jimmarchi1's forum posts 8022

yup, looks like a G100CE...kinda its own thing in gretsch history.... I think a vintage equivalent would have cats eye f-holes and a dearmond floating pickup like a rhythm king

y'know, the ones that look the most similar are also the ones that sound pretty much the same like the DD2 and DD3 ( some would argue, but back in the day I could not hear a difference between the original boss compact digital echoes or even between those and the Roland SDE rack units everyone had assuming the SDE had the modulation effect disabled)

If you prefer the tapped sound then you like low wind single coils with a bar magnet and got the wrong guitar. But I think a good set of PAF or filtertron style style buckers that are more in the single coil range of output would totally change your tune. Your guitar would probably play well with a pair of Lollar's Lollartron pickups that are Gretsch style in a Gibson case/mounting. Either that or maybe go Neil Young and put a firebird pickup at the bridge and put something P90ish at the neck like a Fralin P92. But I digress. If I were wiring our guitar I would put a phase switch in place of the coil tap to avoid the gaping hole. You could repurpose the existing switch for the job and it will work with a 2 conductor pickup.

1) Gibson and Fender determined the values for their pickups. Even Gibson single coils always got 500k whereas Fender used 250k until the 70s when they started experimenting a bit with really high values like 1meg. The higher the value the more treble it passes when wide open. A 250K pot loads the treble more than a 500K. Fender pickups are inherently brighter than Gibsons because of the magnet placement so Leo went low to smooth the top a bit. A lot of modern Gibsons and Gibson style guitars have 300K. Gibson experimented with lower values on certain guitars values in the 70s and gauged down to 300k some time in the 80s or 90s just to split the difference. Recently Gibson has started using 500k againin some of their nonhistoric models, but not consistently. Some of my Gibsons came with 500k and some 300k or 350k. No rhyme or reason at all. Its a mystery. A lot of far east sub-contractors build both Gibson and Fnder styled guitars so they only use 300k pots in their guitars to split the difference between the 2 camps and save on costs. Some old Japanese guitars have really wonky pot values, others are historically accurate in every detail right down to the Sprague caps! As a rule an LP style guitar with alnico humbuckers of low to medium output will sound most right to the most people with 500k pots across the board but YMMV.

2) Your guitar may have anything from 250k to 1meg, who can say?! Even if Hagstrom specced for one type of pot there is no guarantee the factory they contracted in Indonesia slavishly followed Hagstrom's instructions.Buying pots without markings helps these subcontractors to fool the big guitar companies who hire them by keeping their parts cost way down. Its just cheaper to buy 10 million 300k pots than 5 million 250k and 5 million 500k.... but I promise you that the pots are not of stellar quality. I tend to like CTS and Bourns pots though the feel is different on both when adjusting. I can tolerate Alphas but I have definitely broken them before, they do make a lot of good options in switching pots though at a VERY good price compared to CTS. Bourns just started doing high quality push-pulls but I've not tried them. I have CTS in most of my guitars, Alpha push-push pots in my strat and I tried the bourns pots in my SG if I recall. All these guitars sound better than stock and the controls are easier to adjust accurately while playing. In my opinion CTS upcharge heavily for the name and the look (they were Fender's vintage pot of choice and they still make the vintage model that looks the part in a fender cavity for sticklers... my esquire came with 250k CTS "dish" pots and if I replaced all the caps with some PIO or tropical fish type ones it would look vintage inside, but who cares). You could also experiement with a lower bridge value and higher neck to better balance the treble response of your 2 pickups. 300 to 500K bridge and 750 k or 1meg neck? I have been considering doing a 1meg on the neck pickup of my silver Les Paul to make the neck chimier and more usable for non-jazz playing... its a good sounding pickup, but once I have an amp setup for a good bridge crunch tone using the hot and bright Duncan Hybrid in the bridge the Burstbucker at the neck sounds a bit dull and boom thru those settings.... I digress

don't buy the Warmoth pots, they are not so hot. Better than what you have but not the best taper and a stiff throw when turning them quickly while performing. I tend to order my parts from Mauser in bulk (which is why I have spare Bourns pots sitting arund, Mauser stopped carrying CTS if I recall). Or if I am not buying just to keep my stock up I will purchase the exact parts I need for a project from a guitar only vendor with the stuff I want. For switching pots and such I tend to look at GFS as they have great deals on Alpha pots and little toggled and sliders. I have also dealt with Specialty Guitar and Mojotone.

Feel free to ask more questions about the magical world of guitar guts. I took the day off today and have no specific plans (I actually might do some soldering later, heh... I am thinking of modding my fuzzface for more treble and clearer bass, the Hendrix sound is okay, but mushy with Gibsons)

here's a wiring scheme I think will be ideal for your guitar if you are dead set on keeping the stock pickups: http://www.skguitar.com/SKGS/sk/Images/diagrams/CoilSel_phase.jpg

different push/pull combinations control which coil you have active and you can flip the phase on one of the pickups regardless of which coil(s) are active, so you have access to every possible tone but neck and bridge in series and humbucker in parallel.

I can't find a good wiring diagram for 2 standard 1 way coil taps, 2 phases and a master parallel/series switch so I will have to draw you one if you are interested. That will get you every tone known to man but parallel wired humbucking which is highly overrated though it produces a REALLY pronounced strat-type quack if you are into that.

wiring an LP is SOOOO easy.... a tele or LP is most guitarists' first project... though yours has a coil tap, but still super easy... and cheap too, you just need a decent switch, four 500k CTS pots and a pair of caps, some people are finicky, but even ceramic discs (which cost a few cents each) sound fine if you don't do a lot with your tone control.... oh and some solid core, cloth covered wire (maybe 2 bucks cost).... total cost for basic, serviceable parts will be about 30 bucks I would guess

here's how I do my gibsons: http://www.throbak.com/uploads/2/6/7/4/26749242/_7083654_orig.jpg

I vary between the early 50s and 59 ground scheme based on the guitar though it doesn't seem to make any difference! But even in my fenders I wire my tone caps and pots this way, it sounds better to me. Even my fenders are rewired with 50s Gibson wiring instead of stock Fender style wiring.

I would lose the coil tap personally, its not that cool... it will never sound like a fender single because of the bar magnet versus fender's polepiece rod magnets, and its never going to be a P90 because of the dimensions of the coil - its a leftover 80s thing from when dimarzio's early super distortions were called "dual sounds" because of the 'innovative' 4 conductor wiring. Coil tapping is like cloning dinosaurs, in the 80s people were "so concerned with whether they could they didn't stop to think about whether they should." I have tapping on my washburn and carvin, its just okay.... I never use it.... I am thinking about ditching it on the washburn in favor of new pots (I used the old electronics when I swapped the stock 80s super distortions for the Duncan set I made because they were good enough, but non pushpull pots always seem to have better taper with buckers to me)

quality far east components. Gut it and rebuild the internals.

the volume swell is really weird... I wonder if they put a cap on the switch to prevent clicking/popping or something. You might need to do that with some on-on-on 3 way designs that aren't like the Gibson and fender switches. Why you wouldn't just use the traditional switch though is beyond me. A no-name switch like that is cheap.

way more... I'm a dinosaur with computers and modern developments in IT go right by me unless it effects MIDI implementation, recording or my day job. But you also are not great at explaining yourself. I mean no offense with this question, but is English your first language? Either way you have a tautologous turn of phrase that turned my head, but I am worn out after a long day at the god awful office.

I do think I follow you this time. Right now there is a system to verify pros that's handled by the admins (or more accurately an app they created). It might be interesting to make it user verified like gear sightings have become. Here' the other thing.... while occasionally a pro will look at his page, create an account and add to himself, the pro pages are not maintained by the artists themselves (wouldn't that be cool), they are generated by user contributions, so a pro user is generally an oxymoron. If the famous dudes were adding or at least verifying the content on their pages I get it, but 99.9% of the time they are not.

Might be, maybe could, someday I suppose. When people do something professional grade and meet with some international recognition and legitimate financial remuneration then I guess they get a pro page. Til then, pay yer dues. Pack into the smelly old van and traipse around the country eating rammen and you might get to be an eqipboard professional one day. Personally I think recognition can be overrated and trucking around with your band or DJ gear is something you do for the love of it, not to get a gear page next to Jimmy Page's. I also think that the majority of people classed as 'pros' on EB are darned famous and they have certainly paid their dues, probably for decades. They ahd a lot of luck, but they also put in a lot of hard work that the average'user' may have been unwilling to put in themselves. Hell, I drew the line an dropped out after awhile and went hobbyist. Maybe I shoulda hung in there, but I just like good food and fine French wine too much to deal with the yoyo income of a middling music career.

to be clear, I am not a pro musician, semi-pro, or whatever.... I am a hobbyist with a lot of experience. I used to be a professional, but I haven't met that criteria in a decade. The day job is easier, plus I have a kid.

You need to talk to the 2 site admins because based on what they have said to me and posted on theforum it seems like you're missing the real point of this site. They were inspired to do this based on a search for a comprehensive rig rundown for one particular guitarist/composer/rocker. To them its mostly about the pro pages and coming up with a comprehensive list of instruments and tools for each professional. The personal equipboards are a way to generate gear reviews which in turn draws them advertising revenue from gear manufacturers as does their blog. That keeps the servers paid, so it matters, but this site is a resource for copping the sounds of famous guys by design.

I think if you want to see a site that puts 13 year old kids with dfruityloops on an equal footing with Flood and Daniel Lanois then you should start it yourself. Maybe there's something to your idea. Me? I like a bit of elitism in my art, even if I didn't make it to the inner circle of successful and notorious musicians. But I predate viral youtube videos, mashups, dubstep and other stuff like that. I had a lot of trouble transitioning to the modern music revenue models even though they are cool and inspiring when you see them working for people.

I mostly come here for the reviews though. Great place to swap info about gear that's hard to find in person.... and a great way to get perspective from kids, bedroom oldsters, touring musicians and local wedding/bar band types to see what applications certain pieces of kit are working in before you risk buying it.... I still would like to see user pages have the same format as pro pages though.

I do, I was once a pro artist in the sense equipboard means, though at a very small scale. I didn't have a day job. I toured. My band was on the radio regionally heacy college rotation and even some major clear channel stations around our hometown). That's a "pro artist" at the lowest level. I don't know that it would have met the equipboard standards for 'pro' if equipboard had beena round back then. My band was not that big, even regionally, but most of my income was derived from my writing and performing with a little supplementary income as a guitar teacher. But compared to most of our users?

Then there's my musical life now. I make music when I have the time, have a non-music career/day-job and spend more time playing for my son than adults. I rarely gig and seldom see a royalty check for my past work. I don't have recording, publishing or licensing contracts anymore and my musical output is so sparse it wouldn't be worth my while to call up any of my industry buddies. I have not been on the radio for the better part of a decade. I haven't legitimately released a record in at least that long. That makes me a regular user on equipboard and it makes the rest of the regular users regular users. We're not pros. We do not derive all of our income from tour revenue, album sales and merchandising. Many of us are debatably artists in any meaningful sense of the word. A good half of us are children, literally, as in minors who are still learning to play/program/compose.

There's a vetting process for pro pages though sometimes BS pages leak through.

However, it would be cool to have our pages organized the same way as pro pages since mine is a total hodgepodge right now. Those of us with tons of gear and software have major clutter issues :-(

but if you want to talk about a fight on Equipboard, artists versus users? users win all day! we have the numbers, and a lot of the artists are oldsters like Jimmy Page or wimpy little techno-pansies like deadmaus. I would love to take on Pagey.... kick his ass and steal his gear!

Short answer? You don't. But the upgrade has been discussed and Gchiaren and Michael are working on it.

yeah, its cumbersome as heck (and I play an ES335 a lot), I played on at a VERY nice store called Bill's Music when I lived in Maryland and was looking for my SG, those guys carried EVERYTHING new (every model squire thru the fanciest Custom Shop instruments)... the sound is very much in the LP special camp, but with less output and more chime thanks to the filtertrons... the size makes it a bit heavier than your average junior/special/SG from Gibson, but just a bit. Its major upshot is tht while its a large-bodied instrument it is EXTREMELY well balanced for playing standing up since its back heavy and not neck heavy like the slab body Gibsons tend to be. Otherwise it seemed like a poor-man's TV Jones or Echo Park. The one I played was black with chrome hardware and white plastic, meant to look all "tuxedo" but in person it looked more like a fat penguin. It definitely has more of a "working musician" aesthetic than your usual glitzy gretsch models, but it does not have the typical gretsch sound or feel if that's what you are seeking.

It reminds me a lot of the 70s Baldwin-era solidbodied Chet Atkins models like the "super-axe." Particularly the one with rear-mounted controls, not the one with the control plate and all the Les Paul Recording inspired features. For what a professional series Gretsch costs these days I might consider a cintage solidbody Chet Atkins mode. They are relatively affordable vintage guitars being from a questionable era for Gretsch, but should appreciate in value a lot faster than the spectrasonic:

http://gretschpages.com/media/img/memorabilia/cat_1978gretch_page31.jpeg

this is the sleeper model: http://gretschpages.com/media/img/guitars/2003_Gretsch_G7686_11.JPG

the Super-Axe is the really valuable model for collectors (but is so non-traditional its not much of a player's guitar): http://www.normansrareguitars.com/images/D/NEW2704Gretsch%20Super%20Axe_01-06feab715f.jpg

Yes, I always play pedals to have a little bit of clean boost into the amp for rhythms and a whole lot for soloing. And less gain than a lot of guys will use.... I probably play with half the grunt from my pedal you do, but I have my amps working ahrder, I guarantee. I will sound just as distorted digging in, but will get a cleaner tone backing off without disengaging any gain effects. Hard to describe, years of studio work taught me a lot about gain structure, the effects of compression on guitar distortion and also the way little bits of distortion accumulate as you chain up lots of imperfect voltage amplifiers.... my preferred SD1 setting is (get this) gain at 3:00 or less but volume set above noon for a massive dirty boost, treble wide open or close to it!

I actually seldom turn the gain on any pedal past noon. But I run my amplifiers LOUD, BRIGHT and HOT. The input on my traynor is always set to 10 and the master is set around 10:00 to 2:00 based on how much volume I can get away with (because more is better) so the whole amp is ready to break up if I slap the strings hard, but sounds mostly clean.... I run my fawn ac30 at half power in hot mode with the volume turned to at least noon and sometimes the master dialed back a bit to like 3:00, the matchless gets used at full power lately with the EF86 at like 9:00, master disengaged, for a deep, midrangey clean that sounds like its ready to explode... the '62 I generally use turned full upon either channel. Sometimes the Fawn and Matchless swap roles, I've just been into the Matchless clean more than the Vox clean and really into the great, cutting tone of the reissue Vox's hot mode....

when I was a kid I used to turn all pedal controls to 10 and then dial back everything but output until it sounded good, I always ran my dirt pedal volumes at 10 and SLAMMED the front end of my amps FOR YEARS because it sounded good... I kept that u until I got a big muff and realized that trick was not good for the big muff.... but I started doing it again with my tonebenders and fuzzfaces (etc) in under your bed, so there ya go, full circle

But yeah, I made a cheesey 80s patch with my Nova Drive today that has gain at 3/4 and a little less boost from the output as well as a different balance of bass and treble than I would typically use... fun, really nice with my master volume at 1, less nice louder. At least to my ears, a lot of people might dig this tone, its just not very "jim". Its thick and mushy, like a gooey blanket over my chops.... on the other hand its a bit fuzzy, throw on a little echo and its downright Gilmoury in a "wall" sense... and I can get away with MURDER riffing thru this 75% gain setting, there's SO much distortion with all of my guitars its just so easy to noodle allover the neck and pretend I'm joe satriani. Good for playing slash licks too... I should put a crybaby in front of it and do some 8 bit echo for a truly 80s sound! It definitely is a little too "sludgey" for my usual rhythm style. When I play with this much distortion on my rhythm it has a more complex character and is less buzzsawy!

they were still making them pretty recently... they were probably in production as recently as 2014. They are a Japanese copy of the TV Jones solidbodies that are one-off custom shop type instruments... I've played the spectrasonic, its just okay... better than a Corvette, not as nice as the Duo Jet reissues put out since Fender got involved, but I have a real Duo Jet bias... big fan, miss my Caddy green one

its not really a wood working thing, the wood work is done, its wiring, neck set (even on a bolt on there's an art to this and may require some trial and error with a shim to achieve the action you want), soldering, set-up (from scratch is way trickier than tweaking an off the shelf guitar) AND finishing (which is a bear and requires a well ventilated spray booth area and a little specialized gear to do well... unless you decide to use wood dye and clear shellac with the French polish method).... but it WILL be a elarning experience and you will understand the mechanics of your guitars better after building the kit, yes

you can really buy a decent far eastern guitar for what you will spend on a cheap kit and additional bits and pieces to upgrade it.... plus you need to decide what your time is worth to you.

I try to estimate the amount of labor hours on every project I do before I start and then pad in a few extra hours for and 'learning curve' stuff or fixing mistakes I made when I was doing work while I was tired... whether its a partscaster build, amp repair project, whatever I try to balance my estimate of bench time versus how tedious or fun the actual work will be for me to execute. I look at my pay rate at my day job (desk work which is almost always tedious), and if my "fun-to-fuck-it" ratio does not favor fun I assume I am wasting money I could spend working overtime and making money instead of working on a guitar project for FREE and I add that to the cost of the project in question.

So if I estimate about 20 hours of tedious wiring and finishing work (or some similarly repetitive and detail orientedtask) and about 4 hours of setup work on a build, then I multiply that times (for the sake of argument lets say) $20/hour and add that to my total estimated cost.... if the work sounds more fun I do not add the cost in or I add it at a lower rate. So the basic assembly and setup work is relatively fun and easily done in small sessions whenever I have an hour to spare, lets say its worth half pay so 4x$12.5=$50, the wiring is tedious and best done in a marathonsession, so 20x$20=$400.... wow, so lets say my kit cost me $250, right? I also got a btter bridge for $100 and a setoff good pickups for $150. The project cost with estimated labor: $450 in my bench time + about $100 for the core kit + $250 in decent pickups and hardware = $800.

You can get a serious guitar off the shelf for around $800. It will surely be better finished than what you can build from a kit and its likely the wiring will be better.... plus instead of building it for hours on end you can spend your free time playing it. I will tell you that for a tele in particular the way to go is 'partscaster' purchased a piece at a time. Check out the Ebay store "stratosphere" AKA "reliable fender" for fender made guitar chunks, also check out USAcustoms and Warmoth.

I built my sunburst tele from a fender body and neck of my choosing and then added a wonderful rutters bridge and compensated 60s steel saddle, CTS pots, oaks grigsby switch, Hovland musicap, cloth covered solid core wire, and a pair of hand-made pickups wound exactly to my spec by a gentleman in Portland who makes some of the finest vintage fender-style single coils I've ever heard. I also wired everything my way, Gibson 50s style tone circuit and volume-tone-selector instead of selector-volume-tone... and I even got custom flattop barrel knobs with heavy knurl for easier pinky adjustment of controls courtesy the excellent grip. Total cost was about a grand including my labor, but the finished guitar holds up to a top-line USA Fender or entry level Custom shop model in quality, plus it has features that I cannot buy off the shelf from anywhere. I did not bother to finish it myself, I just bought fender parts with decently thin lacquer on them.

Thanks for the heads up! I've got the nova drive and love it for some stuff, but the rat section just doesn't do fuzz. Back to the drawing board for MIDI controllable fuzztones. Pretty much the only thing out there is this guy; http://store.moltenvoltage.com/ProductDetails.asp?ProductCode=BUILT_041

I am just NOT a muff guy, but that's the only "fuzz" you can get modified for MIDI that I know of. And I am loving my MIDI rig and the minimal amount of cabling involved versus going with traditional pedals in a midi controlled true bypass looper. Maybe I can build something like a tonebender or superfuzz into the full size NYC big muff case and send it to molten voltage for modification. Or I could take some of the clipping diodes out of the molten voltage MIDIed NYC Big Muff.... I am just NOT a muff guy, but that's the only "fuzz" you can get modified for MIDI that I know of. And I am loving my MIDI rig.

out of curiosity, how were the delays, verbs and modulations on the Line6 M pedal? I ditched my Nova System right away (just not blown away by it, standalone nova drive SCHOOLS the nova system dirt section and the analog style delays sounded sterile and artificial compared to the Flashback X4) so I don't have modulation or reverb in my setup anymore, just dirt and delay. Which I guess is okay, but a little detune, chorus, flange and phase can be fun!

So far my signal path is mainly analog. Only the repeats of my delay are digital, everything else is a straight analog signal from my guitar and its all really transparent now that I am dialed in correctly with the radial ABY out front driving the setup and everything else in true bypass.

The 3 tube amps that do the heavy lifting are really sensitive to what they receive, particularly the Matchless HC30 style and the Traynor CP504 type heads. Any poorly executed buffers or digital artifacts from processors (ahem, nova system) jump out really blatantly thru these amps because of the clarity and fast response. Its not a "blurry" and forgiving tweed-type tube response in my rig at all, particularly the clean sounds, so I have been really picky about what gets amplified right down to tweaking my delay voicings via the toneprint software to fitler out any unpleasantness on my subtle tube/tape delay patch. The system's been a bizotch to fine tune and I haven't even mapped my presets to the MIDI controller yet.

that sounds badass

wow, 3/4 up on a rat is like soloing turf to me, but I tend to use a lot of boost to get some distortion from the 1st tube stage of my amp, so maybe at unity it would just be a thick distortion. I will have to try it at unity gain 3/4 on the distortion knob....

the vox wah is a bit of a tonesucker to be sure, but its got THE midrange growl.... at least to my ear.

I keep starting my review of the TC Nova Drive for EB, but it seems too glowing and I stop. I am really keen on using both the tubescreamer and rat sides setfor low gain, a little boost in parallel and EQed to add grind and crunch in different frequency ranges with some clean mixed into the TS side.... right now I have a lead preset dialed in that's meant to be big-muffish, but tis not doing it for me. Much better as a rhythm pedal for me, the distortion as a lead sound is a bit 80s and the tubescreamer OD is just so bluesy, though it is pleasing with my strat or tele in a 90s way.I wish it had an assymetrical clipping option to make it more SD1ish than TS9ish. For soft-clip diodes-in-feedback-loop ODs I just prefer the OD1/SD1 I guess. But the OD is hella useful as OD on low frequencies blended with the rat for upper mids and the rest of the frequencies as clean boost. Sounds a lot like my Traynor's natural breakup at 5 or above on the MV (which is HELLA loud).

I really want a MIDI controlled fuzzface , tonebender or maybe univox superfuzz clone for leads, but good like finding that. I could get a midi-modded NYC big muff, but that's my least favorite muff variant pretty much :-( and I don't really like the muff anyway.... maybe if I modded the fuzz circuit myself after I got it.... otherwise its a Line6 M5 modeler for leads and I'll get some nice modulations and more delays too

I have been informed by most people who have gotten far-east machined guitar kits like these that they are just okay and only as good as YOU THE BUILDER and the additional hardware and electronics you are willing to add as upgrades... if I were going to do a bolt on KIT (not assembling parts myself) I would go with Carvin... for a set-neck its Precision Guitar or NOTHING, but that costs

fl studio? Harmor... if its not sub rumbling enough pick up the free VT "MDA sub synth" and dial in some extra sub octave

yeah, you program the patch yourself from the ground up using the controls on the synth?

just program one.... presets are lame

I am actually more polarized about solid state amps.... I see one and think "what a great design.... for a paperweight." I know I am being unfair, but hey, I learned with tubes. Only ever owned 2 solid state guitar amps I think.

no wait, 4 if you count these 2 bass amps that could be used for guitar and keys in a pinch!

I began my career on a great 1963 Fender Princeton Reverb (I wish I still had that amplifier), and I have been picky ever since!

oh yeah, I forgot about this:

gilmourish.com

Bjorn is a total OCD Gilmour follower.... read and learn from a guy who has learned to completely copy everything DG has ever done!

here's some core building blocks:

https://reverb.com/p/mxr-classic-108-fuzz

https://reverb.com/item/1871175-stomp-under-foot-rams-head-white

https://reverb.com/item/1832592-colorsound-overdriver-direct-from-sola-sound-london

https://reverb.com/item/1959198-tc-electronic-flashback-x4-delay-looper

https://reverb.com/item/1946543-traynor-yvm-1-1968-jcm800-mod

https://reverb.com/item/1938451-traynor-ysr-1-vintage-tube-custom-reverb-guitar-amplifier-head

EDIT: also let me add that fat-boy and beardo-hipster at Anderton's music are nuts!?!! they sound nothing like Gilmour (which is partially a lack of nuance in their hand technique and also a 'why the fuck did you pick that junk to cop Gilmour tones' issue).... I just watched their video and listened very carefully to the end bits? no guys... take your cool guy afro and beard back to the hipster, black keys worshipper forums and leave poor DG's sound alone!

or if you are good with close enough, horseshoes and handgrenades tones? ignore me! just use some echo, phase and a big muff r whatever thru any amp you have sitting around.... and don't practice your bending or vibrato, because that's not important then either!

what album? he originally used the rare and valuable Binson Echorec, then he switched to soe sort of BBD analog delay, then to the early MXR digital delay racks for the wall and it goes on and on.... Ifind the stock settings on my TC Flashback X4 can cop most of his later work from Animals on. Throw in a fuzz face, big muff, univibe clone, deluxe electric mistress flanger and colorsound overdriver to shape the fuzz before it hits the dela and amplifier and "you don't need no education." Or you could get an mxr carbon copy and a nice clean delay with a middling sample rate like a boss DD3, those will cover your Animals thru Wall echoes...

but none will do Dark Side... I stillr ecommend the X4, its an outstanding pedal out of the box, and if you are willing to sit with the toneprint software you can make just about any echo you can imagine, really

The X4 does not copy the Echorec though, so if you want a Dark Side fuzzface and echorec sound you would need to futz with your own toneprints using the 'tube' template in the free software or get an alter-ego X4 or catalinbread echorec (though the CB pedal doesn't offer tap tempo). I think the line6 M series offers an echorec model too, but I can't speak for its accuracy. I thought the 'broken echorec' on the alter-ego sounded darned cool and Catalinbread's pedal seems to catch the spirit....

now get ready for the real rabit-hole....

you will also want a powerful, clean tube amplifier to drive with your delay unit of choice. Gilmour favored Hiwatt DR103s and Twin Reverbs mostly during his heyday and those loud, clean amplifiers are a big part of his tone. The way the echo hits the first tube stage really shapes the echo character as Gilmour relly runs his amps right at the edge of break up so there is a lot of compression just coming from the preamp though the power amp is not pushed very hard and remains dynamic and punchy.... good hiwatts are relatively thin on the ground and they are expensive as are any reputable clone. A MK1 or 2 sound city L100 willg et you there mostly, but those are getting rare too. They are also more of a Pate Townshend hiwatt thing which is a different circuit as is my very Hiwatty Traynor YVM1.... so that leaves a Twin. an early silverface or vintage reissue (with a few mods) will probably do you.... or a silverface pro reverb which is the 45 watt version of a twin more or less.... in a head the showman, bandmaster or bandmaster reverb might do ya.... my old '63 showman got pretty gilmoury, the friend who bought it from me got it precisely to get his Gilmour on with a 2x12 cab, big muff and echo!

how's everybody getting on with their new pedals and such lately?

yup

this is a rather interesting little article on pedaloards from a David Gilmour idolizing pedal junkie....

http://www.gilmourish.com/?p=6704

or non-Christian equivalent.

Hope everyone's Spring fling is filled with family, fun and maybe some loud music.

nonsense.... you could learn precalc IN YOUR sleep

its almost a mercy if Batman kills you.... the vast majority of perps just get a beating that lays them up in the hospital indefinitely

welp, my 80s fane 1250 arrived today and....

it won't fit in my cab... debating just reselling it for what I paid.

this is the sturdiest speaker in this power handling range and magnet weight I have ever seen, makes EVERY celestion model look woefully under-engineered. n the other hand it won't fit in a front loading cab. hrm

yo

no, but if he wore wonder woman's costume it would be funnier

yeah, and kids don't always want to help while you program your midi foot controller to command your gear... its a design flaw in children that they are not interested in guitar and bass equipment for more than a few minutes

mine is more interested than most, but still not enough

but the lasso is funny

sword, pfftttt

fucking Lasso of Truth or nothin'

mostly children's books.... you seem to have a lot of free time for a father of 2

http://cache3.asset-cache.net/gc/85029387-photo-of-pete-townshend-and-the-who-pete-gettyimages.jpg?v=1&c=IWSAsset&k=2&d=GkZZ8bf5zL1ZiijUmxa7QTMd%2FU5WHusC4Z3muyLyFQDkKjiUQsErc7iBt9hszZ2d%2FdL%2FCYmY0D9aNbmkf2Ngsw%3D%3D

nerd guitar? oh wait, I'm talking to a metalhead

still puttering, nova system is gone, control is now running from a behringer FCB1010 floor board and effects are down to a nove drive on one side and the flashback X4 for now.... might incorporate a line M5 or M9 and call it done. I would really like to score one of those egnater 4 amp to 1 cab MIDI switching devices over the Weber so I can 3 or 4 amps available on one side. Maybe Ac30, matchless and a JCM800? Then the traynor doing The Who duties on the other side all the time. hrrrm, the serious amp switcher is outta control expensive though. $1k. Gah. Maybe later in the year.

tele cons.... stock body shape ahs no countours and can be uncomfortable to play standing up dpending on your strap position, a little limited in stock tonal options (if you call that a con, I don't, but I have lots of guitars for lots of tones), mediocre neck pickup design... pros, rock solid tuning stability, general awesomeness, neck and bridge together is a great sound that no other fender cops because the 2 pickups are not the same design or even the same size, tele bridge pickup is fender's finest golden-era pickup design to my ear.

strat cons... tuning stability (if trem equipped), weak bridge pickup, can be overly shrill with stock wiring. Pros? obviously 3 pickups, vibrato bar if you like that sorta thing, the strat pickup design maks a fantastic neck pickup, just a killer tone.... in-between settings make the "quack" sound so many people are so fond of

cons of both? they sound best with real vintage repro pickups, but in the age of smart phones vintage single coils are noisey as balls, intolerably so fr stage work if you play with gain levels approaching even classic rock overdrive. Also, there are many variations just within vintage versions and finding the right mix of pickups, pots and woods can be daunting.... sometimes its best to have a fw of each to cover your bases.