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Posts posted by SteinbergerHack

  1. On 3/6/2007 at 12:13 AM, Facing Failure said:

    It's always for me been 2 SONGS more than albums, but they are as follows:

    Sad Exchange by Finger Eleven

    Just a great rock tone. James used a Fender Tele Plus into a Bogner Ecstacy 101b and Rick used a PRS swamp ash model into a Marshall JCM800 with a boost of some sort. That song has the best modern mainstream rock tone I've heard in a very long time.

    Yeah, the Bogner XTC is the real deal, and that album had great sounds.

  2. On 8/19/2020 at 6:08 AM, annie.px said:

    Opera singing is by far the hardest out of all types of singing, not even arguably. It takes DECADES to successfully master your voice and it requires so much skill, talent and so many years of training. Very few can be good opera singers while most people can become pop singers with very little talent. Even Mariah Carey, who has an amazing voice and vocal range, admitted that she will never be able to sing opera, due to it’s high level of difficulty and intense training. In my opinion opera is very much under-appreciated given it’s the hardest form of singing.

    Absolutely true.

    My daughter is studying opera at the Jacobs School, and has probably another 5 years or so of training before she could be considered a viable candidate for a lead role in a major opera company (though she has the lead role in their fall opera this year, ahead of a number of grad students).

    Meanwhile, she can walk into just about any other type of vocal audition and score straight 10/10s.  I music direct with a couple of community theater groups, and I can guarantee you that any trained opera singer will blow away any other sort of vocal setting in technique, diction, presentation, power, and sight reading.

    4 hours ago, kickingtone said:

    It's not all about the genre, but also the piece of music. You could probably write something too challenging for the human voice in any genre. But most genres don't go looking for technical difficulty, as such. That may happen more in opera, as there seems to be a "showing off" element of the singer, as well as a "badge of sophistication" for the composer.

    The original demand of being able to be heard at the back row of a huge venue did set classical singing necessarily apart, but now, with mics...?

    There's a lot more to it than that.  "Classical" performers are selected by highly trained, skilled professionals on the basis of their technical skill and ability BEFORE they are allowed to perform or record; opera is the highest level of vocal performance within the classical spaces, so it is reserved for the absolutely highest-skill performers.  Other genres focus on other aspects, like songwriting, look, and sometimes just acceptance by a lowest-common-denominator audience.  Sure, there are operatic pieces that can be sung by lesser-trained vocalists, but they will never pass the audition to get themselves on an opera stage.

    Put another way, CC Deville and Ace Frehley sold a lot of records playing simple guitar parts, but there's no way either would ever take a gig from Chris Parkening, no matter how well they might be able to play a specific piece; they simply aren't qualified for the gig.

    Oh, and BTW, most operatic performers still work without mics.  Broadway performers use headsets, but not opera. 

  3. 2 minutes ago, Mikeo said:

    The super shallow bowl Ovations are much better at not sliding than the full bowl Ovations.

    I have played many.


    I have two at the moment, a super-shallow 6-string and a full-depth 12.  No problem with either.

    They have a very unique sound and feel, but they can definitely be made to sound good as a stage instrument.

    • Like 1
  4. I have to say that the upgrade paths for Windows systems are terrible.  The lack of backwards and forward compatibility just plain stinks.

    If you think it's bad trying to upgrade mission-critical application servers, imagine this:  I purchased a business with a software component in 2015 that I was told had been kept updated and well documented.  As it turns out, the software had been last built in XP, under a version of Visual Studio that had been 7-8 years old at the time.  In order to port the source code forward to current dev tools, we had to port to an intermediate version that had been out of publication for over 5 years, then port forward again.  When we did that, we found out that the entire UI was built on a platform that was nearing EOL and was not supported for tablets (a major customer request).  At this point, I had worn out three coders, still had significant operational bugs to get the SW running on Win8, and the last one finally threw up his hands and admitted defeat.  We estimated a complete re-write at a minimum of $500-600K, which didn't have and could not justify for the size and profitability of the business (it needed some hardware updates, too).  We shut down the business, because we couldn't ensure future support for the customers.

    Microsoft is not friendly to small businesses.

    • Sad 1
  5. What Amp VSTs are you guys using?  I've been fooling around with them, and not terribly satisfied yet,

    My computer is a Win8 64 machine, and I'm not terribly interested in shifting to Win10 (I have other SW on it that would be very painful or impossible to update).

    Currently I'm using MultiTrack Studio as a DAW.  Not the best or most intuitive, but inexpensive enough while I figure out what I will eventually select.

    Amplitube seems to have a decent core model, but their cafeteria style model means I would be paying a BUNCH to get enough options to figure out what would really fit the need.

    Scuffham doesn't support Win8.

    Ignite seems to be more of an "erector set" approach than a single VST that gives a complete mic'd amp in a single package.  With limited slots in the DAW, that is not a great solution.

    Any other ideas to look at that sound good?

  6. 16 minutes ago, Phil O'Keefe said:

    The biggest issue IMHO is latency. It's been the major hindrance for real-time music interaction online. The more distant the collaborator, the worse it tends to be. 


    Acceptable latency for video conferencing
    Target values for acceptable video conference performance are 150 ms latency, 40 ms jitter and 1% or less packet loss. Latency includes a fixed component related to the network transmission path length, so physical distance makes this parameter somewhat difficult to control.



    Some people get annoyed when their DAW has ~20 ms or more of latency, and most find 150 ms to be too annoying to deal with. 

    I'd love to have something that would allow two people, or even better, groups of people to interact and jam together in real time, and I'd definitely be an advocate for adding that functionality to HC, but AFAIK, the technology just doesn't exist that allows that in a seamless, non-buggy, latency-free way. 

    Please feel free to correct me if you know of a system that actually does work.

    I'm the last person to ask about this - I'm afraid I'm a bit of a luddite in this area.  I've never even recorded over a digital backing track at home. 

    My studio experience has been either working as a player/composer in a full-on pro studio, or recording a few guitar and/or vocal tracks at home with a very simplistic setup, always one-shot, no overdubs, no punch-ins (until last weekend, when I finally overdubbed parts on a couple of songs for hire).  Back in the mid-80s I engineered some reasonably good (for the time) demo recordings with the old Fostex Model 80, but those techniques don't translate very well to modern technology.

    I would seem that the latency would be highly variable due to the way 'net traffic is routed.  There are ways within a given subnet to prioritize traffic, but I doubt that the average home subscription service will allow those flags to be passed through so that we can hog the neighbors' bandwidth.

  7. I'm a guitarist/engineer.  Over the years I've played a whole bunch of different types of material, and was full-time, recording and touring for a while back in the late 80s.  Now, I fill in with a couple of local horn bands, do some charity things as a solo act and do a lot of musical theater work, as guitar/utility strings or music director.  Like everyone else, my gigs are gone for the near future, now just waiting to see if my summer shows are still going to happen.

    Stay safe!

    • Like 4
  8. 5 hours ago, AJ6stringsting said:

    12 ga. , an ETA power conditioner and the it feeds into my Monster 2500 power conditioner ....never failed to give me surge protection and kills any RFI interference.

    ETA makes some decent stuff - the EPD8LR would be a really good choice for just about any rack application.

    • Like 1
  9. 22 hours ago, daddymack said:

    which is why it is just plain dumb to haul stacks around when a 15-20W combo amp will get the job done

    True, though if you want really crisp clean sounds, you may well need more power.  What's counter-intuitive for beginners is that the "loud" and "heavy" high-gain guitar sounds are actually easier to get with a low-power amp than a high-power amp (while retaining proper cochlear geometry and limiting discussions with local law enforcement).

    22 hours ago, daddymack said:

    Steinberg's numbers are 'theoretical'...no one is building amps anywhere near those values, and for a number of good reasons.

    Well, not just theoretical - that's the actual reality of what can be done with a single standard 120VAC power input.

    I would also say that while there are no guitar amps being built at those power levels, there are plenty of PA amps at very high power ranges, and they are in fact limited by the available line power.  Here's a spec sheet that shows output ratings based on line Voltage and current:


  10. On 3/12/2020 at 7:10 AM, mbengs1 said:

    I know 100 and 120 watts is the standard. I also heard of 150 watt heads like the mesa triple rec. but what's the maximum no. of watts an amp can have and why is that the maximum? 

    After having chuckled my way through reading this thread, I finally realized that there is a reasonably accurate answer to this question, and one that is based on the basics of physics, power amp design efficiencies and electrical distribution practices:

    At 120VAC (North American power), the largest common circuit capacity is 20 Amps.  Thus, the theoretical maximum power that can come from a single 120VAC power outlet is 2,400 Watts.

    For a Class A amp @ 50% efficiency, the maximum you could get from a single 120VAC outlet would be 1,200 Watts.

    For a class B amp @ 75% efficiency, the maximum you could get would be 1,800 Watts.

    For a class D amp @ 90% efficiency, you could get very close to 2,160 Watts.


    Problem solved.  Do I get a cookie?

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  11. 3 hours ago, Phil O'Keefe said:

    Also, make sure any power conditioner you're considering has good surge protection too - power surges can destroy gear. 

    On that note:

    I've been in the electrical equipment industry since 1990, and hold a patent for a high-end surge protective device design. Pardon the long post, but there's a lot of pure garbage that gets stated about "power conditioners" and surge suppressors, and I think it's helpful to get down to the core facts of what they can and cannot do.

    A "power conditioner" doesn't really protect your equipment in any way.  The majority of them are no more than a 60 Hz filter, with perhaps a bit of surge protection.  Unless you are dealing with a noise issue from another ill-behaving load on the same circuit (like a neon sign or failing refrigerator/fluorescent light ballast) , they really are just electronic jewelry.  Surge protectors, however, can provide real value in preventing transient over-Voltage events from damaging your gear or shortening its life.

    There are two key performance factors that tell you how a SPD (Surge Protective Device) will operate in the real world, and a third that will give you a sense of how long it will live. The first two are the clamping Voltage, i.e., what is the highest Voltage that the SPD will let through to your equipment when it attempts to clamp a surge event. The second is the Peak kA rating, which determines how much transient energy the SPD can absorb without failing to clamp. These are required test values for any SPD that meets the UL SPD standard (1449, 4th edition). Peak current is sometimes called Nominal Discharge Current, and clamping Voltage is sometimes referred to as VPR (Voltage Performance Rating).

    The third value is the total amount of energy that the device can absorb before its useful life is over. Most SPD are based on MOVs, which are sacrificial devices that lose some capacity every time they absorb a transient. A higher "Joule rating" indicates the total amount of energy that the device can take, which gives an indication of how long it will last in normal use. Be careful, though, as a high Joule rating means nothing if the device doesn't have a high enough Peak kA or low enough clamping Voltage rating to protect your equipment.

    I like the fact that both Furman and TrippLite give clear, honest ratings information for their devices. It allows you to really compare what they do. The trouble is that many other manufacturers do not, so it can be difficult to get a really solid, fair comparison.

    So, have a look at this product:

    Look at the spec page, and go down to the bottom, where it shows the peak impulse current, rated at 12,000 Amps. This is actually a pretty reasonable rating compared to most inexpensive "surge strips", as it is double the 6kA that is required for the VPR testing under UL1449. It's limited to 150 Joules so it's not a long-life device, but it will take a reasonable hit before it lets anything through to your gear. The real problem, though, is that the only protection modes are line-to-neutral. A transient that is line-to-ground would not be clamped inside the device, and would force surge current to travel through the neutral-to-ground bonding link either in your equipment or in the service panel. Not a common occurrence, but not a good outcome.

    Now, compare to this product:
    https://www.furmanpower.com/product/20a-advanced-power-conditioner-wsmp-no-lights-9-outlets-1ru-10ft-cord-P-8 PRO C

    Note that it doesn't use MOVs, so there is no Joule rating - it should absorb surges throughout its useful life. Trouble is, its initial clamping value is only 3,000 A, and it's max is 6.5 kA - roughly half of the other device. It's about tradeoffs, and the trade-off here is that a relatively moderate transient event would pass through this device and get to your gear.

    Now, what would I recommend? Something more like this:

    Have a look at the spec sheet. Clamping Voltage of 140VRMS. Peak current of 96 kA, which is more than a standard 120/240 VAC panelboard can handle. Joule capacity of 3840. UL1449 approved. Note that it also include Line-to-Ground and Neutral-to-Ground protection modes, as well. This is a serious SPD that actually does the job, and will keep doing it for a long time.

    There's a lot of snake oil in this part of the electrical industry, along with some reasonably good products that are just over-priced for what they deliver. The key to not getting ripped off is to understand the specs and use them to understand what the various products will really do.

    Full disclosure - I used to run the engineering team for a company that made SPDs (not one of the ones I have mentioned here). I've moved on to another part of the industry, so there's no conflict of interest with this post.

    Finally, as Phil noted above, your power cables should be as short and as thick as you can get them.  I won't let anything smaller than 14 gauge anywhere in my gear, and I prefer 12 gauge.  As a comparison, the NEC (electrical code) won't let you wire any 120VAC service in any house or commercial building with anything less than 14 gauge wire, and higher gauges are required for long runs (to meet Voltage drop requirements).  12 gauge is required for 20 Amp circuits.


    Hope this helps....

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