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SteinbergerHack

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  1. This is the K66CE. I played one a few weeks ago, and it is an outstanding instrument. Koa really works nicely for this particular application, IMO.
  2. For me, the only real bucket list acoustics are: Maton Messiah Taylor K66CE 12-string I have a Taylor 814CE that I really, really like, and I'm into playing far more than collecting.
  3. Why? Because it's cheap, easy, and works.
  4. From an engineering perspective, this is complete and utter BS. A 100W tube amp draws less than 2 Amps maximum, even at full power. This is roughly equal to (2) 100 W light bulbs. From a code perspective, 14 gauge wire is acceptable for continuous duty at 15 Amps over runs much longer than an average extension cord. Even a small 18 gauge extension is OK up to 25 or 30 feet, for a single guitar amp. Now, you can cause problems if you try to put several amps on a single extension, and/or if you leave the cord tightly coiled or on a spool. One thing that IS important is grounding. ALWAYS use a grounded extension, and don't even think of using one of those two-prong adapters or cutting off the ground pin. Ground faults are a serious hazard, and you can be seriously hurt or even killed by a fault from an ungrounded guitar or mic.
  5. I agree with the obvious Aja, DSotM, Turn of a Friendly Card, etc. as complete works. That said, I tend to find specific instrument sounds that hit a chord with me, even if the rest of the production isn't as good. Examples: Bass track on the live "You're My Home" from Billy Joel's "Songs in the Attic". It's probably the worst vocal track BJ has ever released, but the bass/kick sound is spot-on. The intro guitar sound in John Mayer's "Something Like Olivia" The guitar sound on Bryan Adams' "When You Love a Woman" (Paco De Lucia). The guitar sound on George Benson's "Masquerade" - IMO, the definitive jazz guitar sound. The vocal tracks on the Operation Mindcrime album - Queensryche. The drum track on "Rosanna" by Toto. The guitar sound on Michael Jackson's "Billie Jean" (Strat perfection, IMO).
  6. My application would be the complete profile of my existing amp, including the cab (or cab sim). I have exactly zero interest in hauling around my cabinets anymore - I haven't had them with me on a gig in over a year, and I don't have a desire to go backwards. Currently, I run my XTC into a Torpedo Live loadbox/cab sim, then into my XR12 which feeds both FOH and my personal monitors. I've built a cab model that duplicates my mic'd 1960A, so I no longer carry anything except the one wedge monitor that I use for all of my instruments (acoustic and electric) and vocals. My goal is to get rid of the amp head, just to reduce the weight and fragility. With the Stage version, I assume that I would also be able to leave the Torpedo Live at home, and only use it while actually profiling. So far, the playing I have done with the KPA leads me to the conclusion that it's very, very good, and much better for my application than any of the modellers. It is not exactly the same thing as my XTC, but close enough that nobody in the audience will ever hear a difference, and the ease of use and mobility is a bigger benefit than the liability in tone. It is also less of a difference than if I were to shift to a different amp, which should put it in perspective. Thanks for the input!
  7. Really? That's saying something. I've had a hard time believing that anything could sound as good as the XTC....but the older I get, the heavier it is to carry.....
  8. Well, yes. That's why I have stuck with the XTC for almost 15 years now. There's nothing else out there that covers more ground, IMO. That's the idea. I played one for about 30 minutes today, and while it sounded very good, it wasn't inspiring. I think that I need to borrow one and do my own profiling to see what it can really do. The stock profiles aren't good enough, but they show that it might be able to get there. We'll see.
  9. Nice enough, but a combo amp is absolutely not the solution for my gigs. I'm not looking for a new sound, I am looking for a lighter weight, smaller way to duplicate what I already have - the Bogner XTC and JCM800.
  10. Yeah, between the horn bands and the theater work, the two things that drive cashflow are being able to read and play a score/book/chart and having whatever sound/style is required for EVERY cue. No leader/conductor wants to hear whining about needing a different guitar or not having the right pedal. Imagine session playing in front of an audience - very similar. I think the last time we rehearsed the horn band was in 2012, so we just play from the charts every gig. If the leader drops in a new chart, you play it when called, sight-reading if necessary. I may not have the shred chops of Satriani or the smoothness of Knopfler, but I stay busy playing.
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