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Posts posted by SteinbergerHack

  1. 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?

  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.

    • Thanks 1
  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.


    • Like 1
  4. 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
  5. 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.

  6. 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
  7. 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:

  8. 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.

  9. 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
  10. 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.



  11. 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!

  12. 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.

  13. 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.)


  14. 4 minutes ago, 1001gear said:

    Gotta bring up the other part of the equation. Modern convenience leaves craftsmanship wide open for option hacks to proliferate.

    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......

  15. 12 minutes ago, Vito Corleone said:

    Yeah, I’m not really talking about modern compression techniques.   That’s kind of obvious why recordings done that way sound bad.  

    I’m just blown away by how they got such a great sound out of a full orchestra with only 3 mics. 

    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.

    • Like 2
  16. 1 hour ago, Phil O'Keefe said:



    Most bookmarks / redirects should work, although as Chris said in another thread, there were some redirects that we apparently missed. 

    The site's front page is completely unchanged in terms of URL, and sign up / password reset is much easier now than it was previously. We certainly don't want to make it hard for anyone - in fact, we've tried to make the transition to the new site as easy as possible, and we provided an email link in the latest edition of our HC e-zine (which went out on Monday to over 135,000 subscribers) for people to contact us directly in case they are having any trouble getting back into the site. 

    However, I was just checking that email account, and no one has used it to contact us with login issues recently. 


    If it's a multi-page thread, you'll see a list of page numbers right there on the link - each page number is a direct link to that individual page. Just click on the last number, and you'll be taken directly to the last page of that thread. 


    Screen Shot 2019-08-23 at 1.29.29 PM.png


    I'm not sure if there's a link that will take you to the last read post or not - I just left Chris Loeffler a voice mail asking about that... I'll let you know when I hear back from him. 



    There is - the blue ball (or star) to the left of the thread title takes you to the first unread post.

    • Thanks 1
  17. After losing a guitar to what was likely a fight with a very dry winter, I want to ensure that this doesn't happen again with the replacements.   We are rehabbing a 1860s farmhouse, so humidity control in the overall building is non-existent, at least for now.

    How do you keep your instruments at the target humidity, in and out of the case?

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