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Everything posted by Wyatt

  1. Stratosonic, available in various years, Cherry or TV Yellow, in P-90 or HB's.
  2. Originally Posted by notjonahbutnoah Man... in 2012, when we have a million delay pedals that are absolutely killer, can it really be worth it? I mean, I have almost no experience with any kind of actual tape echo unit, but I've heard a lot of delay pedals, and when set right, they sound amazing. I just can't imagine repeats/echos sounding much better. Maybe I'm wrong/ I don't think "better" is the right word. The beauty is in how much worse they were. Very low tech and analog, but incredibly complex. 1. The preamp has a lot to do with their unique tone, being able to overdrive a the EP-1 and EP-2 or the thick tone of buffered preamp of the EP-3 adds a lot of their character. 2. Then there are the things all the digital sims are trying to copy..the mild, inconsistent, unsymmetrical modulation created by the wow and flutter of the tape 3. Then there is the tape itself...noise and hiss are noise and hiss but they fill out the sound of the echos and the low fidelity tape meant dark repeats that were distorted without being harsh...they almost seem to brood emotionally Still, I found the fun factor no longer offset the hassle factor for me.
  3. They are nice, but not worth the hassle for me anymore. I sold my EP-3 a few months ago and it had been years since I used it. The SS Echoplex's are famously unreliable, often fragile -- I've known they to break down just being transported to a gig, and in the pre-WWW days, mine went through three techs before they could get it working again. Then we come to the matter of obsolete tape. It's not made anymore...at all. An Echoplex (and tape echo really) needs lubricated, lo-fidelity tape (the lower fidelity tape is less abrasive and easier on tape heads). The best tape stock is non-existent in the market; most cartridge winders make do with good, but not great tape, and some have even used tape that is very bad for the tape heads. And then there is the noise, both warm and analog and downright nerve-racking at the same time. If you want that Echoplex tone (a la Dead man soundtrack), no simulator will do, I have NEVER heard a tape echo simulator that was ever close. But for me, once I heard the clean, warm, hassle-free delay of the DM-2, I quickly forgot the Echoplex altogether.
  4. The Custom Vibrolux Reverb (CVR) is NOT a RI. It started of as the Brown Vibroverb RI (one of Fender's very first RI, before they introduced the DRRI and TRRI), but they made changes when it became the CVR. The "global" reverb bridges the preamp channels pretty early in the signal chain which raises the noise floor noticeably. And then the lack of negative feedback works against headroom, makes t harder to tame and also adds noise, but the positives are a more immersible 3-D sound. I think it's a fair comparison to the a Vox though, as wjbratcher noted, it is more of a Brown Fender, more mids, more aggreessive.
  5. Originally Posted by hotmess What do you mean "had it set" at 8 ohms? Unless there's a specific jack or switch, that means something had to have been done to the output transformer or the output transformer has been replaced. If it is meant for 16 ohms and you're running 8 into it, you're really at a risk of killing your amp. I believe all the Chinese-made Voxes (Customs and Hand-Wired and previous Custom Classics) have a small impedance switch near the jacks.
  6. Originally Posted by Dolf Thanks! Removing one speaker is easy. A lot easier than needing to buy a multimeter to test them individually. Especially since you would have to disconnect them for a good DMM reading.
  7. So, it's a 2x12" combo? The most common way to wire that is two 16-ohm speakers in parallel for an 8-ohm load. But, you can't take anything for granted because they aren't stock and you are several owners removed from the mods. Celestions are coded on the front of their gasket....T4427 is 8 ohm and T4436 is 16 ohm. This is ... of course ... genius because you can't read it without removing the speaker. Can't find a way embed this, but you can see the gasket here.... http://s664.beta.photobucket.com/use...rimary]=images
  8. I agree with the near universal answer of $2K-2.5K. It should be noted that since LP Standards were not made in the early '70's, dealers could factory order Deluxes with full-size humbuckers. While Deluxes that have been converted to full-size HB's are more common, you never know until you check the routes. I believe a clean, stock '72 LP Deluxe is in the $3.5K+ range still.
  9. Originally Posted by The Villano Dude Is this better than the big Radial JX-2? It's pretty much just the ABY half of the Switchbone, without the Power Boost (and without the tuner out). I guess ultimately it's a $100 upcharge to add LEDs to the Big Shot, for the OP, it's overkill since they don't plan on switching. Since we don't know what amps and effects and power supply the OP is using, I would reinforce the suggestions of active pedals that have phase inversion and ground lifts (like the Radial pedals). Phase issues can result from an uneven number of gain stages between both pedal runs...or an even number of gain stages in each amp...or speaker polarity. And there is always the chance of ground loops with a stereo rig.
  10. you can't tune a regular guitar to C6 or E13 without severely {censored}ing it up. lap steels hold high tenison tunings far better than a regular guitar. also, regarding slides. for a 6-8 string lap steel i'd use a dobro style slide. the heavy one with concave sides. It makes it easier to do hammer ons etc. for a pedal steel most dudes use the dildo looking slide. it's easier to slide up and down on the 10 string necks. Yeah, I'm a big fan of the SP-1 steel, ergonomic and the tip still allows me to play single note or double stop runs will playing all of the rest of the strings open.
  11. For 99% of us, yes. I wouldn't put Derek Trucks in that category, though. I always though Duane Allman had really generic technique that was all single note runs. Derek spent to much time learning Daune's style. I don't hear Derek slanting chords and doing behind the slide/steel bends like a good lap steel player will to mimic pedal steel. But then Derek's music doesn't appeal to me at all...it's too jam derivative and bores me; I can only listen to so much soloing before it all sounds the same.
  12. Just buy a slide and play normal guitar. Don't pain yourself by having to get accustomed to a little lap-sized guitar. You're not Nels Cline. Slide guitar is to lap steel as Duplo is to Lego. There is so much more you can do with a steel than a slide just because of the arrangement. But then pedal steel makes them all look as simple as mud pies.
  13. Doesn't take much to make a good lap steel...mostly a good PU. For there it's all in your ear, because there aren't any frets to intonate; so if you can bend to pitch by ear, it'll be big learning curve. The nice thing about lap steels is they are officially obsolete, both being out of popular fashion and replaced professionally by the lap steel. So, you can buy a vintage lap steel from companies like Valco/Supro/Sirline/National to even Gibson and Fender for $200-400. Only the Rickenbacker bakelite models have skyrocketed in the last 5 years.
  14. Wait a minute...if it's not string-through (which is the de facto standard on G&L) and it's not split shaft, what the hell tuners do you have?
  15. Originally Posted by Crxsh I love slot heads. And have had them on pretty much every guitar I've owned up to this point... but this G&L I've got has the "perpendicular hole" type you mentioned. And I hate them. I'll try that technique next time I restring, but if I botch that
  16. The New Senisr tubes that can't handle the cathode-follower position are the spiral filament tubes...the Sovtek 12AX7LPS, the Electro-Harmonix 12AX7EH, the Svetlana 12AX7, the Tung Sol 12AX7 and the Mullard 12AX7. Actually, New Sensor admits the Tung Sol, Svetlana and EH have identical constrution. The older designed Sovtek 12AX7WA/WB and 12AX7LP can be be used as a CF. New Sensor prefers the spiral filaments for all their newer preamp tube designs because it's lower noise but they brun out faster in CF positions. No need for balanced preamp or PI tubes at all. The rest is pure taste, but don't flush too much money down the "tube rolling" pipe...many subtle differences are lost in a band mix.
  17. Possibly the best era for fender. I just love the sound of those amps. Their look was also the best. Too bad not enough people do boutique reissues (at least I don't know many). Allen amps, Lil Dawg, that's it! Marsh Quinn
  18. BTW, the schematic from Steve Alha's site (blueguitar.org) id probably the Rivera-era Concert... The original BF Concert was pretty much a BF Bandmaster in combo form (with a 2-ohm OT...Super Reverb OT?)... http://www.webphix.com/schematic%20heaven/www.schematicheaven.com/fenderamps/concert_aa763.pdf
  19. Push pull? You could pull one of the 6L6s, and you'd lower the wattage. The amp would definitely feel different though. Check it: http://www.blueguitar.org/new/schem/fender/concert.jpg Either V8 or V9. 95%+ of all multiple power tube amps are push-pull designs, with the phase inverter feeds the (+) swing of a sine wave to one tube and the (
  20. Fixed that for you. A low-watt tube amp has plenty of bottom end power, but all too often, they are mated with dumb speakers. If you want low end, go with a bass speaker. 12 inches. Generally speaking, 12" speaker do tend to have big, loose boomy low-end, but a good 10" keeps the bottom end tight and punchy and more prominent. Which is why 10" speakers are a far more common bass amp speaker than 12". Actually, a vast majority of bass amp setups use 10" and/or 15" speakers.
  21. Pull some tubes, kill the watts. You could buy yourself a Dr.Z Brake Lite and use it that way, as well. Is it a brown one? Those amps are gorgeous. Kinda hard to pull tubes. You need the only pair for push-pull. It is a great amp.
  22. My DM-2 displaced my Echoplex EP-3 almost a decade ago and I haven't bought a delay since. Love it. Would I pay $300 for one? Probably not. I would pay $150 for one. The downside to all of these old analog pedals is eventually the BBD chip will die, and the older the pedal gets, the less life you get for your money.
  23. Check out the sounds on bass. Yeah, any and all FX25 or FX25B I have used have a sick bass response. Some might even think it's overdone, but that sick scoop in the filter sweep has it's uses. The MXR has a much more mellow filter sweep and is more responsive if that makes sense.. Completely different. Pot codes- 1377547 MXR9479 I doubt that means that theres any possibility that it could be a 79, but like I said, it was looked over by a tech before it got to me, and it was confirmed that it's from late in 1975. Is there someone I should tell about this? Am I holding a piece of transitional history? Sometime in '75 they started making the switch to the box logo. Pots would date to late '75 (47th week), so it could be a '75 or more likely a '76. Figure the pots were stamped around Thanksgiving, they had to be shipped, and then eventually used; it would certainly be possible for them to have been used by the end of the year, but they could have also sat around for six months into '76, it all depends on MXR's production.
  24. No, you can't use the standard cable. But there are reverse polarity cables available, from Voodoo Lab, Visual Sound and others. As for "setting on fire,"...most effects have a diode in the power supply to make sure polarity issues don't harm the pedal...but some do not and can be damaged when powered in reverse.
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