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SteinbergerHack

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Posts posted by SteinbergerHack

  1. 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.

  2. 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......

  3. 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.

  4. 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.....

  5. 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.

  6. 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.

  7. 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:

     

    www.lespaulforum.com

  8. 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.

  9. I have a small stack of NOS tubes in my top desk drawer. I love the way they sound. They generally stay in the drawer.

    I have Sovteks and various Chinese tubes in my Marshall and my Bogner (and in my gig bag as spares). They stay in there for club gigs and rehearsal. Practice aint' worth burning $$$, and the drunks at the bar can't tell the difference over the noise from the pool table, anyway.

    Studio time is when I swap 'em out for the absolute best (IMHO) tone. Putting noise on tape is the only time I think it's worth using up a limited resource (NOS tube time).

  10. Originally posted by tlbonehead

    But my thoughts,which have also been echoed by the real in-the-know folks there is that once you start getting into cable that is so thick that it makes soldering to small terminal tricky and iffy you are better off going a little smaller and having connection points that you know are healthy.

     

    Uhmmm...you shouldn't be using a solder joint for anything larger than about 16-ga to start with. A wire that big should be compression-connected (i.e., banana plugs or screw-downs with ring/spade lugs or pins). Frankly, I'd be worried about heating and vibration stress-fracturing on ANY soldered connection that's running over about 4-5 amps, regardless of the wire gauge.

  11.  

    True - it's under .1 Watt/foot loss with a 60W amp into an eight-ohm load (~ 3 amps). Personally, though, I like to go with overkill. I don't ever use the IEC, NEMA, or NEC codes - they're only looking at safety (i.e., heating). I look at how much loss I'm willing to deal with in the signal chain, and how much I'm willing to have the cable impact the sound.

  12. Originally posted by Josh Savoy

    You'd laugh if you saw the tiny speaker wire inside the cab.



    Yes, but it has to do with the distance. The losses are I^2*R, where I is the current and R is the wire resistance. Current for a 60W amp into a 8 Ohm load is just under 3 amps.

    Here's the thing: since wire has a resistance that is based on the gauge and the length, when you doulbe the wire length, youdouble the losses in the cable. For a few inches, you can run almost anything, but when you get to 10-20 feet or so, you need to have a big enough wire to keep from killing your signal. Copper wire at 14 gauge is 2.5 milliOhms/foot, while 18 gauge is 6.4 milliOhms/foot.

    If you're talking about a 20-foot speaker cable, the losses are:

    14 gauge = 0.9 Watts
    18 Gauge = 2.3 watts

    Get the picture?

  13. As a matter of fact, I have my eye on a 76 Explorer w/ a natural finish. However, if I found the same body style, same/similar wood, w/ similar tonal characteristics in a foreign job, I'd buy it instead.

     

    Why? I hope you're not one of the people who is bashing our government and industries for 'allowing jobs to go overseas'.

     

    There's a cost (not price, but cost) issue which nobody seems to have raised yet in this thread. When you use Chinese or Korean labor, the company doesn't have to pay the HUGE tax burden that is required here in the USA.

     

    By the time an American worker gets $100, the company has actually paid out well over $200; the rest goes to payroll taxes, unemployment insurance, health and insurance benefits, federal and local income taxes, etc.

     

    The same $100 net to the worker in China costs the company more like $120.

     

    Even if the parts are the exact same, from the same source (and they often aren't), the same labor will not cost as much in China/Korea - regardless of the quality of the resulting product.

     

    Here's the problem, though: when you decide to buy Chinese instead of US, either our taxes will go up, our benefits will decrease, or we will run bigger deficits (what's happening now).

     

    Sooner or later, we will have to pay the piper. You can't have it both ways.....

     

    That said, of my two primary guitars, one is American-made, and the other is Japanese. Both are over 20 years old........

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