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Verne Andru

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About Verne Andru

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  1. Bravo Phil. Next best thing to being there - perhaps a bit better as I didn't wake up with sore feet and a hangover!
  2. Wow - a ton of pics for 1 day on the floor. You were a busy boy. Anything stand out? Best of show? Looks evolutionary not revolutionary so far.
  3. I left when they started changing the software, as did most others. It never ran well and made the experience here very frustrating. Management's excuses that they had to change because of the hacks were disingenuous at best as the Mandolin Cafe, where I've been hiding out, still uses the same forum software without issue. I did find it interesting to watch as forum managers seemed to purposefully destroy the community - this used to be the largest online music forum that got reduced to crickets in a matter of months. It seemed like they were purposefully doing everything to alienate the community and were extremely successful at it. But enough whining - it's nice to see software that actually works (after how many years?) and I hope the community comes back in some form or another. Music has changed in the decade or so since the melt-down and instrument choices have changed, so we'll see.
  4. I would posit a number of reasons: 1) As noted, because of costs and scheduling, etc. musicians were expected to come in, record and leave. There was a lot of Adrenalin in the equation that gets lost with multiple takes over multiple days in multiple locations that added spark to the performance. 2) Engineers knew how to mic and record instruments. Again with a nod to #1, they knew how to get the sound the first time because they knew the mics, the room and what they needed to get on tape. 3) Analog signal path. While digital is arguably "better" it is the impurities in analog that adds to the flavor. 4) Engineers with "golden ears." I spent many many hours in an analog studio and saw numerous recordings go to pressing. Because of the limitations of vinyl playback devices (record players) engineers had to create a pre-master tape that, to the uninitiated, sounds awful but once pressed into a record plays back magic. Today's engineers can pretty much record and mix how the final is expected to sound, so by "improving" the recording chain, we've inadvertently ended up losing the key ingredient to making a great sounding recording - a great engineer who knows what they're doing. Phil: you folks covering NAMM this year?
  5. Broke a bunch of strings of all brands tuning my Les Paul PeeWee in 5ths - Eb Bb F C G D. Ended up with an 8 on the high D and that's a semi-tone from snapping. Here's a string story - when I started playing acoustic in the early 70s I used Larrivee strings. I would always keep the old set whenever I changed strings just in case something broke and I needed a replacement in a hurry. I kept the tradition going and ended up with quite a stack of old guitar strings over the years. Fast forward to a few years back - it's the end of a NAMM show with everyone loading-out. I ended up walking out with one of the younger Larrivees and mentioned I had a bunch of their old strings still in packages. He didn't even know Larrivee sold strings and asked if I would donate them to the Larrivee museum, which I gladly did. Moral of the story is even junky old guitar strings can have value if you hold on to them long enough 😙.
  6. Tursers are fine. If the body wood isn't listed it's usually basswood. For their higher-end they will list the wood they use but I've never seen a Turser made from plywood. I have a Turser 7 string and, electronics aside, it's fine. My Frankenstrat uses a Hondo body which is plywood. Aside from it being a bit on the heavy side there's nothing wrong with it either.
  7. I've kept up the cheap git tradition. Still have my cheap First Act Sheena, Frankenstrat, etc. Added a couple Les Paul PeeWee's in the mix - first was $70 and the Zack Wylde was $99 (even came with the mini Marshall amp). Pics of the PeeWees and some of my other cheap gits.
  8. Not surprising. They drove everybody away what, 10 years ago? I hope someone has been documenting what management did because it should go down in history as the definitive example of how to purposefully destroy the most vibrant forum on the internet. Goodness, you could do a university program around it, it was done so well. Last week someone was asking about a good guitar forum over on Mandolin Cafe, which is where I've taken refuge. I suggested HC seems to have finally fixed their forum and the response was that they tried it back in the day but found the place to be so hostile they didn't want to come back. I suggested that the one good thing about the mess HC made was the the trouble-makers are probably long gone now, so we'll see.
  9. When Nathan Daniels introduced his original 30" 6-string bass he thought it would sell like hot-cakes because players were getting 2 extra strings for free. They didn't catch on and many got tuned A to A or B to B creating the original baritone, so from the beginning Bass VI and baritones have been interchangeable. I got to hang around with Paul Chandler at a NAMM show and he introduced me to his baritone offerings. I had ordered a Danelectro double-neck and was considering doing something special with it so at the end of the show I bought a Danelectro baritone neck from Allparts when they were packing up. My double changed from a 12/6 to a 12/baritone and stayed that way for a while. Then I got the urge to change it up again and got a set of Jerry Jones Bass VI strings made for the 30" Dano type instruments and it's remained that way since.
  10. Tubes distort. That's why guitar players like them. Leo Fender spent his career trying to make his tube amps so they wouldn't distort as did Ampeg. If you're doing Motorhead, they're great but if you want a clean bass tone there are better options. I really really liked my old-school Yamaha. It was transistor based but was still big and tough to hall around. The Fender Rumble 40 is top of my list these days. 40 watt class D into a 10" speaker housed in a light plywood cabinet. Great for working on chops and rehearsing. For gigs take the XLR out into the front-of-house and use the cabinet for a floor monitor. Load-in and out all of a sudden doesn't appear so painful. Class D is the way to go.
  11. Have they finally fixed the forum? Are we back in business?
  12. My folks 68 Merc wagon had an 8-track. Played the heck out of Black Sabbath Paranoid! They definitely didn't like 40 below winters.
  13. Loved their stuff as a kid. Used my hard-earned money to buy a ticket to the first time Aerosmith was coming through town. Band came on about an hour late, riffed for 5 or 10 minutes before Tyler stumbled on stage. He was so drunk and out of it the mic stand wouldn't hold him up. Audience started booing, Tyler started swearing, yelling "{censored} you" before stumbling back stage. Band finished the "tune" a few minutes later and that was the end of the show. No re-runs, no refunds, just a big "{censored} you" for supporting them through buying their albums and paying for a concert ticket. Then I heard Perry doesn't really play - he's just a poser boi - so, ya, any rating would be over-rated IME.
  14. Without telling tales I don't believe there is much difference between the 2. There's this very blurry line between what is technically considered "made" versus "assembled" and that's about all I'll say on that subject. This whole "made in the USA" thing is, respectfully, a real big crock. Having grown up in Canada I have been exposed to product from around the world and much of what was made in the US was garbage. So much so that the US government spent a considerable amount of money and effort to try and convince the world, and Americans, otherwise. Look into the history of the "Robertson" screwdriver head vs the "Phillips" for some idea of what's gone on. The US auto industry as another example. There's a reason Japanese and European cars are considered a premium and that is they are generally much better made. For the $1,000 difference between the two, you can buy a lot of effects and pedals that will more than make up for any short-comings. Other examples are the VHT amps - inexpensive, well made and use turret boards consistent with vintage builds for easy mods and etc. Heck, I took a Crate V8 ($279 and also sold as MIA - uses same type of Chinese sourced PCB/parts as the Supro) and added a spring reverb and tremolo for the cost of the tank and a handful of parts. Granted those are done on hand-made PCBs and the trem is optical, but it is a far sight cheaper than $1,200 for something very similar. And my V8 sounds great! Those get very good reviews on Harmony Central and elsewhere. At the end of the day they are pretty much the same PCB manufacturing used on the new Supro's selling at a fraction of the cost. I see Supros latest amp is priced around the $600 mark so it's nice to see them being a bit more realistic about what they're selling. I have no doubt the stuff sounds good, but that doesn't matter if people aren't buying them because they are priced out of the market.
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