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SteinbergerHack

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Posts posted by SteinbergerHack

  1. 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.)

    Help!

  2. 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......

  3. 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
  4. 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
  5. 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?

  6. 5 hours ago, Jeanine said:

    Hi I have a beautiful F512 for sale I am the original owner and it is in excellent condition. The serial # is 121991. If you are interested please email me and I will send you photos and details. Jeanine

    Well, I bought a 12 string less than 24 hours ago....just a day too late, I guess.

  7. Play as many guitars as you can in your price range, and pay no attention to what's on the headstock, nor what anyone on the internet says about them.  The guitar that will work best for you is then one that feels best in your hands, and that you enjoy playing.  Within your budget, nothing else really matters.

    • Like 2
    • Thanks 1
  8. Well, I pulled the trigger and got two guitars yesterday - the 814ce and an Ovation Standard Elite 12-string.  These should be nice additions to the collection, and I don't intend to let go of either of them any time soon!

     

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  9. I am looking at purchasing a used 814ce later today - a newer one with the V-bracing. The price seems OK for a used example, but I find myself wondering why someone might have let this instrument go. It sounds great and plays very nicely, and was my second choice after playing a couple of dozen instruments at multiple shops (the first choice is just too much $$$).

    SO:

    1) Any ideas why someone might buy this sort of instrument and then let it go after less than 2 years?

    2) Is there anything that I should be wary of or give extra inspection to for this model? I didn't see any visible defects or damage, but want to know if these have any common defects or known problems to check for and/or avoid.

    Thanks in advance!

  10. 8I definitely still buy hardcopies of music, and BluRays as well.  I don't like the quality of streaming, and I like to be able to listen to specific things on demand.

    If you don't own the hardcopy (which includes a digital rip on your local storage device), the song or movie may disappear completely or get temporarily pulled back.  Yes, I've seen it happen with specific titles as part of a market timing approach.

  11. My thoughts will have to side with your ears and hands. You're the one in the pit and know just exactly what's needed to aurally punch through it. I've never even touched the guitars you chose (settled on), but I have played other Taylor 12s and Ovation 6s. Not terrible guitars, just not preferences.

     

    Yes. The key for most of my gigs is having a very crisp attack, plenty of sustain, and a wide dynamic range. Interestingly, I was at a rehearsal this evening for a show that I am acting in, and one of the other actors commented on some specific part I played in another show that he really found impressive because of the way it cut through and "soared over the rest of the orchestra" (honestly, I didn't even remember the part he was talking about, but I guess it was ok?).

     

    Anyway, I think that the Guild was also a very good-sounding guitar - I just couldn't make it work for me physically for some reason.

  12. So, for the six strings, I played a number of various Taylors, a Breedlove Concerto E (myrtlewood), and a Maton Messiah EM100CE.

     

    I found the majority of the Taylors to be a bit flabby in their sound, and just didn't have the clarity and distinction in attack that I like. My preference seems to generally go towards spruce/rosewood amd all of the attack that rosewood brings, and it seems that the lower end Taylors just don't execute this in the lower models.

     

    The 814CE, though, is another story. It still has the stronger midrange that the other Taylors have, but the picking definition showed up when I grabbed the 814. It was a bit stiff to play, but I think a setup can sort that out. Not inexpensive, but this is a serious guitar.

     

    The Breedlove played VERY smoothly and had a great tonal balance....but it just wasn't very strong. It would be a wonderful parlor guitar, but I can't see it holding up volume-wise an any group setting. Beatiful workmanship and wood, though, and it really sounded nice.

     

    Then there is the Maton. This guitar gave me the precise sound that I hear in my head. Yes, THAT sound, and it felt as if it wanted to make the sounds I wanted before I even moved my fingers. Fantastic! Unfortunately, there is this issue of budget......and the question of whether I can really justify taking an instrument like the Maton (or the K66) into outdoor stages and tight orcheatra pits to get beat up...

     

    In the end, I decided to go with the 814CE and the Ovation Elite 12. The total spend is less than either the K66 or the Maton alone, and I will have covered both instruments with very nice guitars, even if they weren't my absolute first choices.

     

    Thoughts?

     

  13. Redux:

     

    The general opinion is that my long-time main six-string is not repairable as I would like, so I went to do some shopping yesterday, and played a bunch of 12s and 6s to see what my options would be within a moderately limited budget.

     

    12s - I played a Gibson Songwriter, Guild 1512, Taylor 752, Taylor K66, and a used Ovation Elite (and a bunch of others that didn't get anywhere close to consideration.

     

    The Gibson I played is a well made guitar, but doesn't have the volume or sustain of others at the same price point. It is quite different from another of the same model that I played a few months ago, so there seems to be a lot of variance between examples. Not my favorite.

     

    The Ovation played very well, and was comfortable for me, though I generally do not prefer the deep bowl backs. Weak on the bottom end, but can sound very nice amplified with the right EQ setting (which I have no issue with, having played these things for years). Unamplified, it has all of the sparkle you want from a 12, but lacks depth, IMO Good for use in ensemble playing, but maybe not for solo work (unless you are covering a lot of Melissa Etheridge).

     

    The Guild immediately showed the signature 12-string sound and volume - very, very nice. It hurt my hand to play, though - it just felt very, very stiff and the neck didn't suit me. It also did not have a cutaway or pickup, so I removed it from consideration. Wonderful sound, though.

     

    Taylor 752CE - Great balanced, detailed sound, very comfortable to play, and louder that you would expect a small body to be. Easy to play, and I really like the wood binding and other craftsman-like details. This is a VERY nice guitar, and came very close to winning me over on the spot, until I played the other Taylor.

     

    Taylor K66CE - Koa for a 12? Really? Yes, really. It works. A bit more focused, sharp sound than the 752. Every string is clear, well-defined, and there is tons of usable dynamic range. Larger body, louder, and a bit more effort required to play than the 752, but this thing won my heart.....unfortunately it also exceeded my budget. Time to bring in the wife for approval and/or a second opinion.....

     

    The 6-strings and final verdict will follow shortly.

  14. As I said in another thread on this subject, pretty soon you won't be able to use a snare backbeat on 2 and 4 or a I IV V chord progression without risking a lawsuit...

     

    I think we need to return to the idea of a jury of our peers - at least on something like copyright infringement lawsuits. The juries should be comprised of musically educated people. The general public - the average folks who wind up on copyright infringement juries - apparently totally lack the basic understanding of musical fundamentals to the point where they really don't seem to be able to make knowledgeable, intelligent and fair decisions on what is, and what isn't legal in terms of copyrights and infringement anymore.

     

    The lawyers in these cases work very hard to prevent anyone with any useful understanding of the subject from being seated as a juror.

     

    I was tossed from an auto liability jury once when they discovered that I had the training and experience to drive race cars. The contention from the lawyer was that I might discount expert witness testimony and apply my own knowledge instead. :idk:

  15. You’ll get no disagreement from me. It’s just that I don’t think telling anyone this will make a difference.

     

    I saw this decline in pay begin as soon as the “weekend warrior” and “dad band” thing started happening in the 90s. All these older guys who never played professionally suddenly now had the money to buy expensive gear and got together with their friends to pay for fun. It was no problem for them to play for less so they did. And the venues were happy to them. And the quality went down as well, but the venues didn’t care as long as the bands brought their friends out.

     

    Then people started valuing “live music” less as the quality declined.

     

    Downward spiral and so here we are.

     

    Well, that pretty much sums it up. This is what largely drove me out of "band" work and into theatrical music. I work with pros and semi-pros, everyone gets paid, we play for more than 50 people at a shot, and the audience and promoters give a rip about a quality product.

     

    Yeah, I still do some band gigs, but since we refuse to work for nothing (or close to it), we don't play as often as a similar band would have when I was in my 20s.

  16. . There is the X32 Rack as I'm sure you know that has accessible controls on front but it is a step up in price.

    I already have one. Too deep for the rack space I have available, and it lives in my PA rack, not my instrument rack. You are correct, though, that it would work for the intended purpose, just at way more cost, size, weight and complexity than a simple analog rack unit.

     

    I realize it would be a Hot Swap and you may have to ask the FOH to mute your send for a moment but it may get you through until you picked up a analog sub mixer.

     

    Absolutely not an option. The FOH guy sits in the tech bridge, I'm in the pit, and there is only one break in the show (intermission), during which everyone is full-bore setting for act 2.

     

    These are live theater shows, not bar gigs in a "dad band". Everything - EVERYTHING - happens in sync with a predefined set of cues. The entire 2-1/12 or 3 hour show will run within 1 minute of the same length every single night - there is no room for mistakes, miscues, or special requests. If I came in with a request like that, it would be the last theater gig I would play in this area.

     

    Have you ever been to a broadway show?

  17.  

    first, I would send all instruments directly to the main mixer. Get rid of the submixer.

     

    Not an option. Have you ever worked musical theater? I only have one send to the FOH console for all of my instruments, and I have to control my own monitor mix.

     

    Next, if you have an X32 as your main mixer, just use a tablet or phone to control the mix or submix directly through the.X32.

    ​​​​​​

    Even if I had access to the FOH mixer, I still couldn't do this. The channel setup starts with 20 wireless mics, then the stage mics, pit instrumentation, FX cues, etc. I am allocated one channel for guitar/string toys, period.

     

    Last, the wireless router is the issue with the XR12. The reason the X32 works well is that it is using an external wireless router....it doesn't matter where it was purchased from. A router purchased at Walmart is not good or bad because of where it was bought.

    ​​​​​​

    True, but the bigger issue is that there is a usable front panel on the X32. Ease-of-use is marginal, but it gives a way to fix something if the WiFi goes out.

     

    For people doing Solo or duo work, tht XR12 is a fine solution with a decent router. Far superior to an analog mixer IMHO.

     

    Maybe for an open mic night or equivalent playing for 30 people, sure. I am now of the opinion that it simply is not suitable as a professional use device for mid-size and large venues, though.

     

    If the first thing you say is that it needs an external router, why did they put one inside it that doesn't work? IMO, it would be better to leave it out of the product than have a feature that doesn't function in a performance environment. I would not have bought it knowing that the router didn't work - I would have stuck with a simple 8 channel rack analog, because they are reliable.

     

     

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