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Everything posted by SteinbergerHack

  1. Hard to say which was the worst loss - there have been a few. Probably my first Les Paul - an early 70s clownburst Deluxe. I got it when I was 16, then let it go when I was 19, because I started playing with a band that had an endorsement deal. Not smart. A very close second was the '60s Epiphone Casino that I traded to get the LP. :facepalm: I worked for two years delivering newspapers to get that guitar. I've never had a pedal that I missed after it was gone, and there's only one amp that got away that I would like to play through again today....but given the collection I have now it's probably more about nostalgia for the gigs I played with it than actual good sound. Now, the best sounding amp I ever got to play through was probably the house amp at a theme park gig I had for a year - an old Super Reverb that was just magical. I tried to buy it from them....no chance. It probably went in the dumpster when they stopped using live music.
  2. Can you not hear it in the altered timbre of the instruments and voice? Think "Chipmunks", but not quite so over-the-top.
  3. Honestly, I may be the odd man out on this view, but I absolutely DETEST hearing a recording that has been sped up or slowed down. It's like fingernails on a chall board for me. The poster child for worst of this was a particular chain of radio stations back in the late 80s that sped up nearly everything they played and cut down the intros and outtros to get "more songs per hour" while keeping just as much ad time. I remember hearing Aerosmith's "Rag Doll" played about 15% faster than normal and wanting to throw the radio across the room.... :angry47:
  4. Right. The Adamas-style tops get the service port on the back, because they don't have a single large soundhole to work through. Set up properly, they can sound very good, particularly amplified. Here's a quick direct-to-board recording that shows the sound of mine (pardon the weak playing....). No, it doesn't sound like an old Martin or J-200, but it sounds really good for certain things, IMO. https://www.soundclick.com/html5/v4/...songID=4628171 It seems that they did a lot of small-batch builds back in the day. In fact, I believe that they at one time did an annual short run of oddballs that they called a "collector's series" or something like that. Just because it isn't in the catalog today doesn't mean it isn't a "real" instrument - and it might mean that it was one of their top-tier hand-built specials.
  5. The action moved, but mainly from the top bowing outward where it cracked, thus lifting the back of the bridge. I don't see any of the other humidity tell-tales, but that doesn't mean it wasn't the cause (and I suspect that it was - I live in Wisconsin in a 150 year old farmhouse, so winters are unavoidably dry). I'll probably take it by Denny Rauen's shop and see what he says about it. Everything of mine he has touched has come back better than before, so I trust his judgment.
  6. Yes. The single screw is attached to a round 4-prong clamp that is loosely attached to the round plate with compressible foam. By loosening the screw, you let off the pressure on the clamp which allows you to slide the whole contraption to the side and open the access port. If you loosen it enough, you can wrangle the whole thing out, leaving a large round hole that would appear to be easy to work from. That's what I would expect. Trying to re-do a complete finish would likely change the instrument fairly comprehensively.
  7. Good thoughts - thanks. My shopping trip yesterday showed me that a new replacement I would be happy with is going to cost more than I thought, so the likely cost of trying to get it fully restored is looking more reasonable in comparison. I can say, though, that the new parts for the "Elite" series are not the same as what was on mine. This is one of the very earliest super-shallow Elites from the '80s, when the series was intended as a spruce-top Adamas, not an entry-level bedroom beater. It's certainly worth calling them up, though, to see if they would have any interest in a restoration project. Like most players, I have some fairly specific specs in terms of neck, sound, playability, etc., and the basic entry-level boxes just don't do it for me. Interestingly, when I really started working my way through a bunch of guitars, the ones that seemed to get me to where I want to be all cost about the same, and it's almost exactly what the old one cost new, inflation adjusted (go figure). I was also very surprised at which guitars worked well for me - a Maton and a Breedlove came the closest to what I like. There is some work ahead to figure out how to move forward. Thanks for the input, it's very helpful.
  8. Probably all correct, including the little secondary issues with the electronics and needing a fret job. All in all, trying to get everything done properly by the luthier whom I trust is going to be more than it's worth. I may eventually fix her up anyway for sentimental reasons, but I think that last weekend was her last gig.
  9. Well, it looks like my shopping will be for a replacement 6, not a 12. I opened my case this morning to find this: [ATTACH=JSON]{"data-align":"none","data-size":"full","data-attachmentid":32494791}[/ATTACH] The crack runs from bridge to binding, and is only on the seam anout 2/3 of the way. Looks terminal, and I guess after 35 years of heavy playing I got my money's worth out of it....but it still sucks.
  10. Yeah, they sound really nice once you learn to EQ them. I have a similar feeling about the larger bowls - the only one that feels right to me is the super-shallow bowl. Trouble is, they don't make a super-shallow 12 anymore. I wonder about setups. I found the ones at GC were all over the map - including a $2,500 model that was truly unplayable - the strings were literally laying on the frets. How can ANY business have that sitting on the floor as a "high end" model? I've just about given up on my desired price range. I can't find anything in stock anywhere to play that isn't either the low-range models or a lot more than I want to spend. FWIW, I have zero interest in buying an instrument sight unseen. If' I can't go play it in a local store to see how it sounds and feels, I am not interested. "Local" for me includes Chicago, so it's not like I'm expecting the local reed-and-string shop to carry a wide range of guitars just for me to play.....
  11. [QUOTE=Red Ant;n32493688] The B side - the "live side" - is amazing. The title track in particular, as well as "Envelopes" contain some astonishing writing and arrangement. [/QUOTE] Agreed. Whenever I think of that album, I hear the "game show" xylophone runs from the title track run through my head......:lol: That song puts a grin on my face every time!
  12. [QUOTE=Red Ant;n32493452]When it comes to "rock" music, I think this is the longest run of consecutive great albums of all. The Grand Wazoo [...] Joe's Garage Acts 2 & 3 By the mighty [B]Frank Zappa[/B]! [/QUOTE] :lol: You left out Ship Arriving Too Late to Save a Drowning Witch. Yes, Valley Girl was a shameless sell-out by Zappa standards, but the rest of the album was pretty good.
  13. [QUOTE=Zooey;n32493229] I'm a middle aged dude and there are maybe 6 Rush songs that I have ever heard on the radio, ever. Half of those are on Moving Pictures or later. [/QUOTE] ???? Spirit of Radio? Closer to the Heart?? Bastille Day? Fly by Night? Working Man? The Trees?
  14. [QUOTE=Phil O'Keefe;n32493146] Oh yeah! :philthumb: Except I think I would have listed Sheer Heart Attack too... [/QUOTE] I was on the fence about where to start. Killer Queen almost gets it there by otself, but IMO NatO is where their best whole albums start. YMMV.
  15. Night at the Opera Day at the Races News of the World Jazz
  16. Extreme Pornograffitti Three Sides to Every Story
  17. [QUOTE=onelife;n32492673]I don't know if this counts but... The Gist Of The Gemini - Gino Vanelli Long Misty Days - Robin Trower Hideaway - America Wired - Jeff Beck ... are all albums, released in 1976, that Geoff Emerick was somehow involved in recording[/QUOTE] Hmmmm..... not sure I would have picked any of those as top examples for the artist, except maybe Wired. Brother to Brother? Bridge of Sighs?
  18. Dark Side of the Moon Wish You Were Here Animals The Wall
  19. Not the BEST, per se, but very SUCCESSFUL: Grand Illusion Pieces of Eight Cornerstone Paradise Theater Of course, they managed to follow this run with one of the WORST albums ever (Kilroy).
  20. Understood. Trouble is, I would also have to buy a larger rack to accomodate it (yes, it's that tight, and intentionally so). Given that the one it's in is less than a year old, it's more than a bit annoying. :bangheadonwall: I guess that this is the penalty for buying Brand B. Poor design quality....you get what you pay for.
  21. I use a XR12 in my guitar rack to pre-mix all of my various instruments (electric, steel-string, mandolin, etc.). I use my phone to connect to it with the xAir app, which has always worked just fine. I do the same thing with my X32, and have never had a problem with it. Last night, I showed up at the gig and the WiFi refused to connect. After a couple of resets, I finally got the WiFi to connect, but halfway through the app connecting to the console, it disconnected again and refused to reconnect. After multiple rounds of power cycling and resetting to no avail, I finally gave up. Trouble is, I had my mandolin channel muted and had no way to turn it on. The show was sold out, so I assume that there were a lot of devices in the audience...but that's no different than in many previous gigs. Two questions: 1) Any idea of the root cause, and is there a way to fix it? 2) Does anyone have a work-around? Once the show starts, I cannot dig into the back of the rack and try to make repairs, and without a physical interface I am backed into a corner if I need to make an adjustment. (I do a lot of theater work, so I cannot just stop and take a break or delay the start of the performance.) HELP!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
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