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Posts posted by SteinbergerHack

  1. 28 minutes ago, erok123 said:

    You probably don't want to hear this, but why not just grab a blues jr. or an ac15? Do you need a modeler?

    I have some really good amps already.  The point is to have their sound (or extremely close) without having to take them out.  If I wanted the sound of a different amp I would already have it.

    • Like 1
  2. 3 minutes ago, Phil O'Keefe said:

    So why not just go through the presets then?

    There are hundreds, so it's not something that you can do in a short audition session.  It's also not clear from the naming exactly what they are, which makes it even more user-hostile, IMO.  Once I get my own setup built, I can easily remember what my own patch names mean, but figuring out what " ACE - CF Rh Zillah " is intended to denote is a bit obtuse, iMO.

  3. 22 minutes ago, Hoot Owl said:

    Stevie Ray wouldn't use a modeler. Neither would Brian Setzer. Or many others.

    I view modelers as production, not art. But I'm of the opinion that it's a hard task to find the right tube amp. Once you do though, the glory.

    For your use, a modeler may indeed be the ticket.

    Well, the Kemper isn't a modeler, per se.  It reproduces the sound of your amp - you actually let the Kemper play through your amp to develop the map.

    I agree that finding the right tube amp is a long, arduous task - and I really love what I have with my Marshall and Bogner.

    I haven't found a modeler that I like at all, but the profiler (Kemper) actually does what I am looking for - reproduce the sound of my existing amps, but at a much lighter weght.

  4. 26 minutes ago, nedezero1 said:

    Well there's a couple of ways.....

    You can search YT or forums for folks who have created patches to play songs you know to see if they're close. Maybe get a couple of MP3s to listen to in a car.

    Yeah, already did this to get a sense that it might make sense for me - but that doesn't give me a sense of the "feel" nor of how it works in real practice.  I play a lot of gigis in a wide range of environments, so I need something that's easy to use and intuitive, as well as maintaining the quality of sound that gets me those gigs.

    26 minutes ago, nedezero1 said:

    Or you can test drive someone's who uses theirs regularly for gigs etc.

    I have a buddy at work who has one and has offered to let me borrow it...but he is a bedroom-only player and doesn't have a gig setup.

    33 minutes ago, nedezero1 said:

    I know a guy who uses AXFX fairly regularly and aside from patches, the way in which you use it also determinative. 

    For instance, would you be plugging direct into a mixer-PA? Or using a power amp/cab like a tube amp?

    If the later, a solid state amp or tube?

    My most common rig setups now are either (1) running my head (Bogner or JCM800) into a 1960A cabinet and a Torpedo Live (loadbox / cabinet sim) which generates the FOH feed -  OR - (2) doing away with the cabinet and running the output of the Torpedo into an XR12 which feeds both the FOH and a wedge monitor for me (the second is for when I am also using acoustic instruments that go into the XR12).

    For the Kemper, I am thinking that I would go to setup 2 for all gigs, and just use the XR12 and a monitor wedge.

    41 minutes ago, nedezero1 said:

    Edit: Keep in mind tube amps are similar to modelers except they're for men. ;) :lol:

    Hey now!  I'm not getting rid of my tube amps - I just don't want to be hauling them out every weekend.

  5. This is going to sound really dumb, but:

    For those of you who use digital/modeling/profiling amps, how do you go about auditioning an amp?

    I have never had a problem getting a feel for what a basic tube amp sounds like from simply plugging in and dialing in some gain and tone settings - about 2 minutes in I can have a sense of what the character of the amp is, and what sound it will give. Even a complex one like the XTC or VH4 has a personality that you can sort out pretty quickly. I don't use pedals for any gain or distortion (all amp), and all of my time delay and EQ is rack FX, so I'm only looking at the raw amp emulation.

    I want to go test-drive a Kemper to get a sense of whether it will do what I need/want for live use, but I really don't know where to start, and I don't want to spend hours fumbling around trying to figure out how to get to a basic set of sounds. OTOH, it's enough $$$ that I don't want to just risk-buy based on a bunch of internet reviews and Youtube clips - I really want to get a sense of how the thing operates and how easy it is to set up a basic sound, then navigate around among the rigs/patches.

    Any suggestions on how to start? Help!?!?!?!?!?!

  6. 1 hour ago, Skizzly said:

    Hello I am trying to troubleshoot a tube amp I got from my friend. He says it was very distorted and strange when he would play it. When i opened it up I found that the PCB had gotten so hot that some resistors across the tubes had desoldered themselves and fallen out of place. This was an easy fix and I replaced them with new ones of the same value. I also replaced the power tubes because I assume the old ones were not happy after all of this abuse. I have a set of 8ohm speakers that I wired up in series and connected them with the OT set to the 16ohm winding. The sound that came out was HEAVILY distorted and had volume spikes associated with how hard i would strum. It sounds like a noise gate opening up, with some bit-crush level breakup and artifacts. 


    After this I tried connecting it to two 8ohm wirewound resistors, also connected in series, so I could run a function generator into it and inspect the output with a scope. Sure enough it folded the {censored} out of the waves and it looks like a heavy distortion effect. Also i noticed the amp would create its own whine in the same freq as the input from the function generator. Is this normal for tube amps?


    I am a certified electronics tech but i an not very familiar with tube amps, any help would be greatly appreciated!




    Have you scoped the signal before the output transformer?  What about the V+ rail - is it stable when playing?

  7. 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.

    • Thanks 1
  8. 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.


    • Like 1
  9. 28 minutes ago, Red Ant said:

     music exists to express our "inner" world - ultimately, music is an emotional language.

    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.

    • Haha 1
  10. On 2/12/2007 at 12:30 PM, FourT6and2 said:

    Basically, I'm torn between a stunning Taylor 810-CE Ltd Cocobolo/Sitka Spruce or spending $700 more for a used Santa Cruz OM Rosewood/Spruce.

    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.

  11. 23 hours ago, t_e_l_e said:

    almost 25 years ago i made a decission not to make music my profession, because i could not think i would able to make music 8 hours a day, especially if you have to play/make music what you get payed for whether you like it or not.

    i was into computers so i made that my profession, and made music my passion and promised myself never play anything i didn't like myself.

    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).

    • Thanks 1
  12. 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....:freak:

  13. 23 minutes ago, kwakatak said:

    My apologies. I know people love their Ovations but I could never keep them put on my knee. It was very frustrating.

    I understand all about those package deals and 12 strings. The Epi 12 string in my sig is utterly unplayable. The action is so high I could probably use it as a crossbow. The shame of it is that somebody actually paid for it to gift it to me. I can't just toss it, but I can't sell it either. It's like the proverbial white elephant.

    Getting back on topic though, have you ever looked into a Dunlop rolling capo? It's basically a big spring with a big rubber boot on the back. I just keep it on and if I don't need it I roll it up over the nut.

    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.

  14. 28 minutes ago, garthman said:

    Oh I think $350 is ample money to get a good guitar. There are so many good guitars around these days that it's hard to go wrong.

    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.

    • Like 1
  15. 1 hour ago, kwakatak said:

    I'm biting my tongue HARD on not bashing Ovation but if the OP likes it, who am I to argue? Personally, I think Taylor is hitting it out of the park with their current incarnations of 12 strings. No comment on the new V bracing. Electric players seem to like the Taylor necks though and even the lowly 150e is worlds more comfortable than playing on a baseball bat epoxied to a salad bowl.


    Sorry - couldn't resist! :D

    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.



  16. 6 minutes ago, Freeman Keller said:

    Never tried one.   However I did learn a neat trick for neck carving.   I've always had trouble getting the back of the neck perfectly straight and at the correct depth when hand carving.   I now start off by tapering the neck stick with a Safe-t-planer by putting a little shim under the nut end.   When I get the final thickness I just maintain that in the center as I carve away the facets

    This is quite a bit of thread drift, sorry 'Hack

    No worries - interestng stuff!

  17. 6 minutes ago, Freeman Keller said:

    I have three 12 strings and a Shubb 12 string capo fits them all just fine.   However the only thing I use a capo for on a 12 string is setup - mostly I'm tuning them down or open or both so a capo is kind of unnecessary.   I also have one of those old double strap capos left over from the hippy dippy 70's - as I recall they really threw the tuning off.   Which is nothing surprising on a 12 string of course.

    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.

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