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papamaverick

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  1. I'm looking for one with the cord attached. Anyone up for selling theirs?
  2. I haven't been able to search for a few days now. Not sure if it's on my end or not, but same problem with two different browsers and I just signed up for a new username, but couldn't search there either.
  3. I have an extra AKG D112, want to trade for a MD421/441, Yamaha Subkick, or RE20. Please PM me if interested.
  4. Stevia is great, used in Japan for 40 years with no side effects, but political issues (other sweetener companies putting pressure on FDA) stopped it from coming into the US until 10yrs ago even though it's basically just an herb. The one downside to Stevia is that too much of it tastes bitter, an effect you don't have with sugar. It also doesn't dissolve quite as easily as sugar/splenda/aspartame; because it's a natural fiber, it can clump together a bit. But, once you get the hang of how to use it, there's nothing that's a better compromise between health, taste, affordibility, and convenience. IMHO.
  5. Just wanted to repeat what some others said above, cause it's very true. 15W is a good amount, and only 3dB softer (dimed) than 30W (dimed), because the relationship between wattage and volume is on an exponential curve. Now 3dB isn't a tiny amount, but substantially less than what you'd expect. And you have ample opportunity to blow your hearing without that extra 3dB! In fact, the speaker type and speaker numbers (1x12 vs 4x12) have much more effect on volume than the wattage of the power tubes. Greater efficiency, greater surface area, different enclosure types, etc will all play into that volume equation. For reference, I play a Fender Deluxe Reverb (22watt) with a Weber blue speaker (1x12) and I rarely turn up the guitar louder than 2-3 on the dial. It starts breaking up around 5-6, so that gives you some idea of how much clean headroom I have left. And yes, I do mic it...but sometimes that isn't even used much because there's enough acoustic projection. (Granted this is mostly worship band type stuff, so not bar-loud, but it's definately not as quiet as you'd think). And in the long run, I'd much rather use two small amps (for stereo delays) + two microphones, keep the stage volume low enough to be reasonable, and save my hearing long-term. Back to Vox's....there are other differences between 2x el84 and 4x el84 besides the volume difference, and most of the guys on the Plexi Palace forums (who tend to really know their Vox's) recommend the AC30 CC1 (1x12), which isn't much more expensive. I'm gonna grab one eventually to use with my Deluxe Reverb, still haven't decided but probably will go the AC30CC1 route rather than AC15CC1. Hope that helps ya!
  6. Hmmm NO experience with POD XT, used to have an old POD but that's been 6-7 years... I can tell you that switching on/off effects while recording isn't something I hardly ever do. It's usually much easier / smoother to add another track and record the different part on that track. This also allows you to have control over levels, panning, compression, ambiance, etc come mix time. If you were recording live with a band (all playing at once) that might be different...but it doesn't sound like that's what you were going to do. If you're poor (like me) then I'd just buy what you wanted to buy in the first place and save on the footswitch. (Another advantage: having the POD on your desk instead of floor - easier on your back!) Dave
  7. I love my Rat! I think it sounds awesome. Think Tele + Rat + small Fender = the sound from U2 "Vertigo" It's pretty close, I think that was the Line6 DM4 model that Edge used. (I have both DM4 and Rat and the model is spot on, FYI) Very thick, rather raw, in-your-face, tone control has a pretty wide effect, pretty compressed sounding when rocking (although has range to do milder stuff, too...I like the heavier range better myself), very midrangey, very "Marshall" to me although YMMV. Always wants to make me play AC/DC or Guns'n'Roses, etc. when I'm noodling around. Hope that helps ya in your decision Dave
  8. I was listening to this the other day, gassing for an Ardmore when I realized: Hey, I have a Deluxe Reverb. I should probably be able to get a similar sound. But I can't seem to dial in a sound that gets close - the whole bluesy "clean but dirty" thing (or is it the other way around). [because I live in an apartment, I can't really push the amp very hard often...and when I do, the volume differential clouds my hearing (wow this is louder, it sounds better) for long enough until I start to feel bad for my neighbors and turn back down. When I gig, I use the Deluxe as a clean sound and get my dirt from pedals (tube screamer, rat, big muff - the usual suspects) kinda like the Edge with his AC30 but with a half the sound and a fraction of his rhythm chops. So I don't have much experience getting a blues sound at gigging volumes either.] Summary: instead of buying something new, I should have enough tools (strat->tube screamer->deluxe) already. Any tips on how to dial them in?
  9. Glad to hear it was fun - if I weren't on the other side of the country (in Florida) I definately would've come to hang out. I'm trying to figure out exactly how loud a 1/2 watt amp and 8 watt amp are. I live in an apartment, and even though my Deluxe Reverb is only 18 watts, it's too loud on anything past volume 2-3. If my memory (and math) serves me correctly, doubling the wattage for a given speaker/cab adds 3dB, and it takes about 10dB for the human ear to subjectively judge a volume as "2x as loud". Which pretty much means that an 8 watt amp (assuming I run it through my Deluxe speakers) would only be about 3dB less loud. Wow. And the 1/2 watt would be maybe 1/3 as loud (15dB less). Does this sound right to you guys? And Phil, which amp did you decide to keep?
  10. Fender actually began to underwind their pickups more and more as the 60's went on, and the '69 series shows that. If you find the 50's sound to sparkly and bright, you probably won't like the 69's sound. The general rule is that less winds = less mids. Most people associate overwound (e.g. mid-heavy) pickups with distortion sounds, but Jimi, Gilmour, etc. all got great distortion sounds with supposedly "underwound" pickups. Not to mention just about anyone playing vintage guitars has pickups much less hot than most standard issue guitars today. I think the reason people think overwound = better distortion is that it pushes the amp (pedal in some cases) a bit harder. But a similar (sometimes better) effect can be had by turning the volume up anywhere along your chain. YMMV though. Give www.acmeguitars.com a call. They know their pickups much better than I do, not to mention most people on forums. They carry all the Fender pups and a lot of boutique brands as well. Be sure to check out the sound clips (although they're all clean sounds...) FWIW I chose the 54's and just got them installed in my strat the other day. Haven't had a chance to try them out yet though.
  11. I just got some pickups from them and everything worked out great...fast and cheaper than anywhere else. But the shipping thing is outrageous for all the little parts-type stuff they sell. And if there service is anything near the rudeness of their online "warning to buyers", I'll try to avoid them in the future. I was glad when I got my shipment notification cause I knew if something went wrong I was helpless. I'm all for mom and pop stores...but if they try to make you march up to your bedroom and skip dinner, screw 'em.
  12. .... so what'd you get caught doing, JCN? I can't imagine you have time to find trouble with all the posting you do here It's gotta be something related to the Initials topic I'd guess
  13. I played 12's for the last two years before finally stepping back to 10's. (strat, standard tuning the whole time) I lost a little bit of thickness, gained a little bit of clarity, but most importantly my playing improved dramatically. While I really miss having thicker strings for rhythm stuff (they hold tune much better, and you can beat on them like crazy without pitchy effects) I can't believe how much of a difference they made in my ability to play blues leads. It was a tradeoff, but for me it was easier to change my rhythm technique than my lead technique. At the same time, playing 12's really helped my finger strength a lot. I'm glad I went through that phase, but I won't go back (at least not for a while). It's all about finding the right gauge for your playing style. I have heavy right hand technique but less heavy left hand technique...and 10's ended up being best for me. But I still can't stand playing 9's or less; for leads they're okay, but for rhythm they make me feel like a girly-man. I can understand how metal/speed players need them, but what about all these rhyhtm only modern rock guys who use them? I don't get it. YMMV.
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