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SteinbergerHack

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Everything posted by SteinbergerHack

  1. Have you scoped the signal before the output transformer? What about the V+ rail - is it stable when playing?
  2. Solid wood vs. laminate, which changes resonance. Quality and type of wood - plain basswood vs. mahogany vs. maple, rosewood, rosewood, ebony, etc. Quality of components (pots, caps, pickups, bridge saddles, etc.) Fingerboard material Assembly details - fit and finish, binding, inlays, etc. Sound quality (subjective, but there IS a difference). Setup details - neck stress, fret accuracy, bridge placement, etc. Resale value, bragging rights, ego.
  3. First was a very cheap Sears/KMart strat-style that my uncle gave me when he went to college. It came with a solid state amp with a 5" speaker and maybe a half-watt of solid state power. Not long after starting to play it, I realized it wasn't going to get me anywhere so I got an original Epiphone Casino from a friend. I wish I had never sold that guitar.......oh, well. I also got this amp, new. It took me about 6 weeks at full gain to burn it up, IIRC, at which point I started the upgrade cycle.
  4. I've played through tons of amps over the past 25 years - Fenders, Marshalls, G-Ks, rack rigs, etc., and this one is the best single amp I've found yet. I'm keeping my Marshall and my MP-1 rack stack, but the Bogner will be my main gigging rig. Again, you might find a particular amp that's better at a given application, but this is a great-sounding amp that is extremely versatile. Of course, everyone has different tastes, so you may not like it as much as I do. As it stands, the single biggest detractor is that it is SO versatile. Keeping up with where everything is set can be a bit tough to get used to - it certainly isn't like using an old non-master Marshall with 5 knobs and an input jack! The only thing that could be a nice addition would be a MIDI control input. That said, there are several aftermarket units available that have more programmability than you would be likely to get in a factory option, so...... Bottom line: If you're looking for a serious workhorse multi-channel, multi-style all-tube amp, you should really find one of these to try.
  5. Yes, but is it a good as an Esteban?
  6. Yeah, I would normally agree with you. However, I played in a theater pit for a production of "Newsies" about a year ago. This experience cured me of any belief that music is an emotional language. The score might have been more honestly transcribed had the note symbols been printed as "$" signs.
  7. Right now I'm working on Tommy Emmanuel's version of Classical Gas. Toughest part is the chord sequences - they come really fast, and keep coming. My hope is to make it my general warm-up / soundcheck piece, and move away from Hole Hearted (which I'm getting tired of....).
  8. My 814CE feels better to me than the Santa Cruz' that I've played, but others may disagree - and in any case, both will be very nice instruments. From my experience, I would say that the build method differences between Taylor and SC will have a bigger impact than the wood (particularly so if the 810 is the new V-Braced version). Play 'em both and the differences should be obvious.
  9. FWIW, as I have grown older, I have found that what music I play is far less critical than who I play with. Right now I am headed to a rehearsal for one of the most banal, formulaic works I have ever played. However, I will be playing with good friends - including one Grammy winning player and several Broadway veterans. The songlist isn't the reason I accepted the gig, and neither is the paycheck (though it does pay quite well).
  10. Back to the OP - the Shubb S3V solved the problem. It's more than a bit finicky and really messes with the tuning, but it does in fact work.
  11. It's been out for a couple of months now, so has anyone tried it in the real world yet? It looks like it really be a great solution for low-key gigging - and nicely lightweight. It seems that over the past few years my trusty Bogner XTC just keeps getting heavier and heavier....must be some sort of relativistic physics going on, there....
  12. I've seen 'em from a distance, but never tried one out. I just ordered the Shubb S3V designed for thicker necks, so I'll see if it works and report back. The Ovation Elite 12 actually plays quite well, and the majority of the use it will get will either be standing with a strap or affixed to a Gracie stand, so the bowl-back doesn't create much of a problem for me. That said, I really would prefer one of the super-shallow bowls, but finding a 12-string in that form is, well, challenging.
  13. As always, that would depend on one's definition of "good". For a beginner, the most important thing is getting something that is easy to play and comfortable to hold. That is what will allow them to play more often and longer, which in turn makes their experience more likely to be successful.
  14. I came very close to buying a Taylor 752, and a K66 12-string was tugging, as well. However, I ended up getting a package deal on a Taylor 814ce and the Ovation - it was sort of a "do you want fries with that" add-on that fills the gap in my toolbox. I have a lot of experience getting a good sound out an Ovation pickup system, but there's no way to get there with a 150, as near as I can tell. So.....here I am.
  15. I saw that on line and that may be my "last choice" is nothing else will work. Thanks!
  16. The issues is that the Ovation neck is a LOT thicker than most 12-string necks, so the Shubbs I've tried won't open wide enough to clamp on, even with the stop fully turned out.
  17. Hmm...I guess I hadn't thought about that approach. I haven't seen one of those in decades, much less used one.
  18. I just got a new 12-string that has a VERY thick neck - "baseball bat" style. I grabbed my trusty Shubb to play a few of my stock tunes, and discovered that it will not clamp onto the neck. The neck is so thick that the clamp bar won't go around it, much less clamp on properly. I've looked at a few other capos in local shops and haven't found anything that would work - nothing. They all seem to be designed around a more standard neck thickness - even the 12-string specific capos all seem to expect a thinner neck. Has anyone else run into this? If so, what would you suggest? Not using a capo is not an option - and it might actually be a deal-breaker for the guitar (which is not cool to find out after I've already bought it and kept it for the better part of a week.) Help!
  19. Absolutely true. Today, some bedroom hacker can buy $500 worth of gear, cut 300 takes of his one and only song, then blast it out to the world. That would have cost an immense amount back in the 70s or 80s, and simply wasn't possible prior, due to the very limited availability of equipment and tape. Personal anecdote - when I was playing full-time and decided that I wanted to do some studio work, I took a simple.direct approach. I chose the local studio where I wanted to work, called them up and booked an hour to record a personal demo. About 15 minutes into the session, the engineer "took a 5 minute break", and went to get the studio owner to come listen. That hour of purchased studio time (and tape) ended up getting me a LOT of work over the next couple of years, because it showed the studio owner one simple thing - I cut every track in one take. You can't make that point with a basement recording on the internet...and maybe it doesn't really matter anymore anyway......
  20. Well, we get that great sound with only two ears. Yeah, back then, they had to put their effort into the basics - performance, mic placement, gain structure, etc. In order to have access to the best talent and equipment, you had to have proven your abilities.
  21. There is - the blue ball (or star) to the left of the thread title takes you to the first unread post.
  22. Thanks, guys. I grabbed a couple of Humidipaks as insurance while I get the long-term solution sorted out, so should be oK for the time being.
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