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motterpaul's Achievements


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  1. I have been doing a lot of pedal buildiong myself. I started about a year ago doing mostly FET circuits (amp in a box, things like Diesel Diefet, JCM800, ROG Thor, etc). I just got into Germanium transistors for the first time about a month ago. Most are PNP so the whole positive ground thing was a learning experience. I scored 150 AC125s on eBat for about $50. The HFEs are nice, 80 to 210, high leakage tho. I build some fuzzes and Rangemaster boosters. Excellent. Now I am using ICs to make power inverters rather than making non-compatible positive ground pedals. I have a couple of Mullard OC75s looking for a project as well.
  2. The original locking vs100 is not available in the US due to a patent issue. You will only find the non-locking VS100N. There are parts for that, but if it is the locking mechanism you need you will not find parts.
  3. If I go to "playback systems" and properties on almost any windows system I can choose "enhancements" (and they do not have to be enabled) that include reverb and all kinds of various EQ schemes with names like "pop, rock, classical, jazz, club, live, voice, ..." etc. Right click speaker on lower left corner, select "playback devices" highlight your device and click "properties" you get a menu with tabs, hit "Enhancements" --- environment = reverb options, Pitch shift is pitch shift (semitones), Equalizer is what I mentioned above, then there is also voice cancellation, virtual surround, and "loudness".
  4. Silverlight - funny, I barely know what it is. I only saw it on my wife's new Surface Pro because a Microsoft tutorial on changing passwords needed it. I downloaded it, and then the Silverlight site did not take me back to the place I had left, so I never used it. I am not even sure what it is - some kind of video format?
  5. Like you, Craig, I learned all of my recording in the analog tape days. In the '80s I could fire up the Tascam 8 or 16-trk and my Soundcraft mixer and I could have ideas down in minutes. I kept my lead guitar (with all effects) plugged into one channel, my bass in a different channel, my vocal mic in a different channel, my keyboard in a separate channel - so everything was ready to go (all I had to do was pick the tape tracks I wanted - and the board was set up to monitor all tracks, so as soon as I recorded it I could hear everything play back). When I had to migrate to ProTools in 2002 there was a steep learning curve, and I often had to deal with a technical issue before I could get creative. Major bummer! Today ProTools is more stable - but for quick recording I love my ZOOM R24. It has a drum machine built in, and it has 8 mic inputs and the ability to move tracks around so I can keep things plugged in. (for example, my guitar is set to record on track 1, but I can immediately move the recorded track to a different track and use the guitar input for a new track. I can record all of my ideas on the ZOOM, and then just take out the SIMM card, put that in my ProTools DAW and import all the tracks as separate channels. They are immediately compatible (16-bit 44.1 kHz), so my Protools session is ready to go instantly. At that point I start doing all the cool "in the box" editing you can do in the DAW interface. It's the best of both worlds.
  6. I was actually browsing this thinking it was a new thread.... Now, I know Gibson just bought Harmony Central - which I think is a terrific idea - but now how about a little common sense by deleting these old threads and starting new ones - that last post here is from 2011 - right? And I really wanted that M49!
  7. I have a "travel guitar" which fits in a large suitcase or in a plane's overhead bin. I also have an iPod with iPig loaded on it and Slash's Amplitube. Amplitube allows you to play along with any song you have on your iPod and get the Marshall sound. It's a cool little deal, since iRig allows you to plug in the guitar and earbuds to hear yourself in stereo. Here are some details & pics: https://reverb.com/item/658517-travel-electric-guitar-with-ipod-and-amplitube-2014-black
  8. I am building to learn something about electronics - I want to know the difference between a Tubescreamer (and there is no tube, by the way ;-P) and a Klon. But I hear YOU. I wouldn't waste my time either if I already knew what you know, but I wonder if you have ever built a new-to-spec original LA2A or Pultec EQ. I saw a lot of hand-made (new) "vintage gear" at the last NAMM, because the schematics are out there and would not be overly complicated for someone like you. I worked in 24-trks in the 80s and had access to such great tube outboard gear and mics, and it does sound great. I just sold my Neumann U-67 last year, had it for 35 years. Tube mics are another area where new builders are custom building some high-dollar electronics. Anyway - I don't mean to steal the thread - but you mentioned it. If I had the knowledge you have, and a recording studio, I think I would be doing that.
  9. Well, for a newbie layperson I have built some pretty complex circuits, and not just by buying a PCB. I go to a great web site called Tagboard Effects (http://tagboardeffects.blogspot.com/) where they take many common pedal schematics and design them for using regular through-hole components on Vero (perf or stripboard). So, while it is still somewhat "paint by numbers" it is more than just filling in the spaces. You get a chance to really experiment if you want. I have built about 25 of the circuits there and boxed about 8 of them. That includes some of Craig's original effect designs from his books. I recommend the site for people who want to get more hands on with guitar effects - including tone stacks. One of the members there just took all of tone stacks in the Duncan Calculator and laid them out with an LPB following so you regain any loss introduced by the tone stacks. Marshall, Fender, etc with gain stage following. Most of the new projects are showing up in the forums now since the sites main editor has been laid up since January, but there are already hundreds of his projects there and many contributed by others. It isn't rocket science - but it is a lot of fun. Here are some pics: http://i1304.photobucket.com/albums/s527/Paul_Motter/plexi1_zps1374fd8d.jpg http://i1304.photobucket.com/albums/s527/Paul_Motter/DSC02995_zpsohw75dfw.jpg
  10. Fry's is not a national chain - as far I know they are only in the West. But I think Wegman's is another electronics chain in the East.
  11. This is really a great explanation. I am just now getting started with guitar effect building but I have no electronics training (just an audio engineering background from a musical standpoint). Thanks for taking the time to distill this in language us non-EEs can understand.
  12. It is more common for left-handed people to be ambidextrous than right-handed people for various reasons - including the fact that they have to use right handed tools much of the time. Anyway - if you have been to NAMM you know Eddie Kramer is a very public person. I have been in his vicinity and listened in on his conversations several times. he once listened to me play some of his F-pedals and I have his business card right here. Anyway - I am new to Harmony Central but I have had Craig's books on electronics projects for years and have actually built a few of his pedal projects. Never met you Craig, but I am a fan. You should delete this thread - not every little statement needs to clarified (I am also a writer/reporter) and if sources told you that and were sure, you reported it accurately. You didn't say he always played that way, just that he could.
  13. Blodwyn Pig - " A Head Rings Out" way back in 1970 - I still love the playing of Mick Abrahams on that record
  14. For my money, the main scale you see used on guitar all the time is Dorian plus the "blue note" (b5) - this is basically 0 2 3 0 2 3 0 2 3 0 2 0 1 2 0 2 3 sometimes I stick to the major pent, or mixolydian, if the song has a major 3rd sound. Mostly I look for opportunities to change scales within a song and play chord tones as the come along (if they are outdie of the scale I am using) - or within a given scale I look for common tones within chord changes.
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