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Posts posted by honeyiscool

  1. Tried the Fat Pat (neck) and Crunchy Pat (bridge) and their LP up grade kit in one of my Diodati (LP style) guitars.

    Hated it all. As someone else mentioned "Megaphone". Sounded like AC/DC on a AM radio station.

    Yanked it all out. Put in Kiesel Lithiums with a Toneman 50's wiring harness (Bourns pots and PIO caps) instead.

    Huge improvement.


    I do have a Squier Classic Vibe 50's Strat. Love those OEM Tonerider pickups. Haven't tried the Tonerider HBs. Curious to hear if their as good.

    I tried a pair of their Professional Series Alnico humbucker pickups. They were actually shockingly good, definitely better than, say, something like a PRS SE. Problem was, for me, I decided that I wanted to be able to split the pickups, but the Pro Series humbuckers are 1-conductor wire, so well, so much for that.


    So then I tried a pair of Tonerider TRH1 Rocksong pickups and I was like, GFS who? TRH1, which are slightly overwound Alnico II pickups, aren't just the best budget pair of humbuckers I've tried. As a humbucker set, they really just might be my favorite ever, and I've tried a few nice humbucking combinations in my life. I might still prefer a Duncan Custom pickup now and then, but to me, the Rocksongs have it all. Clarity, power, crunch, high end, bottom end, all for about $100 for two pickups, and they clean up nicely whether via the volume knob or via splitting. They can do vintage, they can do modern, they can do anything. Makes me wonder why other manufacturers don't give us overwound Alnico II pickups. It's almost always Alnico V once you get into the medium output models.


    I've read that the Squier CV pickups aren't exactly Tonerider pickups, but that they're just made in the same Chinese factory. Whatever the case might be, I actually recently purchased a set of Squier CV 50s pickups to put in a Fender Blacktop Strat to SSS conversion. For about $60 total, I got a set of fantastic sounding vintage output Alnico III pickup. I really don't think single coils can get that much better than that. They have it all. I'd gladly buy another set any day. Much better than the ceramics that come on lower end Mexican Strats.

    • Like 2

  2. It DOES run off a One Spot, a Boss, or any of the above. It runs off any power supply from 9 to 12 volt DC, 250 mA minimum, center positive OR center negative. The receiver is extremely forgiving as to what kind of power supply it requires. If it fits, it'll pretty much work.


    The problem that I pointed out is that your signal chain is often not very clean when you do this, as you might cause a hum issue when you have too many things daisy chained together. If you have a digital reverb, a Big Muff, and a Shure receiver in the same chain, you're probably going to have massive noise.


    Like I said, though, at the point when you're spending $449 for a wireless unit, you really should start budgeting a little bit of money toward a better power situation than a One Spot. For your pedals, there are two inputs that contribute to the quality of your signal: the guitar and the power. People often don't think twice about dropping a couple hundred on upgrading the guitar. So you can surely budget $100-200 toward getting a dedicated pedal power supply situation. I swear by Cioks and they make small to gigantic power supplies, but there are many others: Voodoo, MXR, etc. Garbage in, garbage out, and clean power is very important to your pedals.

  3. I actually use a Shure GLX-D. I've used it for just under a year now. Not only do I use it, two other band members do. Have I ever had a problem? Nope. Do I notice a tonal difference? Nope. If anything, things are better. There might be a slight latency but I don't detect it (especially when you're far from the stage, where speed of sound overrules any digital latency). I've never had issues with interference or cutting out or anything like that. Battery life is simply fantastic, and a micro USB port means that almost anything can charge it. If you forget to charge it, just charging it in your car USB charger while you drive to the gig should give you enough juice to get through a set.


    I really like the tuner built into the receiver. It helps keep the setup compact. The receiver can take just about any power supply, but here's the only thing that even counts as a slight issue: don't even try to daisy chain it with a bunch of other digital pedals. If you have $449 to spend on a wireless unit, it's time to make sure that you have a decent power setup for your pedals. My band's receivers are powered by small Cioks Adams or DC5 units, and the Shure receiver always exists on an isolated 250 mA 9V output. If you use a wall wart to power your pedals, do yourself a favor and at least use a separate power supply for the wireless receiver.


    The only difficulty for me with the GLX-D is keeping three of the receivers and transmitters straight, so I put stickers on them, which stopped the confusion. Initially making sure the correct receivers and transmitters paired up correctly took a few minutes, too, but once it happened, I never had a problem again.


    The only other issue is that sometimes I have to turn the receiver off and on again (using the little power switch on the side) once in a while, when first setting up. This never happens in the middle of using the thing, just when it first powers up.


    I highly recommend the GLX-D. I think it's a complete winner. I don't always use wireless, and I have a traditional pedalboard set up with my spare pedals that I take to rehearsals and gigs when I don't want to dismantle my primary setup. But the GLX-D is my primary.



    (The only thing I could possibly wish for with the GLX-D is this. What about a bypass option to insert a cable and use it just as tuner in case the transmitter malfunctions (or is misplaced)? Since it's a tuner, too, that could really do wonders. Right now, if I want to make my pedalboard wired, I have to take the receiver off and replace it with a tuner. It's not a big deal (a mini Korg fits in any bag) but I just would love that option. That's all.)

  4. I'm not sure why you would use a Vox if grit isn't something you want. The iconic status of the AC30 shouldn't matter to you. Whether it works for you should. And if an AC30 has too much grit, the AC15 definitely does at the same volumes. Just because it sounds good doesn't mean it's destined to be your amp. But also you should take a step back and be very honest with yourself and gauge how the music all sounds all put together. I mean, if I remember correctly, you're used to very high wattage amps that can be crystal clear. I've heard bands like that, and no offense, really, but those bands can be very painful to be in the same room with, although the guitarist might not even hear himself all that well since the drums are at ear level and the amp isn't. A little dirt on the amp actually tends to smooth out the peaks so that it's not painful while giving you a good increase in overall volume, and at that, I think the AC15/30 amps excel.


    Anyway, AC15 works in a band. One of my favorite bands (whose live video I just posted) uses one. Perfectly loud. Crazy good tone.

  5. I think when I first had the Q3HD, it made me happy because for once, I could go to venues and get sound that didn't distort. However, the video quality is little short of awful, as in an iPhone 4S is better at video, and it is shaky as all hell. Also, it feels uncommonly silly to hold at a venue, holding a little ugly alien video device upright at a show; there's no elegance to it. Though I used it as a digital recorder for a while, once I got a Tascam DR-40, there was no comparison. Even with built-in mics, the DR-40 sounds better, feels more solid, and it has phantom-powered XLR jacks. On top of all that, and perhaps most importantly, the DR-40 mics are positioned such that it can be left on a table; it doesn't need to be held upright. So I decided to sell the Q3HD for a bit of cash and look for an alternative.

    I wanted something that would take a decent photo as well as video. As you guys know, I post a lot of Youtube videos, so I wanted something with a flip-out LCD, w/ HD capabilities. So I naturally looked at SLRs, but I am not a photographer and I just didn't want anything that big. Plus, SLRs w/ big zooms intimidate people. So I looked at superzooms, but I wanted better picture and more flexibility and when it came down to it, only one camera really made sense for my hobby camera: the mirrorless Panasonic DMC-G5. I ditched the zoom as soon as I got it and bought a little used 17mm lens for cheap (34-35mm equivalent). Now I had something I could take everywhere:


    This thing really takes fun, intimate concert pictures! Blurry, but whatever, it's a concert. And because it's small and unobtrusive, I think it doesn't make people "pose" as much, so I can get up in people's faces more.




    Apparently, I have a lot of Tele playing friends. Anyway, what about video? With the mic gain turned all the way down, it's actually borderline usable as a standalone concert video camera. However, I just leave the DR-40 on a bar table near me, and then by syncing the audio later, I can have audio that doesn't distort! So yeah, check it out, this is my favorite band in town, and one of the best performances of this song they've ever done, and I got it recorded! I think you guys would really dig it. This guitarist is totally badass:

    All that fire from a stock AC15C2.

    Of course, I'm still getting used to it so I was out of focus for a bit. The other problem, though, is that the 17mm I have is not a video lens, it's also not quite wide enough for front row recording, and it lacks image stabilization. But that's on its way. I look forward to having fun with this camera at my friends' shows. I think there's something really special going on in our town with all my friends' bands and I want to capture some of that for when I'm telling people to get off my lawn and looking back on how cool things used to be. Of course, the annoying thing is that the band in the video has one farewell show left. Wah.

  6. knotty wrote:

    @ honeyiscool

    How can you NOT form an opinion? You have a " picture" that you have formed on each regular poster. Some will be right - others completely wrong, but you will have formed them.

    Of course, you'll have them. I'm just saying, they're not always fair or warranted. I prefer to judge people based on their direct words and actions, not what I might infer about their personality from what they're saying about various gear or music. 

  7. Mittens just had a show on Saturday that went really well. I have become really attached to my Inspired by John Lennon Casino because I've been playing it unplugged so much on the couch, and I think that familiarity is really starting to pay off because it just sounds and feels like it's now my default guitar.


    One of my favorite local bands is leaving town to go to the East Coast so we covered a song of theirs as a goodbye and it went really well with the crowd, many of whom are also their fans. Their guitarist is a big Casino fan as well, so he naturally liked it.

    And here's another vid, of us doing a really old song of mine, but turned into a girl-boy song:

    Love this guitar. I just love how it screams and sustains at me. Although sometimes a bit hard to control, I feel like it's almost always a good thing to have more sound than less, especially when I play in a medium energy band where it's OK to go a bit overboard sometimes.

    I just wish I could actually reach the 22nd fret on it. I might get an ES-339, though, to solve that problem, but then it wouldn't howl and it wouldn't be as wonderful. Is there any guitar that actually has good fret access w/ that basic Casino mellow single coil sound but doesn't have a floating bridge?

    Annoying thing is my Boss OD-3 is starting to act up, just cutting volume sometimes. It might be the buffer. That's not a good thing because I rely on that pedal to be my main crunch pedal, but I'm getting familiar enough with the Route 66 that I can probably rely on it to be my only overdrive as well, so I might just take it off my board.

  8. I don't get it. Why do you need to compare by ear if you have an accurate enough tuner? Sure, it's not always 100% correct, but a decent tuner like a Boss TU-3 or Korg Pitch Black, it's still more accurate than is needed for most situations.

    p.s. The low E on the bass was especially flat, maybe about a 2/3 of a semitone flat. After a few songs, he attempted to fix it by playing an octave with the D string, and then ended up taking the D string out of tune as well. It was pretty awful.

    I've seen some good advice, and I think the next time I see them, I'll just tell them that they need to be in tune, maybe that time they won't be too out of tune and then I'll mention that fact. But I'm not giving up any of my tuners. People can buy tuners on their own dime, and I wouldn't have bought those tuners if I didn't need them.

    And as for the people suggesting that people who aren't in tune can't be very good musicians, are you serious? There are a lot of relatively tone deaf players who can play rather well.

  9. I saw one of my friends play live last night. The dude plays a pretty good rhythm guitar, his vocals are actually really **** good, but oh my, both he and the bassist were out of tune and it was just so distracting that they sounded needlessly bad. It could have been prevented with a pedal tuner they used between songs, hell, I'll take a Snark, or anything.

    So yeah, how do you suggest to a good friend that they buy some MFing tuners?


    (That should be a rule, btw. If you don't have a tuner, you can't be on stage.)

  10. kayd_mon wrote:



    Do you know if they use alnico V pickups now, when they used to be ceramic? I have found that the newer Epis sound better stock than they did in, say, the 90s.

    My Epi from a couple years back used "Alnico Classic" pickups, whatever that means. I think they've been upgraded even more since.

  11. 575589_10100818277981161_1367946320_n.jp

    Hey, it turned out well this time!

    I did this a few months ago but messed up by not using good clear coat, so I decided to do it right this time. So I did the following:

    1. Sand down to bare wood, prep with 220 grit.

    2. Spray five coats with Minwax semi-gloss polyurethane. Let sit for a week.

    3. Lightly sand with a finishing pad (the in-between coat they sell at Home Depot).

    4. Scribble scribble w/ Sharpie paint pens. In areas where I was overlapping one section with different colors, I let the first coat fully dry, as you should with any painting. Let sit for 2-3 days.

    5. Spray five coats with satin nitrocellulose. Spray light at first and then a bit heavier for the last few. Let sit for 3-4 days.

    6. Lightly sand with a finishing pad and then a 800 grit. Let sit for a few weeks, longer the better. You can probably reassemble the guitar in a week or so.

    I think this process should hold up a lot better. There are a certain number of reasons I used a poly base with a nitro topcoat. I found that the Sharpie paint pens just didn't go on nitro very well. They flowed a lot smoother on polyurethane, and since it's no problem to spray nitro on poly, I went that route. As for the reason I used nitro instead of poly for the top coat, I found that after you use the paint pen, there's quite a bit of texture caused by the paint build up from the pens. Since I didn't want to sand before I applied the final clear coat, I figured that nitro would be better at smoothing it out, as the solvents in it would dissolve the existing paint and be a little more seamless. I think it's the right call, the nitro has blended in seamlessly with the paint. Poly might have done that, too, but I figured nitro is easier for touch ups and other things like that. Plus, poly might be a little too aggressive.

    Anyway, happy with how it turned out. I'll definitely do it again.

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