jimmarchi1's forum posts 8022

Croatia prices sound pretty close to me for what you've outlined. Good voxes are rare here too. You can get a custom classic anywhere (and probably overpay for it), but vintage voxes are typically only available on the web anymore and the handwired stuff is rare in person and then its typical new and marked up high. I got lucky with my AC30s. My 62 came from the web 15 years ago or more. I actually lost the auction on ebay, but the guy who outbid me never paid so I got it for my high bid, I think $1200 plus some extortionate shipping fee which was a lot for an amp at the time.

My fawn ac30HW was a lucky score. I lived in a better gear region of the USA at the time and bought it used from a store I was really friendly with who accepted mostly trade items for it and marked the sticker price down for me because I had helped them sell a lot of gear by making it sound good and talking more affluent customers into purchasing it. I miss living in Maryland because I had a great relationship with this store. I must have bought, sold and traded a dozen guitars there not to mention trading vintage pedals and such. They always had something cool on the floor and they always wheeled and dealed with me. Both me and Atomic music made out well on all our interactions and its rare to encounter a shop with great stuff, flexible pricing and a fair trading policy like that. Its also rare to get rewarded for playing the merchandise even if you play it really well.

The thing with me is that even when I am happy with my stuff I always have my eyes peeled and I am not afraid to purchase something I can abrely afford as long as I know I can sell it at a profit if I need the money back. Its rarely failed me. Having an encyclopedica knowledge comes from this sort of behavior. I rarely keep stuff with great resale forever unless its so good it redefines me as a guitarist and I can't do without it. That's happened maybe twice. Otherwise I try not to get precious with anything. Selling a piece that suddenly goes up in value is usually a good idea because the extra money allows you to keep the less valuable stuff in your stable. If you really miss it you can replace it unless that particular instrument has sentimental value. I look at my gear as an emergency bank account. I would never empty it and I rarely dip into it, but its nice to know its there.

I'll get back to you on the 1st one. On the 2nd one I will say you want a hollowbodied bass guitar and a very clear sounding amplifier that preserves and augments the instrument's acoustic qualities. The rest is technique if you want to sound like an upright play as much like an upright player as you can. A fretless electric bass might help. Or you could buy a cheap upright, which is what I would do. Its not hard to learn it and there are lots of uprights to be had on the cheap used.

in a word? size....

now for a long-winded response if "size" didn't cut it for you: to the best of my knowledge (which is extensive) the only difference is a smaller PCB and Hammond-style enclosure... the bass big muff is heavily based on the 80s/90s Russian muffs that are voiced to be a little fatter in the lows. Bassists pay big money for those older Russian muffs now. They suit the bass very well... but the sound is easy to replicate with commonly available components as its not so different from any other muff apart from a few resistor and capacitor value tweaks... for my buck I would get a nano, there is no good reason for a big muff to be housed in a huge enclosure other than tradition. I've owned a couple Russian muffs of various vintages and they sound very much like a big muff. If you like that sound then any variant can work, especially if you have nothing to compare it to in person. Side by side they can all be set to sound very similar, but Russian ones and bass branded ones will definitely produce more lows without having to turn the tone control as far down, leaving you with more treble than an American guitar muff will produce when set to flatter a bass.

just put a mastery bridge on your Jazzy, they cost, but they are great

I feel your pain, truly.... it can be ahrd to find GOOD Gibsons and Fenders here at reasonable prices, so I can only imagine how it is in eastern Europe.

I have a gig at Studio4 tomorrow morning before I go out to take my son back from the ex. While I am there I am going to talk to my friend Phil about using his awesome tracking room and neve console to lay down drums and bass for this tune. I helped put that console together when he moved locations 10 years ago outta the goodness of my heart, so I am hoping for a couple free hours in return... plus I will probably wind up playing on this thing tomorrow for free. Fuck the money, I want some studio time.

then I'm the man... I submit tons of stuff from the chrome app on my phone all the time... but an app would be nice to streamline postings when I'm working... or NOT working (while at work, HAHA), it takes FOREVER the way I'm doing it and its frustrating

The Walrus is right, its a bobcat, my band's original manager owned one as a decorative item in her fancy condo. If you can find one with a straight neck or fix the warped neck (I am pretty sure they don't have truss rods) then they sound good thanks to the dearmond gold foil pickup(s)

these junk guitars are expensive in the USA now given how poorly they are made overall... I really regret not buying tons of them when they were around for $50 at yardsales, pawnstores and guitar shows because now I could be raking in the Philly Hipster loot (the last 10 years our city saw a boom of spoiled, rich 20-something's moving into fishtown and nolibs, getting guitars, starting a vintage vinyl collection and trying to be cool, I could tell stories) and laughing all the way to the bank with it... people used to spend the $50 just to steal the pickups to install in teles at the neck. I think I still have a pair of these goldfoils in a box waiting for the right project. They were pulled from a similar Harmony guitar owned by my best friend in the 90s. I think I turned the body into a sculpture as an artschool project, LOL

psot your dropbox email address or email me [email protected]

Liam is dead right about the stang versus jag/jazzie bridge... BUT the mustang bridge is still kinda jacked up though... you can mod to a Gibson bridge but it hurts the vibrato's functionality.... on offset guitars its all about the Mastery bridge if you are heavy handed and/or use the vibrato arm extensively

EDIT: the old style bridges are designed for the heavier gauge strings of the era, at least 11 gauge with a wound G back when these guitars were designed. They work great with flatwound 12 gauges, but with roundwound 10s they can be a mess. Also, playing styles have changes substantially since the 50s too! These bridges are not designed to handle the raw fury of a Billy Joe Armstrong down stroking powerchords all night. The design is actually fine for the needs of 50s and early 60s players. The more iconic models like teles, strats and most everything made by Gibson have some of their status because they have bridge assemblies thata dapted well to the new playing techniques and advances in strings that started to come in after the British Invasion. People can say that fender's offset guitars were for a long time unpopular because 2 of them have weird scales or that the Jazzmaster has odd sounding pickups and that all the wiring is weird and counterintuitive, but the number 1 reason is that the bridge designs are just not universally stable. I don't think when Leo was doing the Strat he said "now I have a guitar that will be able to work well even if people invent light gauge strings!" It was a fluke that happened to give the strat braod appeal and a lot of staying power even as music and playing styles changed. A stock Strat vibrato is less stable the lower your string gauge gets, we all know this... but the strings never pop out mid-riff if you overdo the whammy bar!

brilliant.... I think Josh is playing some doublestopslpowerchords, and the bass is not, but yeah

please use the dropbox folder labeled "ideas" I invited you

it got outta whack... I put out an itty bitty feeler during my time off and it went NUTSO

most of it is BS, rallying the troops shit

I am really retooling the middle of this song right now.... gimmee a sec... it needs more.... ZAZZ

it might, shouldn't really, but could

dropbox it into the ideas folder

https://www.dropbox.com/sh/dl1k6r03pxk5u85/AADrcDDPe16JXYvdykc9xXKWa?dl=0

its the no lyrics part after the 2nd refrain... the song is mostly in Cminor with a few accidentals, however it has a couple key changes - the last bit of the verse is in F minor, the second refrain comes out in Eb minor before repeating itself in C minor, the 2nd half of the 'bridge' I referenced a minute ago is in D minor....

try playing a slightly sparser playing, the chimey high stuff is cool though

I'm not a big intro guy.... maybe 1 to 4 bars of build up and get the vocal in before the knuckledraggers lose interest, Its neat though, can you adapt it a bit for the bridge section that is a variation of the verse?

chords

1st repetition: Cm - Dm7b5 - Eb - A7

2nd repetition: DM - Em7b5 - F - A - Am

resolves to Cm

you added it to dropbox? I don't see it

EDIT: my phone just beeped at me, I saved her to dropbox from gmail... next thing you do just join the dropbox folder (I invited you) and put her there so everyone can get at it

no, meaning financial manager for medical providers... I work in elder care, I used to do long term care, the new gig is home healthcare since the nursing home thing is probably going to be phased out within my working lifetime....

what you need for this is a DI with a 20dB pad and a speaker thru jack, then you could do it... its best if you use a loadbox or an attenuator with a load setting like a hot plate. You take the line out from the attenuator, feed the recorder with it and then treat the recorded signal with speaker cab IR. You can even make IRs of your own cabs being pushed really ahrd by a solid state power amp and then recorded by a fancy microphone you can't afford if you book an hour of cheap studio time... then put your custom IR on your computer at home to use for direct recording your amp in your bedroom later on. If you have a good load box or attenuator it should sound reasonably close to playing a live cab in a studio and you can then run your amp as hard as you want without pissing off your neighbors because you are essentially using the amp as a glorified effects processor. There's lots of great cabinet IRs available on the web and freeware VSTs to load them into. So investing in a reactive loadbox or good attenuator is a worthwhile proposition.

EDIT: you could use your effects loop as a preamp send into your recorder!

Ah difficult, what's your actual job?

I'm essentially a medical biller.

no, because there won't be a speaker load, you'll kill the OT, plus the output will be too hot to record without padding down and converting to line level

a ring mod has an oscillator that produces a sine wave (modulator) at a fixed pitch that then modulates the incoming signal (carrier) when they are mixed together in the correct proportions... in analog electronics this is usually accomplished with a ring of diodes, hence 'ring' mod

EDIT: if I recall the technology comes from radio transmitting where the strong and simple modulating wave helps to send the carrier further and then your radio decodes the combined signal leaving (in theory) only the carrier with the actual broadcasted material you want to hear... you can think through the implications of that next time you drive through a tunnel and before the radio goes to pure static it gets all ring moddy and garbled :-)

its just a quirk of BBD chips, when you change the delay times the feedback changes pitch, however, new delays will be in pitch.... that's actually what makes chorus work, the delayed signal is pitch bent because there's an oscillator controlled by the rate knob that changes the delay time subtley. The whole existence of chorus as an effect is based around the shortcomings of the BBD delay lines of the 70s. No one would have invented it if they hadn't noticed that a change in d-time causes a change in the pitch of the feedback from this sort of delay device. Although tape can act similarly too depending on how different delay times are achieved. If its with tape speed then it produces pitch change, if its a moving tape head or multiple heads like an echoplex or binson unit? then no, a change in d-time has no effect on pitch. A machine like the roland space echo has multiple playback heads as well as variable tape speed, so it can do it all...

not sure? thoughts?

I added you to the folder a second ago. I find myself with 2 days off out of the blue. My son was supposed to come home from his Mom's yesterday but she bailed on the grounds of her car breaking down and I can't make a 16+ hour ride with a toddler on my own and no one else is off from work to split the drive with me... this is classic her. No plan B unless it involves screwing someone over. Upshot is that these 2 days I can work on music, no serious distractions since I am off for the next 2 weeks and I can't get my son 'til Wednesday.

LOL to you, young master, LOL and huzzah!

how's the 325 treating you? can I con you into working on my EB-wide collaborative song project?

http://equipboard.com/forums/general/topics/internet-colaboration

good eye spotting this, by the way... I never read the comments on youtube videos, guess now I should start

So if someone named Hugo buys himself a CS-3, does that make him a Hugo Boss?

not unless he already ahs a ds1

the level of detail and creativity lends it credence.... that's a very detailed description there.... the repurposing of an obscure, vintage microphone is just too strange to be fabricated, you can't make up a good studio story like this, when you are cracking away at a record weird things like this pop into your head to try out as the song inspires you that you would never think of otherwise. This is so out of left field that I think the whole thing is true. Even if Mr Scott did not post this story, I think that whoever decided to impersonate him must have heard it from him and then repeated the particulars here verbatim. Taking a listen to the song right now I definitely hear space echo... I would know, I used to have a chorus echo.

"proof" like this though should be case per case, in this instance I have no doubt the calrec mic-slide, U87 and space echo are 100% correct. Something less weird I would second guess. Anyone can say "I recorded this and we used a les paul and a plexi through so and so's 4x12 miked up with an akg 414." Well who hasn't recorded guitar that way? But this? This is so specific and interesting that I buy it.

I might play with it before bed and write a review.

oh man

[email protected]

click and get added to the dropbox folder for the project

which I still hven't used

analog delay knobs would be fun to tweak from your guitar of course..... crazy repeats and pitch bends....

I didn't mean to be offensive, sorry

the college catch-up remedial classes are not always up to snuff. Brace yourself, you have your work cut out for you.

Make sure you can at least do trig and college algebra before you start college even if it means taking a community college summer course or two to get up to speed. I took a bunch of community college math because I didn't get past trig1 in highschool. I learned a lot better in community college than I did in highschool OR actual college classes. On the other hand, even the best community college writing class is not worth a damn and makes highschool English look like an impressive curriculum. If you ever need help feel free to ask. I scored a perfect 800 o the SAT verbal twice (second time to win a bet and prove a point, god I was such a little shit) and really know what I am doing with term papers, essays, you name it. I am not the most poetic writer all the time, but for your purposes I might be able to help you out when you need a proofreader or help with formatting.

Ah, I'm not really planning on making a living from music. Unless I ''blow up'' in the EDM scene that is (the chances of that happening aren't high enough to plan life around that though). I did do the skip high school thing though. Probably more thoroughly than most teenagers. For different reasons though. I'm getting my GED and going to college next semester.

Make sure you can write a term paper with proper citations and make sure you have better-than-GED level math skills before you start.... my ex-wife skipped more school than me, dropped out, took the GED, aced it, did okay on SATs and ACTs and went to Ohio state for a semester or 2 but found herself totally unprepared even though she's no dummy. Finishing highschool, even if you coast through and fuck off a lot like I did is still preparing you in ways no standardized test can accurately assess. Without school, the burden is on you to have a college level skill set. Maybe you do, I dunno, just giving you some free advice. No offense meant if it doesn't apply to you.

the secret of getting into stuff like that is to be a bad teenager and go out all the time, blow off school, etc.... it doesn't pay in the longrun for most people though, once you get the opportunities rolling in things still need to go right for you every step of the way in order to make a reasonable living at it

If I had it to do over again I woulda focused on my studies instead of being cool, making music and having a good time and I woulda become an intellectual property lawyer. Hindisight is 20/20.

yeah, my friend in highschool was dating this oldster who ran the philly goth scene (eew, pedophile) and he told us about this Cure/Rave Dj mashup thing going on at the skyline and the guy who was throwing it had a technical probem so I got in and did some soldering for him so that both dancefloors had functioning sound systems... we started hanging out a lot and when I turned 18 he gave me my 1st pro music gig

I also played bass in his industrial band for a while