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Posts posted by onelife


    I'm with E-Money that the average listener doesn't notice. In the pantheon of "this song sounds too much like the last one", the key of the song is probably the last thing the average listener will connect on. I would also say it matters less if you have any time gap between songs. If you're stopping for even 5-10 seconds? I seriously doubt the key of the song will matter at all.


    My band does a lot of medleys where we cram bits and pieces of a bunch of songs together with similar tempos. On the opposite end of that spectrum, I used to believe it was important to have the songs be in the same key or at least be in keys relative to each other so that the transitions between songs would be as smooth as possible. Or maybe modulate up a key to add extra excitement to the medley.


    But I found out that it really doesn't matter. At least not in the manner that we play things and the audiences we play for. No doubt type of material and audience you are playing for are factors as well.


    On one occasion my improvising free form trio opened up for a ten piece show band. The thing I noticed about the show band was how tightly scripted everything was - especially in contrast to the opening act. What really stood out was the transitions between the songs - some of which bordered on brilliance.

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  2. Still made, but they are like a grand.




    These are not, but you can find one for like 4-5 hundred.




    I did a lot of recording - including bass - with a silverface Fender Champ. I cooked the original speaker and found an old Jensen 8" alnico radio speaker that just happened to be 3.6 Ohms and it sounded great for many years.






    There's nothing quite like playing a "tenor sax" solo on a Korg M-1, then having an actor with a saxello (curved soprano sax) mime being blind and mime one's playing in the music video :lol:





    Nice solo - the piano sounds like it could have been from the M1 also.

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  4. Reminds me of a keyboard part I played in a song my band did. I was using a tenor sax sample but I played it totally legato with no rests. When I listened back to the recording I realized that there's no way a sax player could play 16 bars straight without taking a breath.


    I remember hearing a cut from Steve Winwood's Arc of a Diver solo album in a mall somewhere. The music was off in the distance and I really believed I was hearing a saxophone.


    When I listen to it up close it sounds more like a Mini Moog...



    The phrasing and the choice of notes - especially the bit that starts around 3:26 - had a more profound impact than the actual sound of the waveform.






    I wasn't giving you sh*t, I was just remembering how much I loathed the 80s while they were happening :lol:


    And that isn't really true either, I just hated what was on MTV and Radio. There's lots of 80s music that I loved, some of which I still love- its just almost none of it was popular. And 80s production always turned my stomach, and still does... even the music I love from that era is hard for me to listen to, cause it sounds so awful. Bob Clearmountain has a lot to answer for :lol:


    I was in the house band at a cabaret on the east cost for a few years in the '80s. We would play seven nights a week from Mundane night through Sunday and the feature bands played Wed or Thurs through Saturday with us doing the early sets.


    Most of the feature bands that would come in had Van Halen wannabe guitarists with pointy superstrat style guitars. I was a bit to old to get on the EVH bandwagon and the watered down versions put me off of that style. One night I was watching SNL when Eddie's wife was the host and he made a surprise appearance and played with the band. My though at the time was "oh, that's what it's supposed to sound like."


    The cabaret stage was quite large and about six feet above the floor. During the breaks two huge video screens would come down in front of the stage and they would play MTV videos with really shrill early digital sounds. The beer was stored under the stage so, as the evening wore on and the beer was moved out the sound and feel of the place would change.


    We were usually invited backstage by the feature bands and encouraged to share in the treats provided in their rider. There were times when the lyrics of a particular Blind Faith song would come to whatever mind I had left at 3am.


    That would be nice to know. How do you wire it?


    The common way to do it is to connect the unused tab on the switch to the one beside it. That way the tone pot for the middle pickup also works with the bridge.


    In the diagram below connect the unused tab of the switch to the adjacent tab that goes to the tone control...





    I wire my stratss differently with a four pole five position 'superswitch' so that one tone control works on the two outside positions of the switch (bridge pickup only and neck pickup only) and the other works on the three inside positions of the switch.


    The superswitch also gives me the possibility of using different pickup combinations - sometimes I wire it so the middle position of the switch gives me the bridge and neck combination or all three pickups at once.

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    With you on that - those two positions are the iconic strat sound that you can't get from other configurations. Honestly, I find that I'm either using bridge-only HB, neck-only HB, or one of those two in single-coil. I rarely ever use a single-coil by itself, nor do I use mixed HBs. JMO, YMMV, etc.


    PRS Custom 24 gets a pretty good "iconic strat sound" and you can play a rather convincing version of "Sultans of Swing" on a three pickup Les Paul Custom.


    I must say I was knocked out when Paul successfully combined the Les Paul and the Stratocaster with his Custom 24. It was an idea I had back in the mid '70s but I could never get it to work properly.

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  8. I tried to watch the interview with the new CEO that someone posted - got thru about ten minutes of it and decided I had more important things to do. Same thing with all the new collections - I'll check back in a year or so.


    But I guess the question in my mind is do all these new guitars and "collections" replace the dozens and dozens of previous models or just add more to the confusion?


    When I started playing there were two models of Les Pauls and the Deluxe was available in two colors.


    There was one model of Stratocaster with the options of fingerboard wood, hardtail and several different colors.


    Now there are Les Pauls and Stratocasters available at every conceivable price point.

  9. Dunno if this is before your time but back in the day I had a dummy config.sys and autoexec.bat for if I had to take my PC to the shop or call Tech Support. I'd boot up with the dummy files and if the problem persisted it was time to have a tech troubleshoot it. There were too many lazy techs who would take one look at a complicated startup file and say, "There's your problem," so I made them work for my money.


    No, it's not before my time. When I started out doing PC repair the Compaq DeskPro 386/25 was the fastest personal computer and RAM was $100/Mb.


    I went as far as becoming a Novell Certified CNE just in time for Microsoft Networking to take over and got out of the industry at the turn of the century. I got away from PCs because recording music often became about the computer. Once I switched over to Mac, I didn't have to think about the computer so it became just about the music.


    I really have no idea how to configure the Android OS but I expect that I will learn as I work my way through this problem.

  10. Forgot the obvious. Can you attribute the broken connection to the update?


    I know there was an update shortly before I noticed the problem but I can't be sure of the exact timeline.


    That being said, in my IT career the first question I would ask when troubleshooting was "what, if anything, has changed?"



    Unfortunately I don't live in a place where I can easily swap things out. I've swapped USB cables and tested them in different settings but I don't have another Katana or OTG to USB adaptor.


    I'll try and see if I can borrow somebody's phone which is what the app developer suggests - although that might not be conclusive if it has the same OS upgrade.






    My neck hurts just looking at this thing.



    In that case, don't look. Just go play some more piano. :)



    But seriously, it's a really nice guitar - I used it for a few weeks while my guitar was in the shop and wanted to buy it. It wasn't for sale at the time but he did eventually sell it to someone else.

  12. Having started out as a working guitarist in the early '70s, I've been a tube amp guy for a long time.


    I used to carry around 100lbs of Twin Reverb/EVM12 just to get that "heavy" sound. On one occasion, my Twin got really distorted in the middle of a song then shut itself off with a little puff of smoke coming out of one of the Input jacks. The band took a quick break as I slid the chassis partially out of the back of the cabinet. I noticed one of the power tube screen resistors was blown to pieces so I removed and discarded the associated tube. I also removed one of the power tubes from the other side of the push-pull circuit, replaced the fuse, slid the chassis back into the box, fired up the amp and finished the show.


    About twenty years ago I replaced the Twin with a Yamaha DG80 modelling amplifier which has never required any maintenance during the two decades I have been gigging with it. Recently I replaced the last of my tube amps, the 'small' one, with a Boss Katana-50. The Katana is a wonderful sounding 50 Watt amp which is also versatile and very portable.


    I used to use a Boss Blues Driver as an additional 'gain stage' with my Princeton Reverb and, since the Katana has built in Boss effects with the Blues Driver available from the panel, I didn't feel the need to explore the Boss Tone Studio software to "get the most out of the Katana." My MacBook is too old to run the Boss software but it was no big deal.


    There is now a third party Android app that can be used to get all the features of the Katana so I decided to give it a try. It opened up a whole new world of sounds with many additional parameters that are not available or controllable from the panel. I got into it and managed to find and create some very useful patches.


    One day, seemingly out of the blue, the amp stopped communicating with the phone. I went online to try and get some troubleshooting ideas and to see if it was a known issue. The only response I got from Roland was that they don't support third party apps. I pressed the issue with Roland and they told me they have not had problems with the USB port and if I took the amp apart to examine the port I would void the warranty. I have been working with the app developer and the phone manufacturer to try to find the source of and the fix for the problem.


    I find this a bit alarming because reliability is a big issue for me. The Yamaha digital amp has been a fine example of Yamaha's renowned reliability but this sudden, as yet unidentifiable issue with the Boss amp is a bit disconcerting.


    The obvious solution is to carry a spare which, in this day of portable low priced good sounding amps is not such a big deal.


    It seems that the day of field repairable equipment is over and, with hourly bench rates becoming higher, equipment is now "disposable" like BIC lighters.


    If you’re hearing less crispness in vocals, then you probably lost more than “50Hz.” I’d recommend you get your hearing checked by a doctor or audiologist.


    I had my hearing a few years ago and the result was "a classic case of noise induced hearing loss" which is a dip in the curve at 4kHz. The audiologist explained that, as the curve lowered with natural aging, the 4kHz will dip below the threshold of hearing before the rest does.


    When I'm mixing or mastering I have to be careful I don't bring the hi-hat up too much so I always get another set of younger ears to check my work.

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    Yes. I have a Japanese-built Westone (Pantera?) from the early 80s that I bought new, sold, then bought back a year later. Through-neck, HSH pickups, pull-pots to select about any configuration, and plays incredibly smoothly. I did a LOT of performing and recording with that guitar over the years, and it's going out with me tonight to a club gig. It's the one that almost got away.


    When I bought it, it was a hideous metal-flake blue burst - it looked exactly like this:


    [ATTACH=JSON]{"alt":"Click image for larger version Name:\telectra-westone-electric-guitar-1_2432016231347735565.jpg Views:\t1 Size:\t61.1 KB ID:\t32511624","data-align":"none","data-attachmentid":"32511624","data-size":"full"}[/ATTACH]


    Now, it is a hideous yellow-green neon finish that was really trendy in the late 80s. C'est la vie.


    A friend of mine showed up at my house in the late '70s with one of these...


    [ATTACH=JSON]{"alt":"Click image for larger version Name:\t5bab4faf753977c2965af317b9e6a92b.jpg Views:\t1 Size:\t156.5 KB ID:\t32511632","data-align":"none","data-attachmentid":"32511632","data-size":"full","title":"5bab4faf753977c2965af317b9e6a92b.jpg"}[/ATTACH]


    That's when I realized the outstanding quality of Japanese guitars. I came to the conclusion that guitar manufacturers were only building them as good as they had to.


    Since Jimi first played in London, CBS/Fender could hardly build Stratocasters fast enough to keep up with the demand. Les Pauls had become popular again so they were an easy sell.


    "Made In Japan" used to mean cheap, lesser quality stuff so the Japanese builders had to produce a quality product to be taken seriously.



    When FujiGen started building guitars for Fender I sold my American Stratocaster and bought one of the first JV Squier Series models which I still have today. For several years I played that strat and and an Ibanez 335 style guitar that was probably built by FujiGen too. I worked in a music store in the early '80s and we sold Tokai guitars that were fantastic strats, teles and Les Pauls.




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  15. The one that got away...


    Mine is a bit different. I missed a '73 335 so bad that I found another one, made sure the pots were original and played on (the one in my pic). Instruments are just as easily re-bought as they were sold or traded, but for me, the thing that got away somehow is the treble end of my ears. Somewhere in the last ten years I noticed that crispness in vocals and cymbals etc...it isn't gone but I would say the upper 50hz or so got away from me.


    I hear you (for now).


    For years telephone technology kept getting better. When fibre optic cable was introduced the fidelity over long distance was outstanding.


    Now, after many years of playing through Twin Reverbs, I'm losing the ability to discern consonants at the beginning of words. Unfortunately modern cellphone technology delivers low res mp3 fidelity - which I compare to the old cassette tapes after we rescued the tape from being jammed in the player and wound it back into the cassette - makes it very difficult for me to understand phone conversations.


    Now is the time in my life when I need that pristine sound of a fibre optic landline.


    This isn't what I would call a great instrument. I like the slim neck profile, but its heavy, and the middle pickup is just the cover - the 1st thing I did when I bought this guitar (for $125 about 15 years ago in a Virginia pawn shop) was unwire and remove the middle pickup. Those things are horrible.


    It would be interesting to revisit my old Mansfield/Ibanez after having played so many different guitars since I had that one.


    Also in my youth I missed an opportunity to get a Gibson L5CES for $1,350 - which was a lot of money in 1976 but still... I went to the guy's house and played for about an hour but I was olny earning starving musician wages in those days.

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  17. Reading through the thread I realize many of us have had more than just one that got away.


    Over the years I've had 2 blackface Vibrolux Reverbs, a blackface Tremolux with 2x10 cabinet, a '63 Strat, an old Gibson Les Paul amplifier, a Gibson Howard Roberts Custom, a great sounding Gibson J-40 acoustic and a really nice Ibanez AS-50 (slightly smaller 335 style).


    I also had a late '70s Gibson Les Paul Custom MF (Maple Fingerboard) which I neglected after a show one night. I left it, along with the bass player's Stratocaster that I had borrowed for the week, with one of the other band members to take back to the band house so I could go to a party. When I got back to the band house the next day, I discovered the car with the guitars in it had been broken into and the Les Paul and the Strat stolen.

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