Weathered

didn't poison the well run tele's into rectifiers? it's not an anomaly. I know that one of the guitarists used a Tele into either a DSL or Recto (can't remember which). Always sounded rad as hell.

Here's one I'd recommend. Put in a lil 59 or whatever tele sc sized HB in the bridge and a coil tap. Then you'll have Tele looks, a heavy sounding bridge pu as well as some in between Strat sounds. Bah - the Tele bridge pickup can get plenty heavy. It's all in the player's hands. Put a hot, thick sounding single coil in there (Duncan Broadcaster would be a good one) and hit the strings hard - lots of midrange grind.

Tele into a highgainer is always tits. As far as suggestions, I would look at a used Hwy 1/Amer Std. if I were in your shoes - the fit and finish of the American stuff is pretty good. Otherwise, the Fender Player's stuff (upgraded MIM) is OK, but I prefer the satin neck of the later 00's American stuff.

FT - MI Audio Tube Zone I got this in a trade, and it's a GREAT pedal, but I find myself using my HAO Rust Booster more. It's a V.2 (3 knob) in great condition - there is velcro on the bottom, but apart from that, there are no major scratches or problems. No noisy pots, etc. I'm looking to trade and not sell. What I'm looking for: ZVex SHo Fulltone OCD Fulltone Fulldrive II MOSFET Keeley TS9 Rats of any shape and variety

Yes he has. Where do you think the B in Boogie comes from? Bruce!

I worked at Guitar Center, and the store manager told me Bruce Egnater (think Mesa Rectifiers, B52 AT100s, and his own line of amps) designed these. Of course, he has said some pretty wrong stuff before so it might have just been crap. I'm relatively sure that Bruce has never worked for Mesa.

I'm going to amend my original post: I'm a house tech for a bar, but the PA is owned by the company that I contract through, which means that I have NO money invested in the PA, which is very very nice. I've now been the house tech for 3 years, and have averaged between 75 and 100 shows per year there. FOH Console: A&H GL3300-40 Good: Not a bad sounding board, it's pretty much the Ford Taurus of middle-level consoles - rarely the coolest thing to drive, but everyone knows how to work it and it'll get you from point A to point B reliably. Good EQ and flexible routing. Bad: The faders seem to attract dust and smoke more than the Soundcraft K2 that used to be our FOH console. Preamps really like to be run relatively hot (+2-+4 dBu). Monitor Console: Peavey Mark VIII 32 Channel Good: 32 Channels, 8 Auxes, quite a bit of headroom, haven't had it fail in 15 years of service. Bad: It isn't the best sounding board and by now, the pots have started to get a bit scratchy. When our power supply died a while back, it took the Mute and Signal LEDs with it, so we only have PFLs to make sure things are working. FOH Processing: Presonus DEQ 624 EQ DBX DriveRack PA 2 x Behringer Quad Comp 2 x Behringer Quad Gate 1 x TCE M-One 1 x Yammy SPX90 1 x TCE D-Two Good: I like the M-One as a mid-level FX unit, and the fact that we've got 2 verbs and 2 delays in 2 rack spaces is really nice. The Behringer stuff is all older Behringer, and it's not really that bad. Just don't use it on anything really critical (like voice). Bad: The Presonus isn't a great sounding EQ. I've learned that the key to the Presonus sounding good is to set it for +-6, and use as few cuts as possible. Amps: Lows - Crest 10001 Mids - 2 x Crest VS1100 Highs - Ashley MOSFET Center Fill - Crest VS900 The lows in this room stomp, and that 100 lb battle tank of an amp helps that along. Crest amps seem to be plenty reliable, and we've got more headroom than we really need. Speakers: Mids/Highs - 2 x Peavey DTH4s loaded with Black Widows/side Lows - 2 x Custom built double scoops from the JBL design (Dual 15" in a semi-horn load per cab)/side Good: The DTH has a very nice midrange character to it and the double scoops are perfect for the room we're in, as a front load would kill the people up front and a horn load would kill the people in the back. Bad: I don't like having a 15' speaker reproducing both mids and lows, but it's nothing a quick cut on the EQ can't take care of. Overall, this PA is great for what it's intended to do (install in a 550 person bar). There are little things I'd like to do, but working within the budget that we've got, it's an easy enough PA to run and I've never blamed the PA for a bad mix.

I'm not sure about the parts list, but your transformers and chassis are going to be the most expensive part of the amp. Don't skimp on trannies - Heyboer is a good decision, as is Mercury (albiet a bit more expensive). You can get most of the parts either from Metro or Mojo Musical Supply. As far as a parts list, I don't know of one, but you could go through the schematic and do a parts count. Schematic Heaven will have the appropriate schematic (www.schematicheaven.com) or Dr. Tube (do a Google for Dr. Tube and it's the first that comes up).

Are you familiar with working with high voltage circuits? Definitely consult Metro Amps - they make a Plexi kit that has great instructions. If you're a first-time builder, a Plexi is a tough build to start with. Going with a Metro kit will give you a good chance of success.

Very nice. It's the tweaked PI values I'm interested in...wink, wink, nudge,nudge. Weren't you also doing an 18 wreck? I'll have to take a look. I know that the plate resistors are now 270K as opposed to the stock 470K (?) - I'll have to take a look at the rest. A huge change was going to the smaller coupling cap in front of the tone stack, and bigger caps after that. It seemed to really help the "boomy" low end that some people (including me) complained about. I was exploring the possibility of doing an 18 watt 'wreck. I'm still looking at it - I haven't drawn up the schemo, but that was a fun discussion nonetheless. It was really interesting seeing the opnions of people like ZPhil and Dartanion.

Hey Weathered, Are you Hiwattage over on the 18watt forums?? If so, what did you finally end up doing with the TMB? That is me over there. I ended up matching the tone stack values with a Matchless Lightning, changed the bass pot to a 1 meg, and tweaked the PI. It's a really cool amp - when you back off on the volume, the treble stays and the mids and lows back down. It's a cool "magic trick" - now if I could figure out what makes it do that.

On a scale of 1 to 10 where 1 is dirt cheap, crap components and 10 being the ultimate in boutique and specialty parts I would say Ceriatone is a solid 7~8. So you are getting a well built, meticulously handwired amp. But as all amp builders will attest there is a lot of mojo and magic between an "8" and "10". But mojo is subjective. I think Ceriatone amps (even the completed chassis) are for builders and tweakers where you have a really great platform to experiment with all the NOS and high end components to find your sound. My amps are always on my workbench getting the latest tweak or mod. My 18TMB is only but an echo of the amp I ordered a few years ago. I punched a chassis ONCE myself and vowed I would never do it again. Very, very true. The only part that Ceriatone uses that I wouldn't is carbon comp resistors - noisy little bastards. I know that it's part of the "mojo" of the amp, but it also raises your noise floor and gives you the frying bacon sounds that everyone loves. My 18W TMB has been reworked a couple of times, and the preamp is entirely different now. The PI has been reworked - basically all that's original is the chassis, tube sockets, switches, transformers, pots, and power section/filtering.

2k5 was one of my favorites. I played ncaa last year and it was ok, except for the fact that linebackers intercepted anything thrown within 20 feet of them. The ridiculousness of the linebackers just killed the game for me. They seriously intercepted every single pass thrown anywhere around them. Maybe you should stop trying to pass over the middle n:o:ob.

Sounds like someone never bumped up the skill level to "all-pro" or "all-madden" and turned down the AI... Actually, since I'm stuck playing Madden now, I play it on All-Pro and crank up the AI. It just gets so predictable it's not even funny.

I always preferred the 2K series football to Madden - it seemed much more accurate. I wasn't able to put up 200 yards rushing with Mike Alstott every game.

Graduated in May '06 - Legal Studies in Business - University of St. Thomas Planning to start an MBA in Marketing within 2 years here.

Ooh...Ooh....Let me play! I'm a house tech for a bar, but the PA is owned by the company that I contract through, which means that I have NO money invested in the PA, which is very very nice. FOH Console: A&H GL3300-40 Good: Not a bad sounding board, it's pretty much the Ford Taurus of middle-level consoles - rarely the coolest thing to drive, but everyone knows how to work it and it'll get you from point A to point B reliably. Good EQ and flexible routing. Bad: The faders seem to attract dust and smoke more than the Soundcraft K2 that used to be our FOH console. Preamps really like to be run relatively hot (+2-+4 dBu). Monitor Console: Peavey Mark VIII 32 Channel Good: 32 Channels, 8 Auxes, quite a bit of headroom, haven't had it fail in 15 years of service. Bad: It isn't the best sounding board and by now, the pots have started to get a bit scratchy. When our power supply died a while back, it took the Mute and Signal LEDs with it, so we only have PFLs to make sure things are working. FOH Processing: Presonus DEQ 624 EQ DBX DriveRack PA 2 x Behringer Quad Comp 2 x Behringer Quad Gate 1 x DBX 166A 2 x TCE M-One Good: I like the M-One as a mid-level FX unit, and the fact that we've got 2 verbs and 2 delays in 2 rack spaces is really nice. The Behringer stuff is all older Behringer, and it's not really that bad. Just don't use it on anything really critical (like voice). I use the 166A for lead vocal and bass guitar, so that I have good compression on both. Bad: The DriveRack EQ sounds sterile, and the Presonus isn't much better. For me, the key is to use as few cuts as possible. Amps: Lows - Crest 10001 Mids - 2 x Crest VS1100 Highs - Ashley MOSFET Center Fill - Crest VS900 The lows in this room stomp, and that 100 lb battle tank of an amp helps that along. Crest amps seem to be plenty reliable, and we've got more headroom than we really need. Speakers: Mids/Highs - 2 x Peavey DTH4s loaded with Black Widows/side Lows - 2 x Custom built double scoops from the JBL design (Dual 15" in a semi-horn load per cab)/side Good: The DTH has a very nice midrange character to it and the double scoops are perfect for the room we're in, as a front load would kill the people up front and a horn load would kill the people in the back. Bad: I don't like having a 15' speaker reproducing both mids and lows, but it's nothing a quick cut on the EQ can't take care of. Overall, this PA is great for what it's intended to do (install in a 550 person bar). There are little things I'd like to do, but working within the budget that we've got, it's an easy enough PA to run and I've never blamed the PA for a bad mix.

I'm moving up to an Echo Audiofire 12, so...... For Sale: M-Audio Firewire 1814 Audio Interface I've used this for about 5 months now, and I'm going to be upgrading interfaces to something with more I/O. This has: 8 Analog In (Unbalanced 1/4") 4 Analog Out (Balanced 1/4") ADAT In/Out (Lightpipe) S/PDIF In/Out Word Clock In Midi In/Out I've done several recordings with this and have had great luck with it. It compares favorably with the Digi002, and with the $250 M-Powered Pro Tools, you can have your own digital recording studio. The A/D on this is very nice, smooth and open sounding, and the stability is great. These go for $500 at Guitar Center, and if you buy this, I'll include an upgraded and longer Firewire cable. E-mail me for pictures or with any other questions. I'm looking to get $350 shipped to the CONUS. pjnelson AT stthomas DOT edu

But when you record multiple sources at 44.1k or 48k, it rolls the high end off of each of the sources, and as we know about summing multiple sources like that, you lose the high frequency detail. You CAN hear a difference at 96k, and if you're doing anything serious, you don't have the option to do it in lower sample rates.

There's a big reason why 96K does sound better, it has to do with the math of reproducing sound. Basically, there is a rule that digital audio can reproduce sounds up to half as high as the sample rate, so if you are working in 44.1, you can reproduce 22.05 kHz at the top. While that may sound fine, any signal above that line actually gets interpreted as a lower signal, which is called aliasing. The reason that 96K is becoming standard is because in order to get rid the aliasing, you need to roll off those highs. When you are sitting at 22.05 kHz being your top end, your anti-aliasing filter begins in the audible range. When you go to 96K, you're anti-aliasing filter can start at 30 kHz and roll everything off on top of that. This is why 44.1K and 48K are obsolete - because even when you dither back down to 44.1, you are preserving as much high end as is possible, and getting as true of a signal as you can.

Really good information on this site about compression, among other things. ProRec Article on Dynamics

I haven't used the 319, but I have heard that while it is a better sounding mic, it's still a bit shaky. Recording mag actually did an article on modifying the 219s and 319s to sound better - I think it was like August or September.

The GC Oktavas are not Russian, unless they've been in the store for 2-3 years. GC got theirs from the Chinese manufacturers, which is why they are so cheap. Still not bad mics, however, and everything has a potential use. I have a pair of MK219s that sound terrible, but every once in a while, I find a use for them.

Originally posted by HulkBlood01 Oktava Oktava Oktava!! sorry...pet peeve hehe I know what you mean.

I personally love the NT5's for overheads- they are "big" sounding without being overbearing. But you can never go wrong with having more mics - consider them new colors to paint with.