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SteinbergerHack

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Posts posted by SteinbergerHack

  1. 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.

  2. 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.

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  3. 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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  4. 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!

  5. 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.

  6. 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.

  7. 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?

     

  8. 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.

  9. 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:

  10. 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.

  11. . 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?

  12.  

    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.

     

     

  13. Your original post is below.

    I've been mixing more than 32 years

     

    So have I - since the early 80s.

     

    . If you don't feel ready to move to digital at least you found out without spending a lot more money.

     

    You didn't notice that I also have an X32? :facepalm:

     

    Taking the time to learn how to properly use WIFI

     

    I know how to use WiFi. I've been developing communicating products in my day gig as an electrical engineer since 1990 - and I have a handful of patents to show for it.

     

    Don't blame the user for a product that doesn't work properly.

  14. Do you really have to have wireless? Since this is for a guitar rack and your talking a theater pit why not use a cat 5 cable and adapter?

     

    Not sure how that works with an Android phone....? Hmmm.....

     

    I was reading on Keyboard Corner a guy uses the XR12 to plug all his multiple keyboards into. He has it set and never touches it. He plugs it into his powered speakers for monitoring and provides two XLR lines to the FOH. Seems to me for a guitar rack that's really all you need. A black box for providing multiple ins and outs that wouldn't need ANY adjustments during the gig.

     

    The config is basically what you describe - but the usage isn't.

     

    Pit gigs involve a bunch of different instruments - typical might be steel-string, nylon-string, electric, and a mandolin, often with very fast swaps. I have to mute the channels for the unused acoustic instruments when they aren't being played so that they don't ring/resonate/feedback, then turn 'em on just before the appropriate cues. Other than that, yes, there is very little "adjustment" going on during the show.

  15. I don't know. Set a router on the top of your rack. Plug it in and connect the cat cable. Not that hard.

     

    Have you ever worked in a theater pit?

     

    Let me be clear. There is not room in my rack and I do not want to have to add more junk to carry and connect. I would rather go back to basic analog than carry more crap. The whole point of this addition was to make my setup smaller, lighter and simpler. It's smaller and lighter, but it doesn't work and is not simpler.

     

    As far as a wifi analyzer it looks for other "Routers" in your area and the channels they are using. If there is 3 routers in the club your working in and they are all on channel 3 as an example then if your close to one of them and it has more power than the wifi in your mixer it will interfere with your communication. Just find a free or low use channel and change your router to that channel. Take a look at WIFI Analyzer. Its a free android app.

     

    I don't play clubs exclusively, and the problem isn't other routers.

     

    Imagine a Broadway-sized theater. Empty and during tech rehearsal, everything works fine. 10 minutes before the house opens, it works fine. 10 minutes after the house opens and a few hundred people are seated, it fails and will not recover. My X32 works fine in the same environment, so it is not a characteristic of routed concoles in general - this one just doesn't work properly in a live performamce environment.

     

    Once the house opens, I have very limited time to tune, set and prep. I don't have time to screw around with the gear during performance - it needs to work, period. Playing around with a WiFi scanner isn't part of the program - and shouldn't be necessary to begin with.

     

    I'm sticking with not suitable for pro use.

  16.  

    That's probably ideal for the kind of stuff you are doing - especially the show gigs where you are in the pit. That way you get to hear what you need and everybody else can get as much, or as little, guitar as they want through the foldback

     

    Absolutely! With a 9-piece horn band, it is very easy to get stage volume out of control - and then nobody is happy, because nobody can hear what they want to.

  17. That's a better choice. Sometimes the old analog world is indeed better.

     

    :D

     

    I've slowly abandoned all of my tube amps and gone digital. My main amp is a Yamaha DG80 which has served me well and required zero maintenance in the twenty years that I have had it - but I would not be able to troubleshoot or repair it in the middle of a gig. That being said, Yamaha does have a well deserved reputation for reliability.

     

    On the other hand, my Twin Reverb stopped working one night in the middle of a set. A puff of smoke came out of one of the input jacks. With a screwdriver and a spare fuse I was able to get the amp up and running while the band played one song without me. The problem was a short circuit in one of the 6L6 output tubes which physically blew up the corresponding screen resistor. It was obvious, when I slid the chassis part way out of the cabinet, which tube it was. I removed the bad tube and one from the other side of the push-pull circuit, replaced the fuse, slid the chassis back into the cabinet and was ready for the next song.

     

    I like the portability and versatility of the modern amplifiers but the old Twin served me well despite the maintenance required and the cost of replacing the tubes every year or two.

     

    Agree with everything you said here.

     

    I am really on the fence on the amp itself. I generally carry either a Bogner XTC or Marshall 3203 to gigs, run through a Two Notes Torpedo Live cabinet emulator, so it's a bit of a hybrid analog/digital system. I still carry the tube head, but not the cabinet. I hate dealing with the weight and size of the tube heads, but I just haven't found any digital amp that I like the sound of, aside from the Kemper.....and it's a bit on the expensive side. :eekphil:

     

     

    One thing I have found, though, is that doing away with the cabinet has given me much better control over stage volume. Running all my stuff through a wedge monitor aimed directly at me from downstage makes the guitar nearly inaudible to the rest of the group aside from whatever they want in their monitors, unlike an open-back amp that bleeds all over the stage. It also lets me dial in my sound on the exact same feed that the FOH tech gets. If I need more volume or wider coverage (outdoor stages), I just add a second wedge coming from the side or upstage. This also lets me run my acoustic instruments and vocal mic through the same monitor cabinet, which cleans up the stage and generally makes life easier.....which is where the XR12 was supposed to come in.

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