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Posts posted by SteinbergerHack

  1. Originally posted by Jimi Ray Halen

    you can't go wrong with a Fender for cleans, a Marshall for classic rock, and a triple rec for new rock.


    Or you can just get a Bogner Ecstasy to cover the Marshall and Mesa.... :thu:


    The Uberschall is probably the next step up from the Diesel.


    BTW, if Line 6 is so much better than tubes, why haven't we seen any of the REALLY good players (Vai, Slash, Satriani, Petrucci, etc.) talk about how much they loved replacing their tube rigs with one for their last album or tour?????

  2. Originally posted by emodot

    Really? I've only used two cabs that had input/output jacks, and they were both series wired.

    Highly unlikely. Every cabinet I've ever seen with 2 or more jacks, with the exception of a few customized jobs, has been parallel wired.

  3. Originally posted by theAntihero

    Im not entirely sure, so im hoping that someone here knows what happens when you daisy chain cabs. Ive always been a combo and extention cab guy myself.

    If you just plug from one cabinet into the other without changing the internal wiring, it's parallel.

    Truthfully, you should really unplug the internal speakers if you want to use two external cabs......but you can get by running a 5.333 Ohm load on the 4 Ohm setting - you shouldn't run it on the 8 Ohm setting though, as this will overload the output tranny.

  4. Originally posted by sandfly

    I'm not ignoring any theory . I just asked a hypothetical ohms law question . Just trying to find out what you know


    OK, fair enough.


    Sure PF matters but were talking about 10 foot of 14g wire to hook up an amp and speaker cabinet .


    Sure. The reason I pushed back (probably a bit too aggressively) is that I've seen WAY too many people assume that an AC circuit is just like a DC circuit, then apply Ohm's law incorrectly, ignoring capacitive and inductive loads. Speakers ARE non-linear loads and are frequency dependent, so you need to assume in your sizing that you have a good bit more current than a DC analysis indicates. NEMA wiring codes are aimed at 60Hz, which is darn near DC, and a good bit lower than we use in guitar amps; Agreed, it's OK for a 10-foot cable, but if you were looking at a 50-footer to go to the other side of the stage with a 100W head....


    Personally, I use a double-the-current rule of thumb to cover the inductive portion, which leaves you at 13 ga or better; 14 ga would be marginal in this application, and you'd be burning up a bit more than 3 watts in the speaker wire itself. You may be happy with this, but I wouldn't recommend it - I'd say go for 12 ga.


    I also went to school for longer than just two years .


    OK, sorry if I came off as condescending. Again, I've heard way too many guys who had a little bit of knowledge make pronouncements that seemed valid, but were overly simplistic.


    I usually work in auto plant . You know hooking up things like Variable Frequency Drive ..........


    VFDs are neat, but they can be a real headache for us. It seems that we continually get calls saying our drives our not working properly, when in fact, it's a load issue. There are a lot of HVAC guys who don't really get the VFD programming, so they automatically assume that that's where the problem is....oh, well.


    Again, sorry if I came off as condescending - I think we see where we're both coming from.....

  5. OK, I've been trying to stay out of this one, but.....


    Back about 20 years ago, I bought a new Electra Westone Pantera. It's a really decent set-neck guitar, and I was able to get it for roughly half what Strats and LPs were going for at the time. The action and neck feel are great, and the tone is way better than average. Frankly, I thought at that time (I was about 17, IIRC) that it woudl have been foolish to buy a 'name' guitar, because I couldn't see the difference.


    Now it's 20 years later. I still play the guitar occasionally, and it's played literally over a thousand shows and numerous studio sessions.


    HOWEVER, it has required several complete rebuilds in that time period. The original electronics, tuners, bridge, saddles, etc., were the absolute cheapest possible, so they just didn't last very long. BTW, this is part of the reason you don't see many Panteras (or other Westones) still around - they didn't last very long.


    For the first 10-12 years, I tried to keep it 'stock' by replacing with the exact same hardware. I've given up, because I'm tired of replacing junk with junk. Now, I put good stuff in when the old stuff breaks or wears to the point of trouble - which is almost continuously. Also, I've ended up putting it about 3rd in line for use, because even though I love the way it plays and I have a lot of history with it, it just ain't reliable enough to take out.


    Here's my point: If I had put top-notch hardare and electronics on the guitar when I bought it, I would have spent about the same amount as buying a 'name guitar'.


    If you want something cheap to learn on for a few years, buy a knockoff and be prepared to sell or rebuild it 3-4 years in. If you want a pro instrument that you can use for a long time without having to continually upgrade and/or repair it, then go ahead and drop the coin to get a real pro instrument.


    There's a reason that LPs, American Strats, JEMs, Wolfgangs, etc., cost more - it's the quality of ALL the components.

  6. Originally posted by Panopticon

    [i think the store SteinbergerHack is talking about is Mike E's guitars. If you are on Murfreesboro Rd going away from Nashville and towards Murfreesboro, it will be on the right hand side. Its a good-sized red building with "GUITARS" the front.

    I havent been there in a long time, but Im pretty sure they only carry vintage stuff. Or, this store isnt the one he is talking about at all.:

    That's the place - it's back about a half-block from Murfreesboro Rd, so you can't see it until you turn down the street. And, yes, it's pretty much all used/vintage gear.

  7. Originally posted by sandfly

    Check out these links if you don't think he can use 14 gauge wire


    I didin't say he couldn't - I actually said it would be fine...go back and look at my first post in the thread.


    Since you think figuring out a 277 lighting load is so easy


    Uh, yeah. It's a heck of a lot easier than a breaker coordination study, arc-flash submittal, or a fault current analysis.


    Do you even know ohm's law ?


    Yup. And Faraday's and Maxwell's equations, which you seem to conveniently ignore.


    ....... How much current does a 60 watt light bulb connect to a 277 load use ?


    Dude, I'm a district service operations manager for an electrical equipment company. I've sent over 15 years in the electrical industry in field service, plant engineering, manufacturing, and R&D. I'm familiar with NEC, NEMA, IEC, UL, CE, and plenty of other regulatory requirements. I also know that if we designed products only to meet those limits and ignored physical reality, we would be bankrupt, because our products would fail in the real world far too often.


    BTW, you would never run a single 60W bulb off of a 277 line, BUT:


    You haven't given enough information to determine the current. Wattage is real power, but current draw is based on apparent power - VA. THe two are only equal when current and voltage have exactly the same harmonic content and are exactly in phase with each other. Assuming unity power facter, the current draw would be just over 1/5 A. However, since most 277 lighting loads are ballast driven (not incandescent), you would have to know the ballast's expected power factor to give a correct answer.


    Think power factor doesn't matter? Ever gone into a building where the original wiring had a half-sized neutral? Know what happens when the loads change over time to include lots of switching power supplies (and maybe some VFDs for the HVAC)? Ever seen a neutral conductor burn up, even though the load measured balanced? Know why it happens?


    You can't ignore phase and frequency - they DO make a difference in the current flow. They don't teach that very effectively in the 2-year electrician classes (you generally don't need to know it to wire houses & apartments), but it's real.

  8. Originally posted by Brown_AXS32

    My buddies and I are going to go down and spend a day in nashville. So, i was wondering if anyone has any idea's of some nice guitar shops to check out. I am particually interested in buying a telecaster if i find a good deal. Which stores have the best deals and where can i find them? Thanks

    I found that good deals are tough to find in Nashville, though there are some small mom-n-pop shops that have cool stuff.

    There's actually a little used shop down in the north side of Smyrna/LaVergne (south of Nashville) thathad some neatstuff. I don't remember the road names (it's been a few years since I lived there) but if you're headed south on Murfreesboro Rd from the airport, you go a few miles past the amphitheater on the right, then make a right just BEFORE the Sonic drive-in; it's on the right just before the railrod tracks. [Anyone else care to add to these directions?]

    However, you really need to go by Gruhn's downtown to drool over some incredible instruments. It's a pilgrimage every guitar player should make once in their lifetime.

  9. Originally posted by tnttnttnt

    How low can you downtune a guitar with a Floyd Rose type of bridge without having problems?

    Any setup tips?


    Three things:


    1) Reduce the spring tension (fewer springs, loosen the 'claw' screws, or change the holes, whatever works)


    2) Raise the action - the lower you go, the higher you'll need it to be.


    3) Use thicker strings to keep the tension as high as possible.


    Remember that when it's all set up and in tune, you want the bridge plate to be absolutely parallel to the face of the guitar.


    You can block it, but if you still try to use it you're likely to have tuning problems.

  10. Originally posted by math2014

    Right i would really appreciate your suggestions on an EL34 based amp that will satisfy the following points.


    1. VERY good tones from home volume to live volume (with or without a hotplate i already have an 8ohm hotplate) in other words the MV should work well!

    2. Tones: 60s and 70s blues/hard rock with a bias towards Zeppelin, GnR, Sabbath, Cream, Purple, Hendrix. (sounds like marshall teritory to me)

    3. Good build quality, i dont care if it is ptp or pcb, but it must not have pcb mounted pots/valves. Must be very reliable and user serviceable (lacking qualified amp techs).

    4. Preferably non-US made since i want reasonable European pricing and availability, so rocafortes, germinos etc wont work for me (budget 1500eu)

    5. Preferably head.

    6. Work well with pedals in order to go into metal territory if needed and a good clean channel (channel switching almost essential)

    I recently had been searching for almost this exact set of priorities, and played through a LOT of different amps.

    I settled on the Bogner Ecstasy.

    The tube-switching feature solves problem 1 (Full or half power, Class A or AB, pentode or triode mode). You can dial all the way down to 7 watts, or up to 100.

    It has three distinct channels (using separate tubes) with separate gain boost selection, and there's a 'Plexi' mode available on 2 & 3 that will give the Zeppelin & Hendrix tone very nicely. (They do this by putting different tube section into and out of the circuit - it's the real deal) Clean channel isn't quite up to Fender standards, but it's way better than the Marshalls. Each of the three channels has a separate master. Problem 2 solved.

    Problem 3 - they use PCBs, but they use a much thicker copper plating, with outstanding mechanical board supports. Problem 3 solved.

    Problem 4......

    Problem 5 - Available in head or combo. (I got the head) Solved.

    Problem 6 - It has a level-adjustable effects loop. There are options for series/parallel loop operation, and for individual channel level adjustments. Problem 6 solved.

    I won't be obnoxious enough to say that this is the amp for everyone, but it seems that you're wanting something pretty close to what I was looking for, and it was absolutely the best choice I found on the market today.

    Ain't cheap, though......

  11. Suggestions:

    1) You really should look at Engl, Soldano, Bogner, etc. If you can find a used example in your budget, any of these might be a better fit for you than a Mesa. The Mesa is a great amp, but like a Marshall, it's a bit of a one-trick pony - tough to be really versatile with it. The JSX is also a fairly versatile amp that merits consideration.

    2) I STRONGLY suggest getting a decent 4x12 cabinet and then picking a head. As you develop your taste in amps (which will happen once you get a high-end rig and start to develop the feel), you may find it easier to trade out heads and keep the same cabinet, rather than continually swapping out the whole thing. Also, I find that I leave my bottom cabinet at our rehearsal space and my top cabinet at home, so only my head goes back and forth; a head is MUCH lighter than a 2x12 combo.

  12. Originally posted by ProToneThinline

    I've been one of Vic's customers since he opened up his doors in his first TINY location. Those guys are GREAT - they're not the ones with the attitude problem. However, GG is certainly not the place to shop if you're looking for something other than a high end LP or PRS, or a Marshall amp.

    Cool - agreed. Vic's the real deal, but he's serving a different market.

    The other shop you mentioned WAS one of the places with the attitude problem, as were a few others that shall remain nameless...

    Really? I've only had problems in the NW PGH area....different days, different ways, I guess.

    You also said "there's another local shop [...]"

    Been there lately? It's NOTHING like it used to be. The GC has twice as much used gear, at better prices.

    That's a shame. The last time I was in there (probably August or so of last year - before I got transferred), they had a GREAT selection of old Fenders, quite a few used Marshalls, and a lot of neat guitars. The only used item I ever saw at that GC that even mildly floated my boat was an old gold-top LP Deluxe that had a bad pickup and price that was about $300 too high.

    I guess things change.....

  13. Originally posted by ProToneThinline

    I've had more "attitude" problems at the local mom & pop's than I've had at GC. And, the M&P's don't have the selection or the prices.


    Huh? You need to go down to Guitar Gallery in Canonsburg (McMurray?). They have THE BEST selection of Les Pauls within about 200 miles of PGH, and some great Guild acoustics; those guys (Vic, in particular) really, really know their stuff. And there's another local shop just down the street from GC next to Barnes & Noble (I forget the name since I moved away) that has a very good Marshall/Fender/Martin/Gibson selection, with a used room that blows GC away. I've NEVER had any issues with the service at either place. No real problem at the PGH GC for service, but I haven't seen much there that I'd care to buy.


    GC is fine for low-end and midrange gear, but they really don't carry much true pro-level equipment. Plus, they can't won't do a real setup on a guitar - most serious guitar shops will ask you how you like your instrument to play, what type of strings you use, etc., and do a custom set-up before it leaves the store. GC's focus is to move as many $3-500 guitars to beginning kids as possible. This is fine, but it certainly isn't aimed at someone like me.


    Personally, I don't mind paying a bit more for strings, cables and picks to keep the serious 'boutique' shops in business. I'f I'm going to drop $2-5K on a new amp or guitar, I want to deal with someone who really knows what they are doing, and will treat me like his best customer; I haven't seen that at GC.


    That said, I've made money on their stock - it's a cool business model. They're just aimed at a different group of customers.

  14. Originally posted by myname1

    But they do not make a zero latenbcy MIDI guitar system that I know of, so the point is moot!

    'Zero latency' is not possible in a pitch-to-MIDI conversion system. No matter what else you do, you need to sample enough of the waveshape from the pickup to determine its pitch prior to sending the MIDI 'Note On' command, and this takes time.

    What CAN be done is to make the pitch determination algorithm better, able to work with a smaller 'wavelet' (portion of the sampled waveform), and run the algorithm on a faster processor. There are DSP techniques that COULD be used (I haven't seen them in production yet) to get down to a consistent time below 10 msec, even on the lowest notes, but it would be VERY expensive to get much faster than that - particularly if you're building a system that can handle a 7-string or low tunings.

  15. The 70s Gibsons are often maligned because Gibson was owned by Norlin; these 'Norlin era' Pauls are rather like the 'CBS-era' strats. Pre-Norlin Les Pauls are generally better than Norlins, just like pre-CBS Strats are better than CBS models.


    I used to have a '70 Deluxe cherry sunburst - loved it. Truth is, though, by collectors' standards, it was a dog. Routed for full-size HBs, three-piece top, pancake body, three-piece neck.


    Like all Gibsons, though, you have to play each one to tell whether it's got any actual MUSICAL value.


    If you want to know about collector value, go to:



  16. Originally posted by sandfly

    I'm an Electrician ...... Wire is rated by amps/current . To determine what wire size to use you have to know how much current is going to be flowing through the wire .

    Number 14 copper wire is good for 15 amp . Number 12 copper wire is good for 20 amps . Number 10 copper wire is good for 30 amps . Aluminum wire is rated different than copper wire of the same size .


    Yeah, but that's based on NEC (National Electrical Code), which is really only concerned with safety (heating) and permissible voltage drop - at 60 Hz. You can legally install a power circuit that would have enough inductive and resistive losses to really mess up an audio signal.


    You have to take into account the wire capacitance and resistance per foot to determine what the actual losses are, and what the frequency response of the cable would be - it's a lot more complex than deciding what size wire you should use for something like a 277-Volt three-phase lighting load.

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