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Posts posted by onelife

  1. 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?

  2. 1 minute ago, Red Ant said:

    They really are, given judicious amounts of editing to fit whatever piece of music one is working on. But to be honest, I feel with some of the new VSTi kits and good programming, you can achieve similar results. That being said, I'll take a good drummer over programming EVERY time. 

    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.

  3. 8 minutes ago, Red Ant said:

    Well, this one ended up released as a single with my "placeholder" drum track still on it... complete with my little "Bonham kck drum triplets" :lol: The plan was to have Glenn Sobel play the drums, but he was out with Alice Cooper, and when we sent him the track to learn, to "re-play", his one-word reply was "why?" :D

    https://www.dropbox.com/s/ydvlolyumg238jr/Over You Final Master.mp3?dl=0

    One of my "tricks", if you want to call them that, is to quantize ONLY the hits that fall on each 1/4 note, and free-hand the rest, including velocities. I've done so much drum programming that I've gotten really fast with "adjusting single notes manually", but its still fairly labor intensive. Not only that, the real "trick" with programming is to think like a drummer


    LOL, I didn't see your post until after I posted mine.

    • Like 1
  4. 26 minutes ago, Red Ant said:

    Since I started working in my current format (DAW/Addictive drums) some 8 years ago, I've yet to have a drummer guess that there is no live drummer on my tracks. But I am also obsessive about "human feel" on my programmed drums :lol:

    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.

    • Like 1
  5. On 9/6/2019 at 8:27 AM, gp2112 said:


    The problem with music is it is so much like math and I have always had difficulties grasping math in the manner in which it is taught. I have always had to do "Stupid Math" work-arounds to get where I need to be. It worked very well for me as a medic and having to do drug dosage problems. 

    Perhaps I need to develop work-arounds for being able to grasp guitar playing too.

    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.



    • Like 1
  6. it sounds to me like a tube issue - tubes can become microphonic and, in cases of extreme gain, sometime cause acoustic feedback within the amp itself

    your best bet would be to replace all of the tubes and, if that doesn't solve the problem, take it to an experienced tube amp repair person

  7. I played through a Subway Blues for a while and, although I really liked the sound of it (and FOH loved it - especially on the half power setting of ten watts), it ate EL84s (cooked of course) and started making sounds that had nothing to do with my guitar. The PCB is very similar to the Studio 22 with the tube sockets mounted right on the board.

    The Fender Hot Rod Deluxe, which I often see in my shop, has the tube sockets mounted on separate smaller PCBs connected to the board with ribbon cables.


  8. 2 hours ago, Red Ant said:

    I've been trying to get the clav intro to this for what has too be 20 years... and i STILL don't have it quite right :angry07: Max Middleton is a tricky mofo!!!


    In the mid '70s I was enamoured by that album ("Wired") and George Benson's "Weekend In L.A." - then I met Ed Bickert.

    I'm still trying to get a handle on what I learned from those experiences.

    I'm in three bands right now so I'm learning a bunch of covers and a few originals in an effort to earn a living as a guitarist.

    I'm also working on learning to use the new Allen and Heath SQ6 after spending last year with the Midas M32.




    • Like 1
  9. 6 hours ago, kwakatak said:

    Jeez. I should be better, then. I've been playing since I was knee high to a June bug. I didn't get good until there was some good old fashioned positive reinforcement. I guess I didn't know I was any good until I made a college coed cry and she showed me things that made me feel all tingly. I owe it all to Eric Clapton! ;)

    It's different when you are the one playing.

    The player is trying to reach level 10 but only gets to 8.5. The player dwells on the 1.5 space between 8.5 and 10 while the audience, sitting at level 0, only sees the 8.5 and are wowed by it.

    A couple of weeks ago my bands played on opening night at our local music festival. We were well prepared and I was reasonably happy with the ways things went but I didn't think it was anything special. Later in the evening, there was a very good guitar band from the other side of the country onstage and after their set I complimented one of the guitar players. He surprised me by saying "coming from you, that means a lot." I was surprised because I thought they were way better than we were. It was only the next day when some of my friends told me how much they enjoyed the stellar performances of my bands the night before that I realized what we had accomplished - because, again, I had been dwelling on the bits that we missed.


    Clapton was a big influence on me too. One very significant part of that was when he said "why listen to me when you can listen to BB King?" so I went out and bought some BB King records. I didn't know who BB King was at the time but listening to those records changed my life and made me the guitar player that I am today.

  10. 7 minutes ago, DeepEnd said:

    Since I also mentioned that acoustics should have a domed top I'm going to chime in. Freeman can always speak for himself. What you're describing with "the bridge being pulled up" (or at least what I think you're describing) is called "belly bulge." It's usually accompanied by a tilted bridge. If you look at the bridge from the side edge it should be level with the top of the guitar and the top of the dome should be pretty much under the bridge. On a guitar with "belly bulge," the bridge will be sitting at an angle on the "slope" of the dome and the top of the dome will be on the side of the bridge away from the neck.

    Incidentally, a goodly number of guitars made today are designed for "light" (12-53 or so) strings, especially relatively inexpensive ones. Going up to 13's places extra stress on the guitar.

    thanks for that - i see what you mean about the tilt

    yeah, the string gauge thing - it's always been an issue for me   13-56 sounds so much better but does put a lot of strain on the structure - sometimes i'll tune down a full step or even a step and a half and use a capo just so i can use the bigger strings

    my 'cheap' Yamaha F-310 handles 13-56  well and sounds fantastic for such an inexpensive guitar

  11. On 8/22/2019 at 4:58 PM, Freeman Keller said:

    Kenny, I just wrote a rather long article on how to do basic setups over at another forum.   It would be worth your while to read thru it



    Thanks for that Freeman.

    I actually have a Yamaha CPX900 from the local high school that I'm cleaning up and re-stringing for the next semester coming up. I strung it with 13-56 (which I use on my acoustics) and am having the same issues.

    I just picked up a second hand Epiphone DR90 (low end made in china) to have for my students who don't bring their own guitars. It has the same issue with 13-56 but it sounds much better with the heavier strings.

    I will make use of your setup tips.

    One question though... you mention that acoustics should have a "dome top." How do you determine whether it is the proper dome or a problem with the bridge being pulled up?

  12. I've been playing the guitar for a very long time. People tell me I make it look easy and it actually is easy at this point - it just tok me a long time to figure that out.

    My Yoga teacher is the same age as me and has been doing Yoga for approximately the same length of time that I have been playing the guitar. She makes it look easy and is able to do the poses with the minimum effort required - for her it is easy.

    A forty hour work week is about 2,000 hours so it would take five years to reach 10,000 hours - ten years if you only practiced four hours a day - twenty years at two hours a day etc. I got serious about the guitar fifty years ago and I practiced a lot more than two hours a day.

    When I look back on it I agree with the 10,000 hours theory, although the actual number would be different for each individual and I also agree with the OP that looking ahead to climbing the mountain that is 10,000 hours might influence someone to give up.

    • Thanks 1
  13. When you adjust the bias are you actually measuring current flow or are you determining current flow by measuring the voltage drop across a given resistance? Do you measure each tube individually or is their just one adjustment for the quartet?

    Your amp definitely looks like it was modified or experienced a makeshift repair so it is difficult to diagnose without being in the same room and getting an up close look.

  14. On 8/13/2019 at 9:52 AM, daddymack said:


    Used Quilter Aviators are probably your best SS amp bang for your buck. The heads sell used under $400[uS], have an awesome clean, and a very usable b channel for distortion/OD; but you want clean, and the Quilter clean is squeaky clean. It is a 100W per channel SS amp, so there is adequate volume for gigging, so as long as you have a cab that will take that kind of power, or even if you need to get one, this is a very solid option. As a long time [50years] tube amp guy, [although I do have some SS amps for Bass, and one old Harmony I inherited], on the recommendation of a good friend and former forumite, I took the leap on a used Aviator, modded an existing cab, and it is now my home practice rig, although I have gigged with it once.


    The other great option mentioned here is the Roland Jazz Chorus amps...legendary cleans.


    The Peavey Nashville 400, and the Nashville 1000, were designed for pedal steel, and intended to stay clean all the way out, so it is also an option...they do make a 1x12 version which is much lighter, with lower wattage, btw...but does tend to get 'gain-y' as the volume increases.


    Another option I'm seeing being used lately is the 'pedalboard amp'...there are a number of these...class D 30 to 200watt amps that are light, and will drive a cab, or have an inboard DI to go to the PA board. I have not tried any of these yet, but I would certainly check it out given the OP's query.


    Someone else suggested using a powered cabinet, which is also a good option if most of your sound is coming from the pedalboard. A powered PA cab like a Mackie Thump 15 [1kw] or a 12A [1.3kw] are good inexpensive powered cabs with no 'coloration'. 12A cabs used go in the 225-300 range, 15s will go 325-400.

    I too have been a tube guy for 50 years. I hauled around 100lbs of Twin Reverb/EVM12L for 15 of those years because nothing else would do it for me. I also paid for the amp a second time replacing tubes during those years. 

    I used a Mesa Boogie Subway Blues for a while. A great sounding tube amp that devoured EL84s which went down spitting and hissing and generally disrupting the show. The very thing that makes tube amps great is also their weakness.

    The first solid state amp that really worked for me was and early digital amp, the Yamaha DG80. I still have it and it's still the best amp I've ever had. Twenty years of regular use with the DG80 and not a single stitch of maintenance required.

    Last year I sold the last of my tube amps and my arsenal now consists of the DG80, a Fender Mustang IV and a Boss Katana-50. I like the consistency in sound and overall operation of the modern amps compared to the effects of the slow deterioration of the sound that happens with tube amps. I recall one incident with my Twin where I was playing a six night gig in the same room. After three nights I replaced all the tubes in the amp and, with everything else being the same, the change was so drastic it felt like my guitar strings were made out of different material.

  15. I would suggest that, before you decide, take a look at the Boss Katana series - they come in 50 and 100 Watt versions and, IMO, are the best bang for the buck amplifiers that I have tried.

    I like the Katana-50 for its portability (vastly different from a Twin) and, last week I played one outside without going through the PA. It was loud enough and the cleans remained clean even when turned way up.





  16. On 8/24/2019 at 6:57 AM, moogerfooger said:

    Engineers have so many choices in post theses days that they spend less time on the input side and employ the fix it in the mix method.  Thinking you can make a silk purse out of a sows ear leads to more sows ears and less silk purses 

    I was reading a bit where Geoff Emerick talked about bouncing on a four track. It's a destructive process so they had to 'commit' to mixes earlier the project than we do now. He also pointed out that if they came up with a good idea that didn't quite fit the bounced mix, they couldn't use it.

    In the mid '90s I was working in a ProTools studio and taking advantage of the new to me editing power of the program (I became particularly fond of the Undo feature). I was asked to create a soundtrack for a short animation project but was only given an hour to to it The animator gave me a time line with descriptions like "frenzied" and "quieter." I quickly played and recorded the bits and put it together within the time frame and it turned out really well for the client.

    I thought about how I would have been overly critical of my playing and, had I been given eight hours to do the project I probably would have made more use of the technology and possibly ruined the freshness of my original tracks.

  17. 2 minutes ago, Red Ant said:

    I've got an autographed copy... I used to work for Loud, Inc. which had Ampeg as one of its brands, and part of my gig was doing Ampeg clinics with varuous people, Vic being one of them. I've spent many, many hours on drives talking music with Vic, and more than a few hours jamming, sometimes in the course of the clinics. Was a great experience, and Vic is a sweetheart of a person... though his mysticism does absolutely nothing for me ;)

    I've never met the man but from what I know of him I have a great deal of respect. I got the book after hearing an interview with him on the radio.

    I really like the premise behind his Bass and Nature Camp which he talked about in both the interview and the book.


    As for the song, I've articulated some of my ideas about 'mysticism' on this forum so you may understand why I posted it. I would love to have the chance to discuss it with Victor. You were fortunate to have the opportunity.

  18. 9 hours ago, Red Ant said:

    I think its absolutely essential - vital, even - to practice with a click. So that you don't need one to record :lol:

    And in my experience, if you want to "learn time" its equally essential to keep the click on 2 and 4, only.

    There is a great YouTube video by Victor Wooten about playing with a metronome.  He states that the objective is to ween one's self from it.

    It's a bit of a plug for Korg but here it is...


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