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Everything posted by SteinbergerHack

  1. Not a fan, just like I'm not a fan of the pedals that try to emulate acoustics guitars from a solidbody. If it doesn't sound right acoustically and vibrate right in my hands, I have trouble playing it, no matter what is coming out of the PA. In any case, for the price of a Variax I can get a real guitar.
  2. Good options to try and find! Not an option. The point is that the books I get handed often call for 12 string acoustic. I have never seen a theater book call for nashville tuning or electric 12....yet. That said, I jist finished tech rehearsal for a show where I am playing electric solidbody, steel string, nylon string, mandolin, and ukelele. It calls for 12, too, but I'm covering with a 6. Typical theater book.
  3. Honestly, I'm not interested in buying a guitar that I can't play first. I tend to buy good instruments and keep them forever, so I'm just not into trading around or getting something I might have to aell off or return. That said, I am willing to burn a day and drive a reasonable distance to check out a likely candidate.
  4. I found the Taylor to be the best of the high-volume ($500-800) models I've played, but then I made the mistake of playing the $3k Gibson. I think that the difference between them is really significant in volume, sound, and playability, so I am looking for the middle ground.
  5. Generally speaking, yes. I run everything through a console with an output for my monitor and an output for tech.
  6. Well....yes, of course. More to the point, I am trying to determine the minimum price point to get to what I need/want, and get a sense of what to look for to achieve that balance. For my main electrics and amps I have spent the big $$$ to get precisely what I want; this is more of a second-tier support instrument for me, so it's hard to justify spending $3K+ for something that will only get 5-7 minutes of playing per night. Good input - thanks. I've been doing something similar and it just doesn't do the trick. I need the real thing.
  7. The majority of my use for a 12-string is musical theater work, so there's generally no need for odd tunings. Playing style varies from week to week, depending on the show I'm playing...and some shows change genre from song to song. What I need in any instrument is a solid workhorse that is stable, reliable, holds tune, plays well, and sounds decent. It doesn't need to be the 100% perfect-sounding recording instrument; it just needs to sound right - intonation issues and unusual sounds aren't welcome in a pit gig. Are Guilds the same guitars that they used to be? Does anyone know if the change in ownership has had an impact for better or worse?
  8. I played a Taylor 150e and found it to be really, well.....uninspiring. Same with the lower end Guild (2512) at a big-box store, but I've played some really nice Guilds in the past. Need to find a 1512 to play......
  9. Short version: I need a 12 string and wpuld prefer not to pay the full $3K for a Gibson Songwriter. What do you guys recommend in the $1,000-$1,500 range? Not a fan of the $500-800 ones I've seen at GC, etc. Long version - I do a lot of theater pit gigs, and it seems that nearly every book calls for a 12 on one or two songs. I've been getting by without, but I really should get something the sounds decent, holds tune well, has a decent pickup, etc. Needs to be good enough for serious paying gigs, but it won't get used enough to merit paying an arm and a leg, though.....
  10. Honestly, I have a couple of my own that I carry for playing acoustic gigs, as do all of the upright bass players I know. It seems kind of silly, but too many times you get a crappy folding chair or a tall chair with arms (i.e., unusable for a guitarist/bassist). To be fair, if a club owner asked the band manager to "bring drinks and beer", we would generally not have a clue as to how much of what to bring, brands desired, glassware, etc. They are expert at their part of the overall product, and we are the experts at our portion; as much as it may annoy us when they get it wrong, we have to remember that most of them know as much about mixing a live band as they know about calculating a lunar approach trajectory.
  11. Generally a couple of guys on stools with steel-strings. Truth. I have a pretty basic setup with 7 powered main/monitor cabs and two subs (Yamaha DXR/DXS), with a rack X32 console. Better than the crappy clubs, not as good as one with a "real" system. I don't haul it around without some $$$ being on the table - though I often don't charge my own bands anything above an even cut.
  12. Well, this certainly makes sense, as we all know that in the end we are beer salesmen, not musicians. That said, a club that gets a reputation of having better performers will likely end up drawing better crowds over time, and people will definitely stay longer and drink more if the environment is enjoyable. I might drop in once just to keep the relationship up, but I honestly see no potential benefit for any of my regular gigs. These places aren't going to hire a 7- or 8-piece horn band, nor do they build any influence over my steady diet of theater pit gigs. FWIW, I stopped in to look at one of these two places the other night, and there was NO backline provided, two mics on straight stands, one crappy monitor and one small "$h1t on a stick" FOH speaker. A few years ago, they were putting actual bands in the same space, but the bands had to bring their own gear. Heck, the rehearsal sound rig I have in my barn would be a massive upgrade.......
  13. I have seen a trend locally over the past couple of years that has me concerned. Several of the local bars have abandoned booking bands, and are holding "open mic nights" instead. These bars aren't my normal clientele anyway (they never did pay enough for my groups), but it got my attention when a couple of friends asked if I would come join them and play a few tunes. These guys don't play actual paying gigs, so they just see it as a fun time with buddies drinking beer and don't give it a second thought. From my perspective, it is a matter of the bar trying to get free "entertainment", knowing that the 10 guys who all show up to hack their way through a half-dozen covers each bring a couple of friends and buy a few beers. I get it, and can see why the bar would do it as long as they can put people on stools with glasses in hand. That said, it rubbed me wrong when a singer friend asked if I would come sit in "to help raise the bar on stage and put on a good show". From my perspective, why would I go "put on a good show" for nothing when I am already booked with paying gigs for the next 8-9 months? If the owner wants to "raise the bar", I am perfectly willing to accept a paying gig there - and I'd host the first set as open mic if they would like me to....but not as a freebie. I'm pretty certain that my buddy honestly just wants to have me help him sound better on his stuff, and probably never considered it from my perspective, but I still feel that we (musicians) shouldn't be supporting a "give-away" to a bar that isn't booking acts and paying them. If the bar did open mic nights mid-week, then booked bands on the weekend, I would probably feel differently....but they don't. Am I being unreasonable in viewing it this way? Any thoughts on how to deal with this sort of request without coming across like a jerk?
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