jimmarchi1's forum posts 8022

sure, its probably something discontinued.... I am not a big Nord fan so I don't know much about their product line but I have noticed it changes a lot every year

Romans? oppressing his people with high taxes and casual violence in the streets, nailing him to a couple hunks of wood... I could go on

I'm thinking Jesus isn't too keen on Opera

looks like a Clavia/Nord product but I can't say for sure

in the original picture you posted with the mesas I think I see a Yamaha SPX900 signal processor above the radial air control too

and looking at the second picture I am feeling even more sure (I owned an SPX90 from its relase when I was in highschool until last year and the 900 looks similar... that's almost certainly 900)

ya think? I would assume he would be more pissy at my people over in Italy....

it was upside down? go figure... I can't really read tab.... I ahd tog et a guitar to do those.... I had the scale down as soon as I figured out what the first 4 notes were, from there other ivnersions are a snap, but transcribing them in TAB is quite a challenge for me and I need a guitar in hand and have to sit and count the frets because I am not a guy who counts, uses position markers or really looks down, I just know where I am

just generally major scales are X-mas

probably woulda annoyed Jesus though since the dude was middle eastern and therefore much more attuned to the harmonic minor scale

ANYONE ELSE GOT ANY THEORY QUESTIONS? I GOT THIS

this would be easier, and more fluid and therefore more expressive:

D -6-7-9-------------------------------------

G ---------6-8-9-----------------------------

B ------------------7-9-10-------------------

E ---------------------------7-9-11-12-14-

utilizing traditional major scale fretting and incporporating one long stretch on the high E as in 2 and a half octave 'violin' scales followed by a slide that is best capped with a little tasteful vibrato, much smoother and easier... I can speed thru it like that, but as originally posted? not so much unless I play it really legato or let it be staccato and ignore musicality in favor of a lot of plain strings and a couple convenient open notes

you could also stick in 1 hand position and begin it on the A string in the 12th fret, but that's a pretty Clapton thing to do if you're intending this scale chunk to be a lick

A -11-12-14------------------------------------------------

D ------------11-13-14-------------------------------------

G -------------------------11-13-14------------------------

B ---------------------------------------12-14---------------

E--------------------------------------------------11-12-14-

if the major scale wasn't jumping out at you on the last inversion this one from the A string should be smacking you in the badangus right now!

if I am reading the TAB right and I am probably not its the E major scale beginning on the 3rd and being played in what might be the most difficult manner one could concoct to torture oneself for no apparent reason....

I edit my response and made another one after I grabbed a spare tele for a sec.... gotta feed the boy now, ugh

also, that G sucks there, the correct chord in this type of down progression is a minor 7 with the 7 on the root (surprise surprise) like in "The Weight" by the Band or Jackson Browne's "I've Been Out Walking" and abut a zillion other 60s and 70s tunes

so in C:

C - Cmaj7/B - Am - Am7/G - F [Fmaj7/A - Dm - G7 ad nauseum or the Paul McCartney version C - Cmaj7/B - Am - Am7/G - F - FM LOL]

C/B is just C major 7 with the 7th voiced as the lowest note or 'root' (although one might also call it Em+/B, chord names are so situational, ugh)...

anyway, check your intonation, it should be fine and typically issues like this are an intonation problem with your guitar... you can also do a check by using a different hand position and slightly different voicing to express the harmony further up the neck

B: X2444(2), Bmaj7/Bb: 6X444X or X1444X

playing it from this shape B also puts you into a great position to roll some licks off the Bmaj7 in the G#m pentatonic box....

if it sounds even weirder further up the neck then tis definitely intonation as the problem will get worse and worse further up the fretboard as the fretted notes go further sharp or flat

remember that any time you see a major 7 chord its worth a shot to try voicing it like this with the 7 on the root

EDIT

try making it 2 passing tones by putting the 3rd on the root with a suspended 2 and then doing the maj7 with a sus4 to get down to G#m:

B: X2444(2), B9/Eb, X6464X Bmaj7sus/Bb: 6X445X OR 6X4X00, G#m 466444 and maybe another passing tone like X054X0 between F# and E

my 70s ac30 needs a lot of love but it works and definitely has its own sound.... its a lot harder sounding than either of my other ones but it has less headroom than the modern fawn one... its also got a lot of background noise apart from the stereotypical vintage vox mains hum

the speakers are vox branded 'blackback' type G12ms with early kurt Mueller cones, a good speaker but they probably are eating some chime and making the amp sound a little more marshall than it would with a blue or two in it.... I might swap one of them for my late 70s Fane to flatten the response and give the sound a little more 2D swirl.... but first I need to really assess the guts and put together a parts order. I suspect she will need electrolytic caps and that some of the old carbon comp resistors are not so hot. I am hoping her coupling caps are okay as they are the coveted 'mustard' caps. As long as they are remotely in spec I won't change them. I don't know that I believe in the mojo of vintage capacitors, but lots of other people do so I ahte to change them on an amp I might resell unless they are way of spec of failing...

if I keep her I might have the box retolexed in fawn and while I'm at it I could do my '62 since that's not original smooth black covering anyway... it would be cool to have all 3 match.

there's certainly a Radial JX44 signal distributor and the optional JR5 controller for it (yellow 1ru unit and the matching stompbox looking thingy)...

there's a big, reddish DI box next to the blue thingy that looks suspiciously like a Sigma tube DI, but could be any number of small builder tube DI boxes with similar enclosures

I want to say the blue gadget is a boutique limiting amplifer in the LA2A/4A style but I can't for the life of me think who makes it.... I could be wrong too, I haven't done a lot of pro studio work this decade and my memory is maybe not what it once was I hunker down on the big four oh.

welcome

I know. I would have to refinance my house to buy a 30s Gibby in good knick. One day....

dude, I own one acoustic, a 90s Japanese epi dreadnought, nothing special LOL... I am truly not a snob.

I just don't like Gibson flattops that much... the real old ones have a certain soemthin-somethin' that disappeared by the mid 50s whereas their archies and electrics have had peaks and valleys in quality and 'magic' but are generally pretty pleasing instruments that are fun to play. I can't say that of most of the flattops.

interesting... I just noticed how many effects you own, hot damn. I've ownED a lot but usually not so many at once

wow

I am probably not the guy to ask. I'm not an expert on Gibson acoustic designations, particularly not on post-war models. I have trouble getting excited about Gibson acoustics unless they are hella old.

1) save your beans, keep your eyes peeled and buy exactly what you want... don't settle, you never know what the resale will be on gear you settled for, even the vintage market has its ups and downs.

2) do you really want to lug two cabinets around? a 1x12 is not half the weight of a 2x12. Even if the extra weight doesn't bother you because you can make separate trips, having a complex multi-component rig increases load-in and set-up time. Even with roadies to do it for you this can be a real nuisance at smaller venues on multiband bills with tight schedules. I've had some elaborate rigs but I always had a B-rig in place for shows with tight changeovers, short soundchecks and venues with difficult load-in areas... the wall of marshalls is not always great call and sometimes dashing in with a combo, guitar and shoulder bag with accessories is best, especially at the small club level where every band starts.

3) solid state is its own world regarding wattage... unless its a class D solid state design your cr120 will have a minimum impedance at which it will deliver the full 120watts RMS into said load. Ging beneath that laod will increase wattage but break the amp. Going above that load will reduce wattage. Every tme you double the impedance load on the output of a traditional solidstate amp you are halving the power, therefore a pair of 16 ohm 1x12s run on the parallel output jacks of amp will produce an 8 ohm load. If the amp's minimum load is 4 ohms then running it on an 8 ohm load will drop the RMS wattage to half.... however if the two 1x12 cabs are 8 ohms with 60 watts RMS handling each then they will combine to form a 4 ohm load and if the amp's minimum impedance is also 4 you will likely be risking the speakers if you are using anything approaching the full 120 watts (assuming orange accurately rated their amp). Vonversely, using two 4 ohm cabs will produce a load of 2 ohms and if the amp is rated for 4 minimum you will risk breaking the amp while playing even at 1. There's no guarantee you will blow those speakers with 120 into 120 though. Its a RISK, you can try it and if you aren't blasting them too hard with really squared off distorted waves they may well survive for decades because they might not be seeing that much RMS wattage and the peaks that are pummeling them will be short if you aren't using a blitzkrieg death metal distortion sound. Solid state RMS wattage ratings versus tube RMS wattage ratings are subject in and of themselves.... the other thing to consider is speaker distortion and whether you want it if you are going to try to drive 120 watts of power into 120 watts of speaker

there are rules of thumb but there's a lot to music electronics... buy a book... in the interim, read the manual to your amp and then get the impedance specs to the 1x12 cabs

if you read up and still feel nervous please refer back to my 1st point above or go with 2 1x12s, buy new speakers rated at 100+watts each and sell the old ones hopefully breaking even

that's a great mix of FX, Raucus, I would just stick with that setup!

What do you think of the Hotcake? Its the one dirtbox style I've never tried. Which is weird given that its one of the most popular pedals amongst ac30 guys....

its too small to be a jumbo unless that guy is enormous

yup

if you want some good all around studio monitors that also make fun hifi speakers for listening LOUD I would try ebay and see if I could get a set of used 3-way Yamahas from the 80s/90s NS range. They will have a model prefix of NS or ANS... you will see a lot of NS-10s used but these are not a good all arounder and in 2 way passive monitors I prefer Tannoys (I own both and while the NS-10 is for some reason the studio standard the Tannoys are really a better NS-10 in so many ways)... in Yamahas you want a passive speaker with dedicted bass and midrange drivers for it to do double duty as a monitor and hifi speaker and for flatter response I would recommend non-ported varieties as the ported ones have really hyped bass... these can be had cheaply and are great but you will need an amp to power them so don't bother unless you have a good source of stereo amplification.

In powered monitors Yamaha owns the budget nearfield market too, though this wasn't always the case. If you are buying new just go Yami. If you wanna buy used I recommend some of the discontinued Event monitors. They are affordable and fly WAY under the radar though they were extremely popular when they came out a decade ago. They weren't cheap at the time but can be very affordable secondhand. The Tuned Reference series sound the best and are also pretty accurate (the bigger the better, of course), however the earlier models are pretty darned good too. KRKs are popular and affordable powered speakers too, but I have never been impressed by them. You tend to get what you pay for, especially in brand new speakers.

you didn't test your cables before assuming your guitar electronics were shot? seriously?

nothing you're doing or suggesting is a good idea...

for so many reasons. You should go to your local library and get some basic books on audio electronics, sound reinforcement and maybe something on acoustics (you might just be standing too close to the speakers in a confined space. Or google it, but there's a lot of misinformation on the internet.

you can probably use that 75 watt solid state amp as a PA wedge if you are very careful with positioning and you slave it off a dedicated mic preamp and don't try to run a low impedance microphone into a high impedance guitar preamp....

just, dude, get a book or two, read up, figure it all out for yourself

and don't buy anything else until you understand wattage versus sound pressure, impedances, etc etc... while you are learning you will have time to save more money to buy a better class of equipment with all the knowledge you have acquired

EDIT In closing, you CAN do whatever you want with your amplifiers and assuming their output impedance guidelines are properly respected you will not break them... but there is no guarantee that a massively high wattage solid state amp will cut better over your drummer than, say, a low wattage tube amp (especially if you aren't setting either amp to cut through) and that a repurposed solid state combo will help you hear the vocals. Wattage is a power potential, not a measure of loudness, and even measuring sound pressure can be deceptive because the human ear hears different frequency ranges with different sensitivity and the confusion is further compounded by the fact that your ear also hears loud and quiet sounds very differently. Things will get even hairier if the 75watt amp is an open backed combo. There is a lot too this beyond "turn it all up." Although if you have enough Marshall Superleads and SVTs turn it up can be fun. With more modern consumer guitar and bass gear YMMV though.

yes he's sure, USB has been slowly replacing the old multi-pin (9, right?) MIDI connection I grew up with, at least for computer use... hell, even my current production Moog analog monosynth has a multi-purpose USB port. Most modern instruments give you the option of sending at least MIDI data and maybe digital audio (assuming its not just a controller and has a sound engine) via USB.

one more

just gut the swede and rebuild her with quality parts. Make sure to take care of your fretboard too, when you go Chinese your major concerns are the electronics dying in the 1st year and the frets coming up or the fretboard getting cracks in the 2nd or 3rd year.

Warmoth makes a stellar product across the board, I have heard people complain about Rondo's detail work. Go Warmoth. If cost is a problem then assemble the guitar yourself.

If I still had a bunch of strat parts laying around I would order a 25" conversion neck and build you a guitar like you want, but I traded all my bridges, pickups etc last year to a friend who has been building a lot of partscasters lately.

I mean, I would build the guitar for you to your spec if you send parts to me if you live in the USA. It'll take me a weak to build it, wire it and set it up. I'd do it for like maybe $10 an hour bench fee.

try counting over the weird groove like this; 1, 2, 3, 1, 2, 3, 1, 2, 3, 4 to get the five... not much else to be educated about on this one, its incredibly simple music harmonically leaning hard on the synth programming and sample manipulation to add interest since its basically 2 chords and variations of that 1 repetitive 2 tone phrase with next to nothing else in it.... I guess I got all john cage with this, it was really meant to be poppy though

this isn't done but its been a chore to get even this far because of the meter changes...

if it makes you feel any better I have never heard of any of the people of bands mentioned and now I have a google project... so something good came out of your frustration... at least if you like these guys enough to try to win them over some new fans in this dismal music market

just under a grand shipped (its really beat and has probably never been properly serviced despite being someone's road amp until it wound up on the bay)... I guess if I don't love it I can service her, retube, clean the tolex and resell her for a tidy profit... the speakers look like 70s vox branded greenbacks with Kurt Mueller cones, though maybe I'll get lucky and they're late Pulsonic coned greenbacks, the Arbiter run of 30s with greenbacks instead of blues overlapped a number of G12M formula changes that you can usually tell by the labels on the back even in crap ebay shots but that vox's label and vlue frame paint obscures without cone codes....

the upshot for me is that the arbiter version of the ac30 is one of the 2 versions Brian May favored in the studio during Queen's glory years and I already have an early 60s copper panel ac30B, so I can get both shades of May (spongey or cutting) when I have a day to myself to be a total fanboy

I'm not sure I can afford to keep this amp w/o selling something else though... hrrm

oh man, I was looking at ebay and put a feeler bid ona beat up Arbiter-made AC30 from the 70s and I think I am going to win it for peanuts... shoot, I didn't REALLY want another amp

Isn't bias an amp simulator, not a full fledged piece of recording kit for making entire tracks?

Boom, I don't think DAW means what you think it means ;-)

EDIT: there's an equipboard article about this and its also been discussed ad nauseum in all 3 forums... there aren't any bad options anymore, it just depends what you want to do and how you feel comfortable doing it. Jope, I seem to recall you wanted to make dance music and the 2 major windows contenders for beginners in that arena are FL Studio and Ableton Live. If you have a lot of hardware synths Cubase or Sonar are solid options with quite a pedigree... but unless you are planning to go ALL AHRDWARE in the near future then I would stick with the 'big2' I mentioned. In the 90s I loved Cubase, but FL studio can handle complex MIDI sequences and records audio adequately now so I didn't bother installing Cubase SX on my last couple of PCs as FL easily integrates my vast sample library, hardware synths and plugins in a way that helps me get my ideas out really quickly and effectively... however, its not much of a live performance platform. You will probably want to get some demo versions and fool around with them and see what feels easiest for YOU to learn.

I think I still have a Sega Genesis somewhere...

I would liken using manufacturers presets and soundbanks in electronic music to giving a greeting card.... its expressing yourself with someone else's sentiments. A real convenience on Aunt So-and-so's birthday, but when it comes to making music it defeats the whole point of producing electronically.

my P85 has a handful of non-piano voices (that mostly suck), but no effects... doesn't need 'em when used as a piano as the samples aren't overly dry in piano1 mode.

I don't recall the difference between the 45 and 85, probably the sampling...

88 keys if you are taking lessons on it... there are some knockout options by Kawai and Kurzweil, but if you just want an affordable simulated piano and little else, Yamaha offers best in class feel and great sound from the Piano1 mode. The electric pianos don't slouch either covering a warm 70s wurli/fender sound as well as a hard, 80s digital DX7 sound. I have a P-85 and it serves me as a primary MIDI controller for every electronic instrument I use as well as being my primary songwriting instrument (including my guitars). The Yamaha action is very realistic, but on the stiff side so it really builds your hand strength and coordination. The Yamis are fun to play.

The downside is that the output doubles as a headphone amp and the volume fader is finicky when interfacing with studio gear or tube amps, but its best as a controller anyway... oh and its big and heavy, but all the decent digital pianos are.