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Posts posted by onelife


    My 1971 "Lawsuit" Ibby LP:





    Back in those days (early 70s) my friends and I would peel the Made In Japan stickers off our copies.


    Now I seek out Japanese guitars - it's one of those "if I knew then what I know now" situations.

    • Like 1
  2. My first electric guitar was a cheap difficult to use model but it was a start. With help from my father I built a Heathkit 25 Watt solid state two channel 2x12 amp. My friend had a Mansfield black Les Paul copy that was much better than my guitar so we teamed up his guitar and my amp and shared the rig.


    I talked my parents into ordering a guitar like my friend's. When my Mansfield arrived it was a goldtop copy and much better than the one my friend had. I played that guitar all though high school and my first year at college - but I wanted a 'real' Gibson.


    I had a summer job while in college and went into the music store where the guy talked me into buying a Gibson SG ii which turned out to be an awful guitar - but I wanted a Gibson and sold the Mansfield. The SG didn't last long and I ended up selling it and buying a Stratocaster.



    "The one that got away" is the Mansfield which I later discovered was a re-branded Ibanez 'lawsuit' model (with a Gibson headsock). It was the guitar that I discovered my musical voice on - similar to the one in this photo.



    • Like 1
  3. I'd get in there with a good light and a small mirror and look for anything loose; binding lifting' date=' structural issues, or even [b']the wire harness vibrating against the wood[/b].


    That's my thought as well - although when I saw buzz and P90 in the OP...

    • Like 1

    Listen to McCartney's voice on some of the mid-period Beatles stuff... often it's very obvious when it's been sped up. Examples? Listen to Penny Lane, or Here, There And Everywhere. And that's what they wanted - they wanted to make things sound like something else, and to change their character and timbre. They were always trying to do that; telling the engineers to "make the piano sound like something else - not like a piano." They used varispeed a LOT...



    I find it interesting that in a lot of pop music acoustic pianos were "treated" but with digital pianos we try to get them to sound as natural as possible. Every time I switch on the delay on a digital piano I want to play the intro to "Sexy Sadie."


    I also think it's interesting how the Moog synthesizer made an appearance on The Beatles' last album (Abbey Road) as if they were ushering in a new era on their way out.


    A lot of early synth stuff sounds dated to me but, like everything else they did, the songs/sounds/context/music still stand up today.



    • Like 1

    I had an 8track cassette deck like that. TASCAM 488


    surprisingly decent quality considering they squeezed 8-tracks out of a cassette.


    I agree that pitch controls were mostly for matching things up. What are you going to do if you want to overdub a piano track and it’s not tuned quite the same as the guitars you already laid down?


    one of the things that tascam did to make that work was to use two four track heads that were slightly staggered so that no adjacent tracks were on the same head


    Sometimes, but not always.


    It never occurred to me that Madonna’s voice had been sped up. I know she sang lower as she got older, but don’t most of us? But in retrospect, yeah it makes sense. I just always thought she sounded a little chirpy. Lol.


    I have a pretty good sense of what I call “trained pitch”. I can string a guitar and tune it to A-440. I can sit s pianon and tell it is tuned high or low. I can sing an “A”.


    But i can’t tell a note or key of song just by listening to it. I’ve just memorized certain sounds over the years.


    My non-musician wife has perfect pitch and what I call a "musical memory."


    If I want to hear Middle C I don't ask her to sing the note by name but to sing the first note of "Hey Jude."

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  7. what are some popular brands of replacement necks for strats? I was considering Mighty Mite or Hosco. What should I look at when selecting a neck for my upcoming Partscaster project?


    I've got a couple of telecasters, one with a Warmoth neck and one with a Mighty Might. The Mighty Might is comparable with a Mexican built Fender and the Warmoth is a premium product and double the price of the Mighty Might.


    I gig with both guitars and don't have any problems with either one. The difference is the Mighty Might is a replacement I put on a Fender Telecaster and the Warmoth is for a partscaster I built with premium parts.


    I highly recommend Warmoth - they have a wide variety of styles to choose from and will build one to your own specs if that's the way you want to go. Check out their website - even if you don't buy from them there is a wealth of information available.

  8. ... One interesting comment from one of these guys is that he wants his intonation set very slightly flat - he says he can sharpen a note when he plays it but he can't flatten it. Must be nice....


    Equal temperament is a compromise to start with then add the slight pull needed to get the strings to touch the frets along with wear on the frets and perfect intonation becomes elusive.


    If one's intonation is going to be off a little in certain places I can understand the desire to be able to "fix" it while playing.

  9. Interesting idea but wouldn't Stratitis cause the strings to go sharp? That's what happened in my case. And why only one string? Why not the adjacent strings like the low E? It's barely possible that one string is sitting unusually high so that it's less affected than the rest but I'm not convinced. Replacing the strings and lowering the pickups won't hurt anything but I doubt it will help much. But given the alternative (replacing the guitar/remounting the neck) I'd love to be proven wrong.


    Agreed, but I see it as a good first step in troubleshooting.


    I find the symptoms of stratitis manifest themselves as weird tuning/intonation issues that are not necessarily specific.

  10. I do a lot of sub gigs - sometimes with no rehearsal. The key for me is to 'play with my ears' and fit in.


    A couple of weeks ago, along with a bass player I had previously jammed with, I filled in at a bar gig. It was actually quite exciting to play songs we didn't know because we really had to listen carefully to everything in order to be able to find a pocket to put it in.

  11. Les Pauls with solid tops have pots with longer shafts that, like the switch mentioned above, may not fit an SG body.



    you may want to check the pots in your LP

    • Like 2

    Hmmmm..... not sure I would have picked any of those as top examples for the artist, except maybe Wired.


    Brother to Brother?

    Bridge of Sighs?


    My comment wasn't about the artist but about the recording engineer - the same guy who recorded Revolver, Sgt Pepper and bits of Rubber Soul and The White Album


    Geoff Emerick recorded "Bridge of Sighs" as well but I just pick three consecutive albums for the sake of the thread


    I noticed that many of the albums that had significant impact on me, especially as a guitarist, were recorded by Mr Emerick. Maybe it was the sound of the recorded guitar that was the draw.


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  13. Several years ago I bought a low end Yamaha bass with P and J pickups. A very good bass player friend of mine was over and played it through an old SF Fender Champ and, although it was not very loud, it sounded fantastic. My thought was that if I can't get anything put of it I can't blame the bass.


    My preferred method now it to record direct with the Sans Amp Bass Driver DI and take the parallel output from the DI into the Champ with a mic on it to a second track. I'll blend the two tracks or use just one in the mix.

  14. Good tube amps sound great' date=' but keep in mind that tube amps generally cost more in the long run, with the expense of retubing. A good SS amp can also sound great. I currently own a blackface Bandmaster, a Boogie MK IV, and an Ampeg V4 in tube amps, but gigging I generally use either my Peavey Studio Pro 40, or an Acoustic G20, either with a Vox Stomplab and other effects. Much lighter to haul around, no need to maintain tubes, and a very good tone out of either with a little tweaking. As to guitars, as has been said by others, there is nothing like going to a store and trying out different models. I currently use a JVT59 for all gigs, instead of my Teles or 335, as I like the versatility. I got it for ~$800 as a scratch and dent and bought a case for ~$60 to go with it.[/quote']


    I travelled with a Twin Reverb for fifteen years and probably paid for the amp a second time in tubes alone. I replaced the Twin with a Yamaha DG80-112 twenty years ago and the DG80 has required zero maintenance.


    I recently replaced my last tube amp, an early '70s SF Fender Princeton Reverb, with a BOSS Katana-50. I'm happy with the minimal maintenance, portability, features and - most of all - with the consistency in sound quality of my modern modelling amplifiers. I also have a Fender Mustang IV which I mainly use for outdoor gigs and on the occasions when I know my guitar will not be going through the PA.



    To the OP, I recommend taking a look at (and listen to) the Squier Classic Vibe guitars and the Boss Katana amplifiers. If you are looking for a guitar more along the lines of Gibson then I'd suggest checking what Ibanez has to offer.


  15. Great playing' date=' tone, and awesome guitar face! :D[/quote']


    I read an article in one of the guitar mags back in the '70s where Carlos Santana talked about "guitar face."


    He said that if he wants to play BB King style he'll make a BB King face.







    I suppose the same thing could apply to playing in the style of Gary Moore...



  16. I think it's fine when people ask for opinion on their playing. I remember how many experienced players made suggestions that helped improve my playing over the years.


    I didn't have the advantage of being able to post examples online to get help. It's great that people can do that now.

  17. I agree with all of the replies so far.


    Gary was strongly influenced by Peter Green and both players had a sensitive side.


    In this example Gary plays Peter's "Jumping At Shadows" and it sounds to me like he is using a combination of heavier strings and less gain which requires him to dig in a bit harder than the OP to get the Gary Moore sound and feel.



    That being said, my post is in no way a criticism of the OP but simply a suggestion.






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