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Everything posted by daddymack

  1. daddymack


    you should recycle those dead ones...unless you plan to hold them until they are 'antiques/collectables'...I hear the old Radio Shack TRS80's are fetching a pretty penny these days...
  2. If both amps have multiple inputs you could both use AB-Y boxes. Or play into a small mixer and use the L/R outs to feed the amps, with the guitars panned to center. Unless your guitars' tone are very distinct from one another, sending both to both amps sounds kind of pointless to me, as I'm not sure what you are trying to accomplish...why not just use one amp and an AB-Y for both guitars into the input?
  3. The Fender Champ XD/X2 have an 'Acoustisonic' setting, but I am unimpressed by it. I have used my Quilter Aviator's clean channel for acoustic, set flat response, and it works, but no where near my Fishman SA.
  4. daddymack


    was wondering what happened to you...welcome back...not much new...
  5. Carlo Robelli is a Sam Ash house brand. If you have played the guitar, and you like it, what is the issue?
  6. no, not acceptable at all, and if they saw those pics, and were okay with that appearance, I would return the guitar and buy from a company that cared about quality and their customers. I would also make sure I gave them bad reviews EVERYWHERE! This is exactly why many of these instruments are 'lower cost'...they don't invest in quality. You are learning a valuable lesson regarding spending that kind of money for an instrument sight unseen. If it were a $300 guitar, okay, take the 10% and live with it, but at $900? No f---ing way!
  7. if you want a traditional P90, tone, go with the lower resistance [7.8k]...P90s are all about tone, not output...you have an amp for that I eschewed P90s until a few years ago when I found a Tele wired up like a Gibson with 2 P90s/2V/2T/3 way toggle...every one who has heard that guitar has said 'that is the sound'...meaning classic vintage tone from the days before humbuckers, which is what I have been chasing...although I still like my PAFs*/Classic 57s, my mini hums and even the '62 Gibson Melody Maker single coils [very P90-ish, but much lower output, like half a humbucker, but not tapped exactly], there is that je ne sais quoi...noise be damned..tone is king! *my 1970/71=ish SG was originally built with P90s, but a previous owner modded it [DiMarzio PAF in the neck, and a SD in the bridge(I am okay with Larry's version of the PAF, not crazy about the SD, but I like the SDS I put in my Strat in the bridge, so ya jusnevano)]...I wish I had the original P-ups. An old friend has an SG with P90s from the same Norlin era, and that puppy sings!
  8. absolutely, if it is in good condition...that is an excellent price...the trem alone is worth ~75-100 [chrome/gold]...w/case?
  9. If the buzz is still apparent, as you say, acoustically but not when amplified, that is an anomaly...and what you may be hearing is something else, not a fret buzz, but possibly an issue in the bridge or one of the string-through ferrules. If it bothers you, exchange the instrument immediately, do not 'settle' for something you know bothers you! Although I wholeheartedly agree that one should understand repairs, and that the Erlewine book is an excellent resource, in your particular case, do not make any changes to the instrument if you can return it! I made that mistake once, and learned my lesson.
  10. Sorry, Phil...you have my deepest sympathy! You should offer to go and play live, rather than suffer through...😉
  11. if you look closely, you can still read the 'Les Paul' sig to the right of the grille. Those amps have a very nice sound, mucho midrange because of the 7591 power tube and the 6eu7 preamp tubes...getting hard to find NOS of those...stock up while you can!
  12. Karaoke is not for serious singers, it is for drunks to embarrass themselves. A drummer friend is in a 'live band' [they use tracks with live drums and 2 guitarists reading scrolling charts off iPads] 'karaoke'...he is fortunate that the club has a regular local following or it would be crickets...the same people pretty much every week. He keeps asking me to come there and sing...to 'raise the bar', as it were; I used to gig there many years ago [1980s] as a side man for one band and as a solo. But it isn't of any interest to me to do that unless I could get a soloist slot there again, and I know they won't do that.
  13. We are seeing a slow but gradual 'resurgence' of small blues clubs here. We lost pretty much all our local dedicated blues clubs over the past 15 years. Our 'local' House of Blues doesn't present actual Blues acts anymore [hasn't in over a decade]; they closed BB Kings here a decade ago [we were in the opening act rotation there]; so it is a 'grass roots' revitalization. My band hosts a open blues jam about every six weeks in Pasadena. I used to be in a host band for a number of years at a couple of local venues that were amenable, but not actually dedicated to the blues. I also started/hosted a pro jam a couple of years back which was a quasi blues and jazz jam, where I had a horn section, 16 channel PA, plenty of mics/stands...but they pulled our plug after a year. I have to go to LA to get a decent blues room now, a sad state of affairs, and I do go and jam in order to support the room. I mentioned my sad failure at trying an open mic night a while back, and the venue recently contacted me if I would give it another go on their slow night...my answer was 'sorry, unless you put some promotion behind it, no'...I am not going in already set up to fail...again. I did offer to try a singer-songwriter night...but they were not interested...?
  14. The drawback with taking it off the amp or mixer is you don't get the audience reaction and room ambiance, which is why I periodically shoot video with the my Zoom QN2...the audio is usually very accurate, and I can hear if people are talking while I'm performing....plus I can correct some of the stupid things I do physically during my performance...YMMV, but to me it isn't just the sound I worry about.
  15. Brass pins...no thread required...
  16. Could you clarify what you are asking, because as written it makes no sense to me at all... If you are trying to power your amp from a 12VDC-120VAC converter built into a pickup truck? That will work as long as there are enough amps being generated, and a guitar amp typically draws under 2 amps, but I am not certain what the wattage consumption is of the Peavey amp, but it likely draws less than 400W; it should be listed on the amp somewhere.. Otherwise yes, you could use a standalone generator.
  17. could be a number of things. Hard to diagnose based on your input. I suggest you take it to a reputable service tech and have it checked.
  18. well...happy new guitar day, and welcome to Harmony Central!
  19. thanks for trying to help, but didn't you notice the last response to this thread was in August of 2005? Everyone moved on from this discussion 14 years ago...
  20. I suggest you go and ask Cort, as several of the s/n sites I have seen look sketchy or potentially hazardous...
  21. try just looking for an oil soluble pigment [moved from now deleted thread in Elc Guit]
  22. you could just save us all a lot of trouble and use google..here is the contact number and email for Budda...they should know the answer... Email: buybudda@budda.com Phone: (877) 866-3439
  23. well...not exactly, but very similar principles and processes...both owe their existence to the inventor of Bakelite, Mr. Baekeland...back around 1909, IIRC
  24. I love the drum rig with the sticks alternating on the hi-hat...that looks like it took some doing! So...on the sound mix...yes, even one good vocal mic on an arm would get the harmonica and the vocals more out front. I would turn the guitar amp down as well. Close mic the snare and the hi-hat with drum mics or the SM57s. At first I thought this was all being done on one mic...which, as a solo, is hard to get the placement correct...I know from trying myself. What were you using to shoot the video? Your iPhone?
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