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onelife

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onelife last won the day on April 27

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About onelife

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    haida gwaii

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  1. An easy way to remember which way to turn the screw is "always compensate for the fretted note." In other words, if the fretted note at the 12th fret is sharp compared to the harmonic, make the string longer - if the fretted note is flat then make the string shorter. I also suggest releasing the tension on the string before turning the screw. In the case of a three saddle telecaster bridge, release the tension on both of the strings that use that saddle - it takes a bit longer to do it that way but it avoids damage to the mechanism.
  2. It certainly was. Reading the circuit description about how the tone controls worked was what inspired me to go to electronics school.
  3. my dad had an old May Bell archtop acoustic that I started playing when I was a wee lad... he had records by Les Paul, Chet Atkins and a host of acoustic players that I tried to emulate we watched The Beatles on The Ed Sullivan Show and I remember him making a comment about the Gretsch guitar - after that I wanted to play electric so i got one of these and my dad helped me build a Heathkit 25 Watt solid state amp...
  4. onelife

    Amp question

    just to add a bit to my above post... The DG series included the DG1000 which is just the preamp section with a balanced line out in a rack mount. The amplifiers also have a balanced line out with its own level control and a separate level control for the power amp. With the exception of the DG60 (economy version) the series has eight different amp types and 128 memory locations that can be called up via MIDI. I use the Yamaha MF-10 MIDI Foot Controller with mine and set it up to recall patches and to independently turn whatever effects are saved in the patch on or off.
  5. onelife

    Amp question

    Back in 1999 I discovered Line6 AmpFarm in a recording studio. Bythat time, I had been lugging 100lbs of Twin Reverb/EVM12L around for fifteen years. The Twin setting in AmpFarm was surprisingly realistic and the 'look alike' Fender knobs behaved in a way that was similar to the real thing. I began to think about going digital so, after reading about the Line6 Flextone, I decided to rent one and try it out. I was playing around with the different settings when my wife came in and, in no uncertain terms, said "that sounds like a synthesizer, you're not selling your Twin." A couple of weeks later I went to an afternoon jam at the local pub. There were three guitarists playing and one of them was the regional Yamaha rep who is an excellent guitarist. His sound was phenomenal and really stood out over the other players who were both using 4x12 tube amp combos. When they took a break, I asked what he was playing through and he immediately took me up on stage to show me the new Yamaha DG80-1x12 he was using. I was impressed. On my next trip to the music store I tried the DG100-2x12 (which weighed about as much as a Twin Reverb) but was a bit disappointed after hearing my friend play through his amp. I called him up and he told me that the Yamaha presets were designed to show off what the amp could do as a selling point and that he had come up with a set of presets for the working guitarist and that Yamaha had put them online for download. I rented a DG80-1x12, took it home and loaded his patches and began running through them. I understood what he meant with his 'working guitarist' comment but what sealed the deal was when my wife came in and said "now that sounds like you." To this day, the Yamaha DG80 is still the best amplifier I have ever had and for twenty years it has been 100% reliable and has required zero maintenance. To make a long story short, my advice would be to get together with someone who knows the amplifier you are interested in and knows how to get the sounds out of it. Spend some time with it yourself - do some recording with it so you cal listen to it objectively while you are not playing.
  6. I looked at the schematic. The negative grid bias to the power tubes is supplied from a separate tap of the power transformer. You can help isolate the problem by using the Pre Amp Out and Power Amp In jacks. Try plugging a guitar into the Power Amp In jack (you may need to boost the signal with an effects pedal that has some gain) and see if you get the same type of distortion. You can also take the Pre Amp Out and run it into another amp (be careful, the signal may be quite high) or take a look at it with your oscilloscope.
  7. I also suggest looking at (and listening to) the Boss Katana. I bought the inexpensive 50 Watt model for practice and portability but now I use it for almost everything. It has several amplifier 'types' including one for acoustic and the settings can be dialed in then stored in multiple memory locations for easy recall when you switch guitars.
  8. Based on the symptoms you describe, the first place I would look would be the grid bias on the output tubes. The grid bias may have its own power supply or it may be achieved by means of resistors from cathode to ground. What make and model is the amp and what does it use for power tubes?
  9. I sometimes compare playing music with surfing - the difference being that the musicians create the wave as well as ride on it. A live drummer will ride and react to the wave along with the rest of the band whereas the drum machine will do its thing without listening.
  10. LOL, I didn't see your post until after I posted mine.
  11. My brother is an accomplished drummer - when he had knee surgery on his kick drum leg he was able to use the RX11 and his healthy limbs to shorten his down time. I believe the reason he was able to effectively program and use a drum machine is because he thinks like a drummer.
  12. I've had a few hardware units over the years - including Yamaha RX11 and Roland TR-707 I currently have several apps for iPad (mostly just for fun) but the ones I use regularly are DrumJam, iTablaPro and FunkBox I use them mainly for recording ideas - somewhat more inspirational than a basic click track
  13. I first heard Larry Carlton in the early '70s with The Crusaders. I had been playing the electric guitar for several years and it was mostly heavy blues like Cream, Hendrix and Zeppelin. I was also listening to Randy Bachman, who was a student of the great Lenney Breau. Bachman was bringing elements of jazz into songs by the rock bands The Guess Who and Bachman Turner Overdrive. I liked the sounds of some of the chords and the way Bachman's Leads 'fit' over those chords. When I heard Carlton, I thought "that guy knows everything about the guitar but he just closes his eyes and plays." That was my inspiration for learning the 'math.' I had taken a music history/theory class in high school and was also learning to play piano. I began to apply the theory to the guitar and because I had difficulty copying guitar solos off the records I started making up my own solos that 'fit' based on the bits of theory that I had learned. I was into Guitar Player Magazine (when it was about playing the guitar) and reading columns by Tommy Tedesco, Howard Roberts and Larry Coryell. My dad, who played guitar, was intrigued and amused by what Tommy Tedesco was writing and one day he came home with Tedesco's book "For Guitar Players Only." "For Guitar Players Only" is a great book (I highly recommend it) full of stories about his studio days and very practical ways to learn the guitar and read music. One thing that really helped me, and I pass this on to all of my students, was his approach to learning the fingerboard. Pick one note and play it everywhere you can find it on every string. The open strings and the 12th fret are easy ones to find. Most rock guitarists know the names of the notes on the sixth and fifth strings so there are already reference points. The note D, for example, is always two frets lower than the note E. Once you find a note, the next time you look for it it will still be in the same place. Do that for all twelve notes, rinse and repeat several times and you'll be well on your way. As you learn more notes they become reference points for other notes. For example, B is always one fret lower than C and two frets higher than A. Something I picked up from watching Kieth Richards was playing simple triads on the second, third and forth strings. Take the open A chord, for example, and just pluck the afore mentioned three strings. The root note is on the third string. The note E on the third string is on the 9th fret. Putting you finger on the three strings at the 9th fret gives you an E Major chord. If you play a C Major 'cowboy chord' the root note is on the second string. If you only play the second, third and fourth strings it is a simple grip and can be moved up and down the neck. The note A on the second string is on the 10th fret. If you play the F Major cowboy chord and only focus on the three strings the root note will be on the fourth string. The note B on the fourth string is on the 9th fret. Putting this all together you can easily play E, A, and B triads with a minimal amount of movement. These grips are easy to move up and down the fingerboard (transpose) and they also give you an opportunity to expand the comfortable pentatonic scale by showing you where the 'in between' notes are and how to target notes, when you are playing lead, that are in the chords as the chords are changing. After learning these and other similar concepts I began to get closer to my goal of just closing my eyes and playing the guitar. As Anton mentioned earlier " the beauty of music and math resides in two concepts - symmetry and elegance." It is my belief that learning the names of the notes on the guitar using the Tommy Tedesco method, and learning the simple Kieth Richards style triads can give the player a bigger vocabulary and help answer gp2112's query "When I would watch another do a lead riff I would wonder how they could go from one part of the fretboard to the other and make it sound so natural." Symmetry and Elegance.
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