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Everything posted by SteinbergerHack

  1. Good point - my Steinberger has an active tone control with boost and cut, so I normally set everything up with it in the center then boost or cut as needed. I never do that with my passive guitars, though.
  2. The company that made it is long out of business - it's a Matsumoku guitar from about '84. 500k, splined, likely a long shaft because it's rear-mount (similar to a Les Paul routing). The link looks like it will get me there - thanks!
  3. Question: I have an '80s superstrat in HSH configuration with three push-pull pots, (1) volume, (2) tone. All three are DPDT, the switches are (IIRC) coil-tap, phase, and center p/u enable. I need to replace the volume pot, and I'm not sure where to go for a direct replacement. Any ideas for source, and/or a spec or part number? I love this guitar, but the erratic volume pot has reached the point that I can't gig with it until it's fixed.
  4. This. As long as you have steady revenue and show a small profit every 2-3 years, you can deduct your years of losses on gear purchases. Some of my work results in 10-99s, so I have no choice but to report to the IRS - I do it every year.
  5. It depends on the cabinet you use and the band you're playing with. The cabinet/speaker pairing can have an efficiency difference of as much as 10dB - that's literally twice as loud with the exact same input power. Here's a good reference brochure - you can see that Celestion speakers range from 94-100 dB @1W. Add to that the differences in cabinets and it starts to add up. https://celestion.com/files/brochures/Guitar_Speaker_Catalogue.pdf
  6. The core issue here is that a guitar amp is the wrong device for a steel-string or classical guitar. A guitar amp intentionally colors the sound of the instrument, and you don't want that coloration when amplifying a steel-string or classical. The correct approach for an acoustic is to use a PA cabinet or equivalent, not a guitar amp. In order to have a single rig for both, the best solution (IMO) is to use either a modeller/profiler or a tube head with a loadbox/cabinet simulator. From there, go into small mixer (I use a XR12) that feeds a standard PA monitor cabinet. Run the acoustic directly into the mixer on a separate channel from the electric feed. Personally, I use a Bogner XTC feeding a Torpedo Live cabinet simulator, then run my acoustics direct into the board. The board then feeds my onstage wedge monitors, and this also gives me a single feed to the FOH system. No mics are needed onstage, which makes life a lot easier for the sound techs, and I can also mix the vocal monitor feed into my wedge(s), which cleans up the stage and helps with keeping the levels balanced. It sounds complex at first, but once you get it set up and working properly, it actually makes setup and soundcheck very simple and easy.
  7. Flexibility? Yes, there's no question about that. Sounds better? I can't see that even now, perhaps never. Given that the entire purpose of the Kemper is to copy the sound of a great amp, even if it were perfect it would sound just as good as the amp, not better. I am sitting in front of a Kemper toaster as I write this, and while it does indeed sound very, very good, it's not "better" than my Bogner XTC, JCM800 or MP-1.....but if I want a sound other than those three amps in my collection, the Kemper is the only way to get there without buying yet another tube amp. I am contemplating buying a Kemper for pit gigs - the size and flexibility is perfect for that sort of work. I won't get rid of the tube heads yet, though. For band gigs, the XTC just plain feels better to me and pulls more creativity out of me. YMMV.
  8. Sorry, but this has no relationship to the way audio systems work. A guitar cabinet has a very non-flat response, and this response is part of the overall sound of the amp. In contrast, PA cabinets are designed to get as close to a perfectly flat response as possible. A regular old tube amp connected to a good PA cabinet is going to sound very gritty and harsh - nobody is going to like the sound very much. It won't damage the speaker, though, unless you exceed it's power rating (or if you connect the speaker output of the amp into the line input of a powered cabinet, which will rapidly let the magic smoke out of the electronics). That said, a modeler or profiler will have a cabinet emulator section that will get very close to the sound of that amp played through a cabinet and mic'd - and that signal will sound very good through a PA cabinet (and won't sound very good through a regular old guitar amp cabinet). In the end, various kinds of cabinets are designed for specific purposes, and will function best when used as intended. [Note that the supposed "FRFR" modeler cabinets are really just plain old PA cabinets with a different logo and a higher price tag. Caveat emptor.] [FWIW, the "wavelength" of a kick drum or bass guitar signal coming from a PA is far longer than anything a guitar will ever produce. Wavelength is inversely proportional to frequency.]
  9. 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.
  10. 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.
  11. Why? Because it's cheap, easy, and works.
  12. 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.
  13. 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).
  14. 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!
  15. 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.....
  16. 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.
  17. 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.
  18. 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.
  19. The Kemper is supposedly different, which is what I want to find out.
  20. Perhaps, but even so, I find that I use all three amp channels and the two boost functions constantly, on top of the basic choris/reverb/delay/comp programs. My core combinations are probably two dozen or so that are just generic sounds, then a few dozen more that are specific to artists or cover songs. .
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