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Phil O'Keefe

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Everything posted by Phil O'Keefe

  1. No, your title doesn’t seem too long, but if you’ll forgive me for saying so, your lyrics sound extremely dark and despondent. If you’re depressed and they represent your own state of mind, I urge you to reach out to your friends, family, clergy or doctor. If you’d rather speak with someone you don’t know, help is still available. https://suicidepreventionlifeline.org/ 1-800-273-8255. Life can be incredibly difficult and sometimes it can be hard to go on. Many of us have been there. Please speak with someone, and know that there are people who care.
  2. Or you could just check out Joey DeFrancesco - arguably the world's greatest living master of the B3.
  3. And the site appears to have been taken down... Here's what it says: 抱歉!该站点已经被管理员停止运行,请联系管理员了解详情! Bàoqiàn! Gāi zhàndiǎn yǐjīng bèi guǎnlǐ yuán tíngzhǐ yùnxíng, qǐng liánxì guǎnlǐ yuán liǎojiě xiángqíng! According to Google translate, it roughly means "Sorry! The site has been stopped by the administrator, please contact the administrator for details!"
  4. It can be used with either tube or solid state amps, and sounds great with both types of amps. And yes, I've seen tons of products that supposedly have a tube in them where the tube doesn't really do much of anything - in some cases, the circuit worked just fine even if you pulled the tube out of the product. And as far as LED lights behind tubes, and the tubes displayed through a window or other opening in the face of the product, that's an old marketing gimmick that is used to "highlight" the tube - Most preamp tubes don't glow like that on their own, even when they are running at a high plate voltage. Actually, the Markbass Little Mark Vintage bass amp that I recently reviewed used that same "backlight the tube with LEDs" trick, although like the Fender MTG pedal, they actually run the tube at a nice, healthy / high voltage level - neither the amp nor the pedal uses a "starved plate" design, and the tube is an integral part of the circuit design that actually "does something."
  5. It's hard to say for certain. A keyboard that old could have various problems. One very common one is a dead internal battery for retaining edited sounds when it's unplugged. That's a fairly common issue, but I don't know if it's causing the display issues you're experiencing or not. I'd start by doing a factory reset of the keyboard and see if that clears it up. Here's a couple of links with instructions on how to do that: https://www.sweetwater.com/sweetcare/articles/reset-o1w-factory-sounds-back-o1w-reset/ http://www.korgforums.com/forum/phpBB2/viewtopic.php?t=70279&sid=0a3c1fcbb6e1dac75c1a6975f3a1292f If reinitialization fixes it, then great... but if the issue returns after doing the reset once you turn the keyboard off for a while, the battery will almost definitely need to be replaced, at the minimum - and other repairs may be necessary as well. But start with the re-init, and see how it goes.
  6. The gold capacitor is the one I'm assuming you're referring to, since it's obviously burst (you can see "stuff" coming out of the right side of it, just below the orange wire). It is an axial lead, 100 microfarad, 150V DC capacitor. They're widely available and quite inexpensive. I have no idea if that's the stock component value or not. You'd need to trace the circuit and compare it to a schematic; there are plenty of GA-40 schematics available online. But if you don't know what you're doing inside an amp, take it to someone who does - it can be very dangerous, even fatal, trying to fix a tube amp if you don't know what you're doing!
  7. I don't think that painting the fretboard will have a huge impact on the sound, but it's not going to be very easy to do. First of all, rosewood is fairly oily, and paint doesn't want to stick to it very well. Even if you can somehow get past that, you're painting an area that's subject to a lot of wear - I don't think it is going to stick very well, or last very long. And the whole "getting the paint off the frets" issue is going to be a bigger hassle than you may have considered. If you do decide to attempt it, make sure whatever primers and paints you use are compatible with each other. Polyurethane and acrylic may not be compatible, and if they aren't, when you apply the top coat of poly, it might drastically mess up the color coats. Dry time depends on the type of paint, and how thick it's applied. I've only refinished with nitrocellulose lacquer, and a good month of dry time would be considered normal with that type of paint. Coverage? It takes about two rattle cans of clear coat for a guitar body... you'll probably need a third can if you're going to do the neck too. For the undercoats / primer, you might need half as much.
  8. ...doesn't mean it always has a tube inside. However, that's not always the case - there actually are some pedals that do use a real tube, such as the Fender MTG Tube Distortion that I recently reviewed. If you haven't tried one, it's well worth checking out... and if you're unsure, please check out the review and see if it sounds like something you'd be interested in auditioning for yourself... As always, if you have any questions or comments about the pedal or the review itself, please feel free to post them here in this thread.
  9. This is an interesting looking mic from Lauten Audio. If you think it looks like a classic broadcast mic, you're not too far off the mark, but there's a lot more to the story... for the rest of the details, you'll need to check out my review... As always, if you have any questions or comments about either the mic or the review, please feel free to post them here.
  10. I wouldn’t buy from that site even with someone else’s money. There is no way those are legit guitars - either they’re counterfeits or it is a scam, or both. Besides, protonmail is another bad sign IMO. A high percentage of spammers use that (encrypted) email service, so that’s yet another red flag IMO.
  11. I wouldn’t try to paint a rosewood fretboard, no matter what method.
  12. Yup - take it or send it to Fender and let them fix it since it should still be under warranty.
  13. Yes, it actually uses a real tube… There are a lot of dirt pedals out there that attempt to emulate the sound of tubes that are being driven hard, and even some that use the word “tube” in their product names, but there really aren’t all that many overdrives and distortion pedals that use an actual tube in their circuitry. Sure, there are a few, but they’re rather rare. So when Fender first announced the MTG Tube Distortion pedal, I wondered if it was just another distortion pedal that emulated what a tube can bring to the table. However, it turns out that this pedal actually does use a real tube. Let’s take a closer look and see what else it has to offer. What You Need To Know Designed in cooperation with amp legend Bruce Egnater (of Egnater Amplifiers), the Fender MTG Tube Distortion was designed in California and is manufactured in China. Don’t let the name fool you - while it’s definitely capable of moderate gain distortion tones, it’s equally capable of producing less intense, overdrive-type sounds too. The Fender MTG Tube Distortion pedal uses an actual vacuum tube - specifically, a NOS 6205 tube. This is a military-grade “subminiature” type tube that was originally developed for use in military applications, such as missile guidance systems. They’re designed to handle extreme vibration, shock, and high temperature conditions that would destroy lesser tube types. Similar subminiature tubes are sometimes used in microphones and other musical electronics, and they’re highly regarded. 6205 tubes are significantly smaller than the preamp tubes (like the ones often found in guitar amps) that you’re probably familiar with, and unlike the typical 12AX7, they are not mounted into sockets, but instead, their 8 long, transistor-like wire leads are soldered directly to the board. Because of that, they’re not as readily replaceable as socket-mounted tubes, but because of their ruggedness and exceptionally long life, you probably won’t ever need to swap one out. However, they remain readily available due to the huge stockpiles of them that were created for the military, so in the unlikely event you need to have your pedal serviced, parts shouldn’t be hard to find, or expensive. Housed in a copper-ish colored anodized aluminum housing that measures 3.75” W x 4.9” D x 1.75” H, the Fender MTG Tube Distortion pedal weighs 1.2 pounds. All of the graphics and control labels are done in white silkscreen. All eight of the pedal’s control knobs feature blue lighted LED indicators, so it’s super easy to see your settings, even on a dark stage. The LED indicators can be turned off with a rear panel mounted switch. Also on the rear panel, you’ll find the power input jack. No power supply is included with the pedal, and the MTG Tube Distortion requires a fairly hefty 9V DC regulated power supply that can provide at least 290mA. The power jack uses the industry-standard 5.5mm x 2.1mm plug format, and is wired center-negative, so it’s compatible with a wide range of third-party power supplies. Just make sure yours provides enough current - it takes more than a little bit to fire up that tube! The 1/4” input and output jacks are mounted on the sides of the pedal. Input impedance is 500 kOhm, and the output load is >10 kOhm. The input and output jacks are offset, so that when using two pedals from the new Fender line together, the output of one doesn’t get in the way of the input jack of the next pedal. The controls and their layout are straight ahead and super-easy to figure out. The top row contains four EQ controls, with Treble, Middle and Bass controls, along with a fourth knob labeled “Tight.” The three traditional EQ controls are “flat” when they’re at the 12 o’clock position, and each is capable of boosting or cutting; they provide quite a bit of tonal control and allow you to shape the overall sound of the distortion to your preferences. The Tight control works on the low end, and tightens it up as you turn it higher, which can be very helpful in keeping high gain tones from becoming overly muddy or flabby sounding. The second row of knobs features a Level control for setting the overall output level of the pedal, as well as a Gain control for dialing up the amount of distortion you want. The available range is fairly broad, and the MTG is capable of serving up lower-gain overdrive tones too, as well as higher-gain distortion sounds. There’s also plenty of output available, so you can easily exceed unity gain and use the pedal to drive the input of your tube amp harder if you’d like. The two inner knobs on this row control the MTG Tube Distortion’s onboard Boost. The Level control here adjusts the output volume of the boost, while the Boost control sets the amount of added gain, allowing for louder and/or more distorted tones when the Boost circuit is engaged. This makes it very useful for getting a second, footswitchable level of dirt, and as a lead / solo boost. It’s almost like having a second, footswitchable channel, although both share the same EQ. The Bypass switching is true bypass. A second footswitch on the lower right of the pedal is included to turn the onboard Boost feature on or off, and a second, smaller LED located in between the Boost Level and Boost knobs illuminates when the Boost circuit is active. On / off status is shown with a slightly smaller, but otherwise amp-like jewel lamp located in the center of the pedal. Unlike many of the pedals in Fender’s otherwise excellent new line of pedals, the orange-colored amp jewel style on/off indicator is not nearly as bright - and that’s a good thing, since some of the pedals in their current lineup have indicators that are almost comically bright. This one is bright enough to be easily seen without blinding you. Limitations As mentioned previously the tube is not something that the user can easily swap, but due to the type of tube that Fender decided to use, you probably won’t ever need to. It’s also nice to know that 6205 tubes remain easily obtainable and affordable in the event the pedal ever does need servicing. The MTG Tube Distortion is adapter-powered only, and can not be battery powered. The boost section of the MTG Tube Distortion can not be used separately - it only functions as an addition to the main overdrive / distortion circuit, and can only be used when it’s active. Conclusions For this pedal, Fender hasn’t just utilized their own considerable in-house design talents - the MTG Tube Distortion was created in collaboration with tube amp designer Bruce Egnater. The teamwork paid off, and their combined efforts have resulted in a true tube-based dirt pedal with plenty of attitude. Fender’s latest lineup of effects pedals is by far the best collection of effects that they’ve offered in their long history, and in this reviewer’s opinion the MTG Tube Distortion is one of the stars of the series. It has most of the other cool features of the line, such as the illuminated control knobs, cool jewel style power indicator (that’s also thankfully, less annoyingly bright than some of the other pedals), and rugged anodized aluminum case. Unfortunately (but understandably, for a tube-equipped pedal) it can’t be battery powered, so it’s missing the cool front-panel hinged battery compartment of some of its stablemates, and you’ll need to provide your own power adapter. I do wish that the boost section could be used independently, but that’s a relatively minor complaint. It does provide a nice level increase for solos, or can be used to give you even more grit when the occasion calls for it. Ultimately, a distortion pedal lives or dies mainly by how reliable it is, and most importantly by how good it sounds. With the choice of a long-lasting Mil-spec tube, Fender not only took tube replacement worries away from the user, but also helped to insure long-term reliability too. While a lot of pedals try to simulate the sound of tube saturation, the Fender MTG uses the real thing, and the sonic results are undeniable - this is a great sounding overdrive / distortion pedal! -HC- Want to discuss the Fender MTG Tube Distortion pedal or have questions or comments about this review? Then head over to this thread in the Effects forum right here on Harmony Central and join the discussion! Resources Fender MTG Tube Distortion Pedal ($199.99 "street") Fender’s product web page You can purchase the Fender MTG Tube Distortion pedal from: Sweetwater Guitar Center Musician's Friend Fender _________________________________________________________________ Phil O'Keefe is a multi-instrumentalist, recording engineer / producer and the Senior Editor of Harmony Central. He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. He is a former featured monthly columnist for EQ magazine, and his articles and product reviews have also appeared in Keyboard, Electronic Musician and Guitar Player magazines.
  14. Looks like a broadcast mic, but looks don’t always tell the whole story… When it comes to large diaphragm condenser microphones, the vast majority are side-address designs. In other words, you sing into the side of the head basket, and not into the “end” of it, like you would do with most dynamic and live performance mics. While there are a lot of end address condenser mics on the market, most end-address style condensers tend to be small diaphragm models, and larger mics with end address designs are most often dynamic mics. But that’s certainly not a hard and fast rule. In the case of the Lauten Audio LS-208, if you’re thinking it looks like a large diaphragm dynamic mic, or like a side address large diaphragm condenser, things are not quite as they may first appear. What You Need To Know The Lauten Audio LS-208 is part of the new Synergy series, which currently consists of two models - the LS-208 and the LS-308 (stay tuned - we’ll have a review of the LS-308 shortly). Built into in a matte black metal housing that measures 7.5” long by 1.98” in diameter, the Lauten Audio LS-208 weighs 1.05 pounds, and 1.3 or 1.75 pounds with either the hard mount or shock mount attached , so it’s not an undue weight burden on a decent mic stand. While somewhat smaller in both length and diameter, and significantly lighter in overall weight, the look of the LS-208 reminds me a bit of a legendary large diaphragm dynamic mic that’s long been a broadcast staple, but internally the LS-208 is significantly different. For starters, this is a true pressure gradient condenser mic that uses a 1” center-terminated capsule. You’ll need a 48V phantom power source (from an external power supply, mixing console or audio interface) to run it. The LS-208 uses a JFET transistor and a transformer-balanced output circuit design. The output impedance is >150 ohms. Just below the head basket assembly are two switches, each of which has three positions. One is a high-pass filter with off, 50Hz and 120Hz settings. While high-pass filters are not uncommon on condenser mics, ones with two different rolloff settings are a bit less common. What’s even less common is the low-pass filter - something that is Lauten Audio has become rather well-known for. In this case, you get both 8kHz and 10kHz options, which let you roll off some of the top end and take the edge off of overly bright sound sources. The rated 20Hz - 20kHz frequency response is of course dependent on how you have those two switches set. When both are in their off or bypassed positions the LS-208 has a wide frequency response range that is generally quite flat overall, with a very small bump near 60Hz, and a couple of slightly more pronounced presence peaks in the 7kHz and 12.5kHz regions. Dynamic range is equally impressive - the LS-208 boasts 120dB dynamic range, and relatively low self-noise (<15dB A-weighted) too, so whether you’re recording a very loud sound source or one that is soft one minute and loud the next, the LS-208 is ready to handle the task. The Lauten Audio LS-208 has very impressive high SPL handling capabilities - you don’t need a pad with this mic, even when hitting it with upwards of 135dB SPL! Close-miked drums, guitar and bass amps, screaming vocalists - the LS-208 can handle all of them without flinching. Being an end-address design, there’s really no “front side”, but a raised red and silver Lauten logo badge is mounted on the side of the microphone, and the manufacturer’s name and the mic’s model number are engraved in white lettering above and below the badge, respectively. Two different stand mounts are included a hard mount, and a yoke-style shock mount. The hard mount can be adjusted over 180 degrees, and has a somewhat long lever for locking it down that’s really effective - I prefer that over the smaller knobs that are found on many stand mounts. The shock mount is fairly small as such things go, which is a big plus when you’re trying to place the mic in tight quarters. Even on a kick drum with a modest-sized hole in the front head, I was able to insert the mic as far as I wanted to, even while using the shock mount. The mount itself is 4.5” wide at its widest point, which is at the adjustment knobs on the yoke. Regardless of which one of the two stand mounts you use, they both attach to the mic in the same way - with a threaded nut on the mount that attaches to threads on the mic that surround the XLR output jack. The front head grille of the LS-208 is a bit different than a lot of other condenser mics. There’s a domed outer grille and a second, finer-meshed domed grille about a half inch behind that, followed by the capsule. Then behind the capsule is an open area that’s about an inch long, then the main body of the mic. Looking at the mic from the side, you can see that a large part of the area covered by the grille sits behind the capsule, and is basically empty space. The dual mesh grilles do a reasonably good job of keeping plosives and breath noises down, although for critical recordings, I’d still recommend using an external pop filter or a foam windscreen just to be on the safe side. Speaking of which, a nice form-fitting foam windscreen is included with the mic. Also included is a very nice hard foam-lined camera style carrying case with cutout areas for the mic and all of the accessories. Limitations The engraved labels for the high and low-pass switches are painted the same color as the mic body, making them a bit difficult to see in low-light conditions. It would be nice if they had white labels (like the brand and model name near the Lauten badge) to make them easier to see. Conclusions Since Lauten Audio is advertising the LS-208 as a mic that is well-suited for use for broadcast, voiceover work and podcasts, I tested it out on some spoken word recordings, and found it to be a more articulate sounding alternative to the old broadcast mic standard. While the mic is generally flat at six inches to a foot from the sound source, up close (3” or closer) it has a really attractive proximity boost in the low frequencies that can add weight and impact to spoken vocals - instant “announcer” voice! It also works equally well for sung vocals too. The cardioid polar pattern is very effective, and it is a bit “tighter” than what I was expecting, which helps out in multi-mic situations where you have more than one person speaking or need to keep the off-axis room sound of a less than acoustically ideal room in check. But this isn’t just a seriously good voiceover or vocal mic - and it is that - it also excels on instruments, especially high-SPL sound sources that might leave lesser mics begging for mercy. The tight polar pattern comes into play here too - the LS-208 is a really good option for when you have multiple players working together in one room, and helps to keep bleed under control. The rugged build quality suggests it would be equally appropriate for live use, where its excellent off-axis rejection would help to keep feedback at bay. The flexibility that the dual filters provides is undeniable. It really does allow you to tailor not only the low end (as you can commonly do with many other condenser mics that are equipped with high pass filters) but also lets you tame the high frequencies too, which can be very useful on a variety of otherwise overly-bright sound sources. It’s great to be able to tailor the mic to the sound source instead of having to reach for a different mic right away, and Lauten Audio is to be commended for including this rarely-seen feature on the LS-208. Whether you’re doing radio broadcasts, interviews for podcasts, going out on tour and expanding your live mic collection, tracking drums, guitars and horns, or laying down lead vocal tracks, you really should check out one of these surprisingly affordable, impressively versatile and cool sounding mics. -HC- Want to discuss the Lauten Audio LS-208 Large Diaphragm Condenser Microphone or have questions or comments about this review? Then head over to this thread in the Studio Trenches forum right here on Harmony Central and join the discussion! Resources Lauten Audio LS-208 Large Diaphragm Condenser Microphone ($899.00 MSRP, $599.00 "street") Lauten Audio’s product web page https://www.lautenaudio.com/ls-208 You can purchase the Lauten Audio LS-208 Large Diaphragm Condenser Microphone from: Sweetwater Vintage King Zen Pro Audio _________________________________________________________________ Phil O'Keefe is a multi-instrumentalist, recording engineer / producer and the Senior Editor of Harmony Central. He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. He is a former featured monthly columnist for EQ magazine, and his articles and product reviews have also appeared in Keyboard, Electronic Musician and Guitar Player magazines.
  15. I haven't tried one yet myself, but Gibson is using walnut for the back, sides, bridge and fingerboard on the relatively-recently released G-45 Studio. https://www.gibson.com/Guitar/ACCA5D830/G-45-Studio
  16. THAT'S the way I like it! I approved two new members who are semi-questionable, so some spam may still get through, but I'm watching them. Since we changed to requiring approval before posting I've zapped over 75 registration attempts of monikers who didn't pass muster, and the vast majority of them were coming in from India, with a few from Pakistan and a couple from Korea and China... but overwhelmingly from India, and many of those were using smartphones, and not laptops / desktops, which I thought was rather curious.
  17. Hey wake up! How's the spam today?
  18. FYI, we went to requiring manual approval for all new forum members. It will prevent legit people from posting right away (which is definitely a bummer) but it should hopefully catch the bulk of the spammers before they can ever post. If your IP address is from India, Pakistan, North Korea, Indonesia, China or Russia, and your email or user name look at all sketchy, you're not getting approved. Fair warning.
  19. Looks like they're releasing a whole new series called the American Ultra series that's generally based on the classic models we all know and love. Noiseless pickups, slightly modified body contours, 22 (21 on the Jazzmaster) medium jumbo frets on a 10"-14" compound radius, "modern D" profile neck, S-1 switches, etc. In the $1,900.00 - $2,200.00 price range. https://www.fender.com/pages/american-ultra-guitars
  20. Very cool! Is he interested in learning an instrument himself?
  21. I still don’t see a charge pump, so it is almost certainly std. TB wiring, which means it’s positive ground - you’ll need a separate power supply for it. You won’t be able to daisy chain it.
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