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jbreher

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About jbreher

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  1. "Loop the area around that peak, then one by one, mute individual tracks until you find the one that contributes the most amount of signal. For example, suppose a section peaks at 0dB. You mute one track, and the peak goes to 2. You mute another track, and the section peaks at 1. You now mute a track and the peak hits 7. Found it! That's the track that's putting out the most amount of energy." Um, no. If you were soloing them, then yes. Unless you meant -2 for the first one, -1 for the second, and -7 for the third.
  2. "the first time A Star Is Born was released on the big screen, it was in 1976 with Barbara Streisand and Kris Kristofferson" You seem to be forgetting A Star Is Born with Judy Garland playing alongside James Mason from 1954. You seem also to be forgetting A Star Is Born with Janet Gaynor playing alongside Friederich March from 1937. Both essentially the same story arch.
  3. Poking fun at an early-'70s' pedal design for lack of LED nor power jack is kinda misguided. Power jacks on pedals were a rarity, and LEDs were unheard of.And unless the Phase 100 has undergone a complete redesign since its heyday (also the '70's, though I guess the complete redesign is not altogether too unlikely in the years hence), it would be 100% analog. Digital was unobtainium back in the day.
  4. Not to disparage what may be a perfectly fine product (and one which I have not yet witnessed myself), but the 'first of its kind' moniker is not only hyperbole, but false as well. As just one example, ProCo was making cables of similar electrical construction (two conductors - hot and ground - plus braided shield connected at only one end) for guitar use back in the '70's. And those in the know were building their own well before that. The more things change, the more they stay the same. See Transperformance vs. G-Force. See AKG D200 vs. Shure KSM8. While the misrepresentations are not egregious, and are really unrelated to the performance of the products themselves, the false claims of 'first' just cheapen the brands.
  5. You're not crazy. Some 12-strings just do this. I've not been able to figure out exactly why, but they do. Those talking about (12th fret) intonation settings, and/or equal temperament issues are missing the point. Ex: My Fender Stratocaster XII. Perfectly intonated at 12th fret. No evident nut issues. frets properly* placed, as evidenced by removing the upper course strings. *i.e., equally tempered, reflecting the best possible compromise for use in multiple keys. The only problem I see is that, after tuning the two G's at the open nut position, most notes on the G string have both G's in tune -- with the exception of 'cowboy chord' position. Most egregious on the A note. The two strings are cringe-ing-ly off from each other there. The G# on 1st fret hides almost well enough in an open E chord, and it's pretty much in tune from the B note on the G string on up. But the A drives me batty. Had it to a couple of luthiers, at least one with a national reputation. No love. It's just the way it is. WRGKMC is on track (in 1st observation, though other suggestions have been tried and ruled out), in that it can be minimized by choice of strings. Still, however, quite evident with any I have tried. I own other 12-strings that don't exhibit this issue, and have played many more. I was almost thinking I was crazy until I saw your post. Yeah, if I could cut the frets so that I can reposition just that under the lower G, it would fix the issue. Though that would bring its own host of problems.
  6. Last time I was in that position, I went and auditioned all the available upper-MI / lower-pro boxes. I ended up buying a dozen of the Yamaha DSR112. While they sound stunning, and have astonishing clean output, I would not buy them again - due to MDF construction. I understand Yamaha now has a slightly more pro series made from baltic birch. That's where I'd start my search if I were in the market.
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