...not sure which ones yet...decisions, decisions...BJs, Vox, BlackStar, Quilshall [Quilter Aviator head, modified Marshall*** cab *the 2 10" speakers I have in there now came from a '66 Super Reverb that the owner was converting to a 1x15...six months later I ran into him and he told me he regretted making the conversion. **I have been offered above prevailing price several times over the years, including by Dick Dale when I briefly worked with him in the late 80s. I bought that amp, used, in 1972 for $241+tax, and it was my main amp up until I got a Marshall SL100/1960A half stack in 1977, which I unloaded in 1980 and went back to the Vibrolux until 1997 when I got a 1x12 Marshall V65R***.
  8. and of all the brands of guitars I own...not one Takamine...
  9. I hesitated on the SG, only because there are too many p-u variants around on too many model variations...some P90s would offer a nice counterbalance though....but that opens up a lot of options...another alternative [dang, Fender again!] would be a Jaguar or a Jazzmaster...there are also a couple of Reverend models that would also fit the bill, a Rickenbacker 620 or 360 will definitely NOT sound like your Electromatic... and if you really want to throw it all down get one of the Backlund Design models from Eastwood...
  10. well, let's think about this...you have an Electromatic DC [nice ax, btw]...what would be 'opposite' of that...hmmmm? I think for tonal dis-similarity and flexibility I would go for a traditional SSS/5-way Stratocaster with a whammy bar. A Tele would be my next choice, for the quack and twang.
  11. welcome to the forums, pianobb :wave: just for reference, you advice will likely have fallen on deaf ears as the thread you replied to is over a year old....
  12. the drawback on that location is that you won't have a clear view of the controls, so if your pre-amp has a tuner built in, that could become a PITA. Otherwise, there should be no issue as long as the unit fits and you have enough cable to get to the out jack.
  13. fingers crossed for a good match! On-off-on is not a typical guitar set up, even killswitch rigs are typically on-off.
  14. neither the Gardener-Bender or the DigiKey unit is not going to fit your shaft hole...15/32 vs 7/16...you could ream it open, though
  15. awwwwwwwwwwwwwwwwwww.............
  16. road case building is it's own thing...typical construction methods requires laminating a sheet of fiberglass or ABS plastic onto plywood, gluing in different grades of foam, and riveting the valances, corners, handles and latches...not something the typical carpentry shop is set up to do...having run the shop [and the purchasing] for Jan-Al decades ago, I do know a bit about case building...which is not to say that there could be a local ATA/road case builder near the OP, but I will assume that avenue was explored and rejected based on pricing.
  17. check with Jan-Al Innerprizes, they may have one in their boneyard. But that is going to be a large case, and finding anything of any quality for under $500 will be a challenge.I assume you've already checked e-Bay, Reverb, etc already, so you know that... I did find this, and it meets your criteria: https://www.roadcasesusa.com/marshall-412-speaker-cab-std-size-412-bottom-1-4-or-3-8-ata-cases/
  18. Phil, you need to get out and perform more! I have seen this type of reaction several times over the years [okay, decades]. More often regarding cover songs in my solo and duo work than with the band. My most touching was someone who sought me out after they complimented another band member on one of our songs [Every Tear Leaves A Scar On My Heart], and finding out I wrote it, followed me to the bar and started telling me how much he related to the song, and how he wished he'd had the guts to say to his ex-wife what I said in the song. I told him I wished I'd had the guts to do that too, but it was written about a different, although similar, situation. He bought me a drink, bent my ear for ten minutes, and stayed until closing time. Oh, and he bought our CD that had that song [and most of our originals] on it.
  19. I have to ask... why did you get this amp if you already had the multi-FX pedal, or why did you get the multi-FX if you already had the amp? And what is the pedal? Mr. Grumpy is spot on, you want to set the amp to be as transparent as possible. No gain, no fx...'clean as a weasel' as one forumite's child once said... Obviously WRGKMC completely misread your post.
  20. there once was a man from Pawtucket...
  21. if this is the same model that Alto emailed me about over the weekend [i'm on the road in Vegas for a few days] then the biggest issue I have with it is the wattage; at 30W, it will be inadequate for anything but busking, IMHO
  22. if the walls are below ground level, unless you are next to a train tunnel, the walls are not going to be a sound issue...tons of soil have solved that for you. I would still certainly add insulation as well as a moisture barrier before drywalling...particularly in cold climates. As Phil said, the ceiling will be your biggest issue, then your stair well. If you can find fire-retardent/self-extinguishing treated high density acoustic foam [like Auralex], laying that between the joists will help a lot, and then double layering the ceiling, in the criss-cross pattern as Phil also mentioned would cut down the transfer from above, as well as keeping your music in. I have seen a basement studio with a fully suspended ceiling with shock absorbers...very effective, perhaps overkill for a home studio. Also look into damping the VSWR {vertical standing wave ratio], flat ceilings are not happy studio ceilings. Some carefully placed and shaped absorber foam will diminish that issue. Keep in mind that airspace is also an insulator for both heat and sound, so cramming the spaces full actually can work against you.
  23. First...where are you applying the tru oil and is this a brush application or spray? I like spray application myself, and usually I make a mini-spray 'booth' in my garage using clear plastic drop cloths hung from the beams. I run a wire hanger as a hook through one of the tuner holes in the head stock and suspended it from another beam in the 'booth'. This would be better even for brush application since it would reduce the handling and dust/lint issues. Don't do it in the shower using the shower curtain rod unless it is bolted in...typical spring tension rods won't carry the weight of an electric guitar :wave:
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