jimmarchi1's forum posts 8022

can you link it? I don't even know what you are talking about?

Yeah, the web and text messages can be very difficult. As a musician and sound engineer I am incredibly auditory and that probably makes me more susceptible to "text based humor confusion" than other people. I love the printed word and its undeniable power, but just like a speak and spell can be moded for musical purposes but it will enver replace a singer, humor that sounds funny out loud because of tiny vocal inflections can be denuded of intent and wit when rendered in print.

I am already feeling bogged down by all this tech. Yesterday I just dumpedit all and put my SG straight into the 60 watt Traynor head, cranked the channel I was plugged into, master at 5, let her rip. Great clean with the guitar volume half-mat, killer OD full on. Mission accomplished.

I don't know why I always get bit by the effects bug. Maybe if I reduce my options a little, just some de-tune/chorus to separate the sides and maybe stereo echo... dirty boost. Less is more when it comes to effects for me, whereas more is more when it comes to amps, volume, different speakers... That's an effect tin and of itself.

would it make you feel better if I said "j/k" ?

I mean, Urban is a huge LP jr fan.... and huge portions of eyes wide shut were directly lifted from "The Story of O." Not a big leap there.

Oh shit.... you're 14. And a dedicated christian. Unread that, bro. I never said that. Do you want me to try to "jedi mind trick" you?

A lot of X-men (starting with Beast in the righteous 70s) are also avengers.... this may be a pointless question. I don't see these guys fighting even if forced to by The Beyonder! But theoretically Professor X could just mindfuck all the Avengers but the Vision. WHile they were frozen the x-men could gang up on the vision while wolverine walks around clawing all the vegetative-state avengers to death like a peasant on a medieval battlefield.

But its moot, overlappig members in ENORMOUS quantity at any given time. Nope nope nope. And when the X-men took on the Fantastic Four in the 80s (I still have this issue from my youth) it washed out into a circle jerk so fast that you can barely call it a fight. I think that Prof X and Dr Strange are so chummy that if the good Dr showed up the 2 of them would go all astral plane on their respective teams and freeze the lot of them until they calmed down. Next step, super-hero, hippy love-fest. But assuming the fight went thru and the guys holding double membership picked sides? Avengers. They have so many honorary avengers they can call in reserves. I guess The X-men can call on all the junior grade X teams, but the broad mutant X coalition is notoriously unreliable, whereas the Avengers network of heroes contains lots of powerful, reliable guys and gals INCLUDING a lot of the best X-men (as mentioned). The X-men are outlaws half the time, whereas being invited to join the Avengers is like being chosen to work at CERN. Nobody is going to snub a call from the Avengers to help trounce the X-men.

Its sad for me to say this, because I am an X fan through and through. If Chris Claremont dies I will probably send flowers to the funeral in the shape of a big X. But I give the Avengers the edge. They are elite and prestigious and that's the deciding factor. A list heroes across the board and a wealth of A listers as reserves. The AVengers have a lot less internal strife because most of their crew are NOT loose cannons like the X-men. Makes for boring reading a lot of the time, but lets face it, the X-men can be downright dysfunctional. If the Fantastic Four is a loving 50s nuclear family that tackles drama from outside with courage and composure, then the X-men is a fucked up, dysfunctional family that makes a lot f its own problems. Ever see the Tobey McGuire film "the Ice Storm" ?

I'm pretty much a Mallory 150 guy for coupling caps. I am good with whatever for electrolytics. Sprague Atoms aren't the only decent option anymore. F&T electrolytics seem okay and they are cheap. But yeah, being into brit tone I tend to like the mallories over the spragues. They sound a whisker brighter in the same circuits and just seem more hifi when clean and higher bandwidth once the amp is spitting flames to me. And I like that. There's no scientific basis for this and I wanna call it all bunk, but I just feel like there's something to it even though its subtle and maybe impossible to measure. That and I have tons of 150s in different common values around from m last big Mauser order when they were running a sale on them.

After due deliberation I am passing on the reverb unit. I am okay with echo, but reverb is kind of a weenie effect for oldsters and SRV worshippers. I make my own reverb, even outdoors. As my son says "Daddy make loud music, ah ah ah!"

Even using it as a distortion effect is kinda "meh." My quintessential Pete Townshend tone is pretty much guitar---> amp. I have that amp tone now, so I can stop searching. Man I finally really wound the Traynor out. Aww hell shes amazing. Not quite as loud as a jet engine. I musta played "pinball wizard" four times.... I am getting seduced by the EL34 side of the force again.

I ran into a deal on a '68 Traynor TR-1 reverb unit to match my '68 Traynor YVM-1 head. This unit was literally designed to go in the Hi-Z effects loop of my head. Shes all tube, handwired with a great Hammond tank. Basically a fender with a different control set and different input and output impedance. Because she is not designed to go ot front of the amp she can be used as an all tube overdrive/boost if you turn the input gain up and drop the reverb mix to zero and then plug the output into the highest gain input of your tube amp (pete Townshend used to do this trick with reverb units). There's also another trick where you plug your guitar into the footswitch jack of some vintage reverb units and it gives you a nasty tube fuzz from the single 6K6 or 6V6 tube that drives these old reverbs and I have feeling the Traynor may do this too, so its like getting 3 effects in one.... on the other hand I have never paid this kind of money for an effect in my life :-( Not even a multi-effects rack for the home studio! Not even for a Roland Chorus Echo unit! Also, it may need servicing right away. It doesn't have a 3 prong chord and though it works fully it may be a little noisy from old, deteriorating capacitors. These units are very rare and collectible having only been produced for 2 or 3 years (typically made to order and not available in stores). They are rare as hens teeth and may become very valuable in the eyars to come. They have already doubled in value in the last few years, so if I hate it then if I sit on her for a few years I should make a tidy profit. On the other hand I have more stuff than I know what to do with and am super happy with my guitar sound.

I am really on the fence because I just love collecting old junk, but I'm not sure how this jives with the MIDI rig I've just built.... I've been trying to modernize and this is not a modern sort of piece to add to the rig. On the other hand she is old, rare and undeniably cool... either in the loop of the YVM head for some fender spring OR out front for a Pete Townshend KERRANG! Although the amp in question can already handle that Tommy-era crunchy, punchy thing....

Thoughts?

oh yeah, on old traynors, check this one:

https://reverb.com/item/1349647-traynor-yba-1-bass-master-mark-ii

50 watt, 4 input Marshall style, pre-modded by previous owner to be a spot on plexi clone if you like that sorta thing... its sad, I only paid $600 for my 1st superlead in 2001. Now you are lucky to get a traynor or a modern clone for that price. Not that the traynors aren't fantastically built amps and all, but its depressing to look at the rate of big-name gear inflation over the course of a mere 15 years.

Anyway, maybe that Hagstrom being out of stock is a sign from god that you shuld keep borrowing the tele you are borrowing and focus on a vintage tube amp instead... a Plexied Traynor Bassmaster? ahem!

SO I ahd never seen EWS all the way through until you posted this, Ebow.... so I watched it and....

she was barely in the really naughty parts and she barely got naked (and it may have been a body duble, the shots were strangely oblique).... what a let down, Kubrick! I was promised a dirty-old-man film with Kidman and instead I got a relationship movie with some interspersed pockets of fetish porno. Addtionally? WAY TOO MUCH TOM CRUISE - BAH! Talk about "Mission Unwatchable."

by the way, I hate Keith Urban! He gets to ball Nicole Kidman whenever hes not touring (and shes not making a movie so maybe its only a handful of actual encounters a year, still tis more than I get to bang her) AND he has an amazing guitar and amp collection. He leads a charmed life. Maybe he'll be in the sequel to EWS giving NK a right good spanking with a vintage LPjr until she turns heritage cherry. But still I hate him. Lucky motherfucker. No one deserves that much good fortune unless its like Ghandi.

buttmonkeyfuck! and double bollocks on all those RIAA awards

You are going to need a court order to make them release their books (if they keep any) and then you might want to hire a CPA to...

oh wait, I'm telling you how to "audit" a band and you wanted to "edit..." hahaha

yeah, if you don't get the ebay swede for $550 then look at other models... you are talking about a healthy investment at $650 that can get you a worn in Gibson studio or maybe a Greco EG500 or700 from a good year if you trawl the bay and reverb.com hard enough. There are some great Burny LP custom copies on ebay and reverb right now. Try an ebay search for Burny LP custom. I am confident a 70s Greco or 80s Burny will school a current production Hagstrom. Even the stock Maxon and Gotoh PAF coies are VERY VERY good in these Japanese guitars.

OH! do you fancy a semi-hollow? The dealer I know from japan had offered me this:

http://www.ebay.com/itm/1980-Greco-Semi-Acoustic-SA500-Guitar-RefNo-77074-/182010478152?hash=item2a60ab7e48:g:vHkAAOSwNgxWDfDG

but now its on the 'Bay for about $530 shipped. This model seems to trade at about $700 before shipping usually.

Its basically an ES339 but with a maple neck and a center block that stops before it reaches the end-pin. So its a little more hollow than a 335 and less hollow than a 330/casino. Its about the circumference of an ES339 or CS336 but it is a full-depth thinline whereas the Gibson versions are a little shallower than a full size es335.

This is a very good model if you like this style of guitar. Nitro lacquer, fret-edge binding, old growth woods, Maxon PAF copies.... if my Greco is any indication it should have 1st rate CTS 500k pots and black Sprague tone caps stock. Neck will be medium to fat I expect, nut width is on the wide side of 60s Gibson widths. The tuners are Gotoh sealed jobbies designed to look like vintage Klusons a little. They work great on my Greco. Bridge is a 60s wireless ABR1 style with plated brass saddles, but it may be metric and not English and it could be made of steel, brass or god knows what metal. It varied guitar to guitar in Japan back then not that Gibson was much more consistent (the only rule with 52 to 82 gibsons is there are no rules). I keep talking myself out of this guitar because I have so many guitars already. Not because I don't want it. Maybe you wanna give her a whirl? I assure you it will be a better instrument than anything new in your price range after a careful setup (its a long ride from japan).

Dude has no wiggle room on price though, its consignment. If you try to low ball him he may get snippy with you. His English is sketchy, but he is a reliable guy who is generally VERY polite. His shipping is pretty damned fast and his packing is superb. He sold me 3 guitars in the last couple years and I still play one of them EVERY DAY (nothing wrong with the other guitars, but you can't keep EVERY guitar you purchase). If you don't buy this I might be tempted to. The price is more than fair for a road-worn, stop-tail SA500. The stop tail version is unsual and it is also the more desireable version. Its also rare to see one with the pickguard attached since some shipped without and a lot of players removed pickguards from their ES and ES-clone guitars in the 70s and 80s to look 'cool' back when people didn't know that old plastic would become valuable one day.

I hope she didn't spill that vodka BEFORE your son was born! j/k

I used to run a superlead, a showman, a Yamaha spx90, a radial ABY and a giant solid state stereo power amp off of 1 furman plugged into a single outlet at my band's rehearsal space, which was an old storefront in a sketchy neighborhood. And also did the same trick when our space was in the very old house me and the bassist rented.... bad electrical there, no worries though. And I was pulling some SERIOUS amperage.

In school i was always told there is no such thing as a stupid question.

As long as your amp and the other devices on tje line don't exceed the current limits of the power strip, wall outlet or breaker/fuse at the mains box? Fine. Even a 15 watt tube amp sharing a line with your microwave, stere and tv is unlikely to trip a breaker...

A solid state amp will be fine.

Teachers talka lot of smack to us when we're kids. Lies

what, like splitting your signal from 1 unbalanced jack to 2 without an ABY, junction splitter or stereo effects unit? Pete townshend style? Harmless to the amps, but it halves the output from your guitar to each amp and the amps may not be in phase so the sound could cancel and get very thin and quiet instead of louder... not to mention hum from ground loops. But you can try it with any 2 amps.

what about a Hamer Standard from the 90s import series? Explorer with a maple cap. One of those will run you about 400USD used.

Or there's always the mighty Ibanez Destroyer. My buddy Mike still rocks his 70s Destroyer sometimes. Its a pretty hard rockin' guitar.

The bass amps are only bass amps in the sense that a tweed bassman is a bass amp. As in they make better guitar amps. The bassmates and bassmasters sit firmly in the tweed/marshall camp for guitar. Tweed harvard, marshall 20 watt, jtm45 and 50 watt plexi circuits depending on year and model.

They actually sound better than the guitar models with spring reverb. The traynor bass amps have quite a following amongst rock guitarists but were made in such large numbers that demand has yet to outstrip supply.

I do not think you will easily locate the traynor i have and it may not be to your taste as it is very low gain.

If i jave my old models sttaigjt i wanna say the yga1 you linked is a great amp. Kinda like vox meets deluxe. But not exactly. Shes a solid box of rock. Built like a tank. The ygm3 is more in the deluxe reverb camp but with meaner voicing. Again british output tubes give it a vox/marshall slant. Theres a big twin reverb head too that sits between the tweed twin and blackface curcuits. I have tried all of these models before and while none are holy grails they are all better than most factory amps under 1000usd made since 1990 or so. I will take a traynor over a fender hotrod series combo any day of the week.

I picked my voicemaster up ona whim and i am floored by the tones this thing can unleash. And i ownand have owned a lot of more famous amps. This amp is special and no traynors i have played prior has let me down. I am just partial to early sound city and hiwatt heads and this circuit is dead similar. I imagine this little known traynor is a keeper for me like my 62 vox.

Great. Your buddy should be able to jumpstart you, though solid colors on wood are much different than shooting finish on primed metal. Fender used to seal their guitars with a layer of fullerplast before shooting solid colors or vursts starting around 63 to get the color more even in less coats...

Best of luck!

Greco, 70s or 80s

Thats 1/2 the rig Ebow. Usually that cab would be flipped horizontal with an ac30 next to it for a very complete guitar sound.

This is a little rig. I used to have a clean/dirty setup with a dual showman and a superlead onthe road. At one point it had a whole stereo thing going with 3 to 8 marshall 4x12s. Shit you not dude.

This setup is barely loud. Really. Your guts don't vibrate at all.

Why? Your setup is smaller?

EDIT:

View post on imgur.com

that's a shot of my down-sized, mono touring rig while my band had a rhythm guitarist (I am on the left with the whack, punk rock hair, tie, and '88 LP Standard)... you can't see the vintage Marshall rig very well behind me, but you can see the dual showman and 1960A cab loaded with JBL K series speakers. The Marshall woulda been a Plexi RI or an early JMP superlead thru a 1960TV cab loaded with pre-rola g12ms (and sometimes vintage 30s on the bottom) or a 1980B cab loaded with stock H magnet speakers

Now THAT? That was loud.

I was about to tell you there's another Traynor YVM1 on reverb like the one I just bought to scratch my hiwatt itch, but it sold.... too abd, you would like that amp with all your pedals. It positively inhales every box I put in front of it and its got the old school Hi Z effects loop going too, so you can put delay and reverb pedals in the loop post-master to get different tones if you are an ambience junky (and you are). Fuck these get gobbled up fast and they are pretty rare.

Seriously look at a Traynor from the late 60s or early 70s though. The YGM amps are BF fender with a UK twist, the YBMs are mostly marshally and/or tweedy and the YVMs are either Hiwatty or (ugh) solid state. Mine sounds fantastic and is built to survive a full-scale nuclear strike. The vintage Hammond transformer set in mine looks like a set of weak 100 watt amp transformers shoe-horned into a 50 watt circuit. Robust and definitely contribute to the punchy tone.Theya re still all $600 or less but the prices have beens teadily going up since I was a young man, so now is the time to get in before Traynor goes the way of Sunn, Sound City, Carlsboro, Vampower and other high wattage, sleeper brands from the glorious 70s and becomes unattainably expensive. As a pedal guy you are really looking at 2 power tube amps from the late 60s and early 70s to deliver your pedalboard tones with authority but without funky coloration.

in an aerosole you have no control of the mix between pigment/nitro and aceton which depending on how the can is mixed this may cause it to go on too thick or too thin for ideal guitar coats (though it does not mean you cannot use the can, it just means you need to see how it applies, if there's any dripping or glopping up and sand accordingly).... nitro is actually a 50s car paint and often the spray cans that are not specifically marketed as a guitar paint are formulated to adhere to metal for vintage car touch-ups, not to adhere well to wood. Make sure you sand well and apply a pore filler if its needed anywhaere to prevent the wood from soaking in the lacquer like a sponge. make sure you do this indoors in a very clean area where no particulates can get in the coats (they take a VERY long time drying between sandings and reapplication), make sure your indoor space is powerfully ventilated and that you wear a mask. When I say lacquer is toxic, I mean that in a "getting woozy, passing out way"... NOT a "getting cancer when I'm 60 way."

If you must be all DIY with lacquer I suggest you practice on some chunks of alder (or whatever wood your body is made of) before screwing around with these cans. Work on your X patterned spray technique and keeping a steady hand while getting a feel for the can and the formulation of the lacquer itself... BEFORE SPRAYING YOUR AXE!

You are an adult doing this in your own home/workshop, right???

Look at this paira bad boys!

View post on imgur.com

I got the Hiwatty Traynor up to around 5 tonight after work.... SHIT... I bought this amp to be all clean, but the grind, the grind! Do I need a totally clean tone? This amp is so ballsy when its just breakin' up.... raw and ROCKIN like Pete standing on stage at the Isle of White festival in 69

Itd msking me debating swapping the G12M and CTS in my 2x12 for a couple of fanes or a fane and a JBL K120

I love my Voxes, but this Hiwatty tone is sumthin' else! Traynor YVM-1 where have you been all my life?

didn't south park cover that sorta repurposed pop music only with Christian rock? where cartman sings all the sleezy love songs to Jesus?

I have been a TC guy ever since getting my 1st g series rack a decade ago. They do great work. Prior to that i favored lexicon dsp effects.

I dunno if that orange is available in nitro lacquer but it may be available as dupont duco acrylic lacquer like fender used for their wilder custom colors fron the late 50s until the switch to poly. Talk to a pro finisher though. Lacquers are notoriously tricky to work with. Do you have a well ventilated spray booth to shoot tje finish and dry in? And a safe place to sand between coats? These are very toxic chemicals cut with acetone which is even more toxic.

I would give that a pearloud pickguard personally. Black will look like a jackolantern.

Its 3 amps at once each with its own midi controlled effects. But only 2 ever hit speakers at any time.the hc30 and traynor are sharing a cab.

The Fender oil cans of the 70s sound a little more delay-like than the Morleys. I think Fender put a lot of care into how much gunk they filled the can with to get an even, rhythmic repeat. Its not spot on like a tape machine, BBD or DSP device, but its less reverb-like than the morley. I don't think that's a good thing though. Its still not rhythmic enough for most playing contexts where you want delay and a more washy, vibratoey-reverby echo is more of its own effect instead of being an epic fail to make what the British engineers at Abbey Road and Trident used to call "the repeat echo."

I still don't get why you would copy this sound though. It has a sort of Leslie speaker vibe going that's interesting I guess, but oil cans are REALLY the bastard stepchildren of vintage effects. For intentionally warbly echos with verbiness the Roland Chorus Echo will never be beat as its got a very unstable tape travel with lots of wow and flutter, scads of playback heads, the lush BBD chorus of the CE1 and real spring reverb in one box. And a gigantic, heavy box it is, let me tell you, Son!

News to you? What did you think these pedals are simulating? Its a can of oil in a big, bulky pedal. Or a can of toxic goop at any rate. Its not petroleum in there. That's safer than whatever morley used.... and these effects were sold like hotcakes to kids in the 60s! Gotta love vintage American enterprise.

I had some EDLs around and my buddy had an oil can wah. Typical morley opto-wah with an EDL stapled to it. The way they work is that the can is like a giant, fucked up capacitor where the "oil" acts as the dialectric. It passes your signal's voltage through but very poorly so it kinda delays your signal, but it doesn't delay cleanly across the frequency spectrum. Also I want to say there's a motor in one of the models that spins the oil making the sound warbly as well as delaying it.

Yes both effects are huge by today's standards. ABout the size of an Echoplex EP2 or WEM Copicat solid-state model tape delay but not as large as a Roland Space Echo or Chorus Echo (literally the largest effects unit I ever owned! Huge and heavy but glorious when it was working,which was rarely... I spent more time servicing the motors and untangling the tape than actually getting my echo on... every tie I would gig it I would have to test her, service her, and baby her into the van and venue... that was it for tape delay then though, It was rackmount studio delays/multiFX like the SDD3000, SPX90 (had one of those until recently), and the shitty Alesis stuff OR the boss DD3 type stomps and its cousins from other brands, a vintage BBD pedal like a DMM or DM2... OR you could get a tape delay and take care of her like a newborn... when I got that Roland I really don't think the line 6 DL4 was out yet, you wanted classic echo you had to dig up some crusty old MIJ pedals that cost a lot then because they were all discontinued or you shelled out for a questionable tape delay, found a supplier for the funky old tapes 'cuz the one it came with was invariably broken or worn out, and you brought her back to life and tried not to sneeze on her lest she stop working mid-song).

Oil cans were the bastard step-children and have only gained popularity amongst vintage nerds because tape units have become prohibitively expensive now that there are people making new tape cartridges for pretty much all of the different brands. Before the internet gearsplosion of the 2000s the cost was kept down because of unavailability of tape and no one would even look at a oil unit. Its a sound all its own though for what its worth. Its funny the digital nerds are cloning it now because it was really unpopular until very recently.

I'm not sure as I can't turn it up real loud without my son objecting. I am thinking a TC or Eventide plate reverb effect with modulation udner it and maybe some octave up on a delay like the classic "shimmer verb" pioneered by The Edge and Eno with their H3000s... any modulation, echo or pitch shift is going thru 100% wet reverb and I am not eharing a lot of clean guitar signal mixed in with the reverb.... its a tone of effect and not a lot of guitar. I'll try listening when Lucian goes to bed in a little....

I got a new amp delivered at 7pm, plugged the tubes in and made sure she works, but I can't turn her past 1 or 2 to get a feel for her. Meh. I think I like her. Being a dad can suck sometimes.

I used to have a pile of real moreley oil cans (1 fully working and 2 or 3 broken)... you could get them for like 10 bucks at yard sales because the oil is toxic. And because they suck. I got rid of mine a few years ago when the township declared a "hazmat" trash day. Are they valuable now?

Anywaty, I hope that carsinogenic gunk in the cans got disposed of safely. I don't want any baby birds getting cancer over such a questionable vintage effect.

this thing seems cooler than a real one, trust me

sounds like a post production effect to me, but it may just be from an eventide H9 max something in the shimmerverb family.... does anyone know Brian Eno? he would get it in 5 minutes.

Is that your for your Satanist yard? Maybe to go outside your goat's blood red gazebo?

Oh, its an effect?

Darn, an old blood colored fountain sounds brutal....

One of my friends swears by his 70s Hagstrom swede.Decent guitar especialy for a guy who mostly goes strummy strummy on campfire chords or tries to do his Robert Smith impression with a slew of flange, echo and delay (I mean Jason, not you Narcy). Full report once you've gigged yours, okay?

I admit I am a bit ovetwhelmed with routing. Nothing I do sounds bad per se, but there are a lot of options as far as what amps can get what effects as well as where to engage buffering in the chain....

I am sticking to 1 rule so far: I hit the radial aby 1st to dial in the proper reactive load on my pickups with the drag knob... Otherwise everything seems to work.

I haven't gotten the Traynor yet, sothat hiwatty tpne may be the deciding factor for routing. Eventually i want to add 2 fenders into the head switching mux and have a custom midi device made to select betweem matchkess, hiwatt, bf fender and tweed fender. Or maybe have my vintage ac30 as a 3rd amp switchable with a tweef fender pro at 8 ohms with the 2 60s g12s speakers....

The rig has 2 dry patches already. More or less. There's crunch with a few cents detune on one side as well as the same with some pedal distortion added out front but nothing else. Theres a lit of 3Dness just from having mismatched soeakers in both cabs, plus one is a combo with an h30 and blue alnico whereas the other is a deep closed back with a vintage celestion and cts alnico and is way more 70s rock in tone.

2 different delays? Thats exactly what this rig does. Different delay rhythm and voicing oneach side. My main patchesi am building are straight in with a touch of tape slap on one side and detune and a smidgen of longer delay, spring or plate reverb on the other. The B side gets some rat for heavier stuff and rat/boost/lpf/octave upfor solos whereas the other side switches heads and just gets a slightly dirty ts9 kinda boost for solos... One side is the color side with the ac30 run kinda dirty all the other time. The other side is more about core tones like i would typically play in mono.

So far i am going subtle. I am sure i will make some more insane patches when i have a few basic ones i love.

So I MIDIed up, but went with a lot of discreet TC components because of the way they pass your dry signal. All my drive and boost features are analog from the Nova series (Nova system and Nova drive). Modulation, some delay, pitch shift and all that fun horseshit is coming off the Nova system as is OD and distortion to my AC30s. Modelled tape delay is coming off the TC Flashback X4 with my own custom toneprints loaded up for a subtle slap, saturated tape delay and a kinda broken-sounding space echo setting that I managed to get sounding like my old Roland CHorus echo when the tape was worn out and motors were malfunctioning. I am incorporating the 60s Traynor 50 watter I bought for cleans sharing my closed back 2x12 with the Matchless. Rig is an unbalanced stereo affair. Now I need to debug the routing a bit and pedalboard it. The Nova System is the main controller and commands preset changes across all effects as well as setting tempo via its tap switch....

everything is happening in front of the amps except for "channel switching" via the Traynor and Matchless on a weber 2 Head amp switcher controlled via (you guessed it) MIDI-to-relay thanks to the wonderful MIDI Solutions 1 channel relay gadget. They both get signal all the time, but the Weber and MIDI Solutions combo allows me to decide which one is going to the cab on any given patch. The other one sits on a 100 watt dummy load until the next patch change.

I am playng with routing and how "stereo I want things to be so I can make a pedal board layout and put the whole thing together in the cleanest, smallest and most efficient way possible...

the great thing is I have an extra stereo output from the nova system so I can run the vintage AC30 too if I ever play anywhere that will tolerate 3 amps at once all the time!

Impedance impedance impedance.... even a solid state amp may have issues producing its full output rating into a mismatched impedance...

I'm sure Bob Gruehn's staff could ID her for you if you ever go to Nashville, they are mandolin experts and would know a Stella a mile away.

Glad all my bigsby experience was useful to you. If yu ever have a setup question be sure to ask. I have made some pretty questionable guit-fiddles play like a million bucks with a few days work and some clever ideas of how to work around the engineering and production flaws that are causing the guitar to underperform. Most anything can be made to play well and hold tune. Sadly for folks with shallow pockets, making things sound great is trickier even if you are willing to invest a little at a time in decent components. Although depending on the player sometimes theres no amount of money that can get them sounding good. Crap in? Well you know the other half...