jimmarchi1's forum posts 8022

Ah, there we go, I confused it. People who "serve the songs" and people who, well, solo and such, and then there's Kanye being Kanye.

sometimes I just "serve the servants"

I heard on South park that Kanye is a gay fish... I mean, he likes fish stick and all.

That reminds me of the Kenya and Badger songs.

same guys

https://youtu.be/M8el_P4yvfc

I wonder how many Boutique Guitar makers use a Kiln. That's definitely something I never thought to ask before.

I am sure the more affordable ones are Kiln dried wood. If you are doing bolt-on stuff your best bet is to buy bodies and necks from small enthusiast guys who don't sell finished guitars and assemble shit yourself.... there's a guy in Ohio I know who gets amazing wood and I know he air dries everything, but you are basically assembling the guitar from there. But anyway, a lot of the big bolt-on boutiquers like Nash and King Bee use warmoth or USA custom bodies they and necks they purchase bulk and just focus on matching them up really well tonally, finishing them nicely, put in nice electronics etc... I wonder if Fano is Kiln drying? Or Suhr? They seem like serious dudes, but you can buy body blanks in bulk pre-dried in a kiln and it saves time and an equipment investment... I will bet money Collings is air dried, maybe Tom Anderson too...

Billy has a ridiculously linear sound, so he can easily rock that Juniour, but not the people who want more variation and aren't wanking on four chords and a single, "serving-the-song" solo.

Not that I am a big green day fan, I am not, but what's wrong with serving the song? I would rather serve the song than try to serve my enormous guitarist ego! I love to play guitar solos, but the song is not a vehicle for my chops, its really the other way around.

If no one else gives any opinions on Juniors, then this thread is derailed.

I think there are a lot of youngsters on here who wouldn't think to pick up a Jr unless they are a green day fan... I can't think of a lot of current musicians apart from the green day dude who play them. I can think of an army of oldsters who favored them like Johnny Thunders, Leslie West and Mick Ralphs... but I don't know too many young guys who are into the dolls, mountain or mott the hoople Although West also played LP specials, and that's a different beast.... I once had a TV yellow special and I miss her sometimes.

From ES335.org

"Back in the day, the wood used for guitars was air dried whereas today it is kiln dried. We are an impatient species and air drying simply takes too long, so we use heat to dry the wood before it is made into a guitar. Apparently (and I’m not an expert in wood), kiln dried wood is less stable that air dried wood so it would react more to changes in humidity. As it turns out, I have old guitars and new guitars in my shop and I can compare some of the effects of changes in humidity. Even though I try to keep the humidity stable, it still fluctuates 10 or 15% over the course of days and I do perceive some changes in some of the guitars. The newer guitars seem to be going out of tune-often sharp. I know the tuning pegs can’t turn themselves, so what is happening and why is it only the new ones? What’s happening is the wood is expanding-the same reason your doors won’t close in the Summer but close easily in the Winter. As the wood expands, the strings are drawn tighter and go sharp. And since kiln dried wood sucks up moisture more than old air dried wood, the newer guitars are more susceptible to expansion. It won’t turn your parlor guitar into a Dreadnought, but it will expand enough to affect the tone and the tuning. Wet wood doesn’t resonate as well as dry wood and some days, your guitar won’t sound as good as it does on others."

I don't know how true this all is, but its been my experience with most set-necks made after 1980 that exhibit the notorious 'rise at the heel' that prevents low action that it is much worse in the summer, but older set-necks don't experience this problem. If they do have a rise at the heel, it is consistent all year and can even be addressed with the quick fix of a fret-leveling.

I have also run into the same tuning problems the author from ES335.org mentions (strings going magically sharp) with every modern guitar that's passed through my hands every goddamn summer when said guitar leaves my air conditioned home... or all of them at once if I open the windows on a cool but humid day. My 60s Guild never had these issues, nor do my 70s Japanese guitars or even my 80s Hofner-made carvin semi (I believe the German Hofner shop STILL use very traditional methods like air drying), so 1980 is not a firm cutoff date. So far so good with my 80s Washburn falcon too. I was generalizing with '80, but you get the idea. Discuss?

I think this is one of the most satisfyingly neat and clean pedalboards i have ever seen, and I hope one day, I can reach this level of cleanliness. For now, I am just getting a Pedaltrain 1, I don't even have clean patch cables!

I promise you all the cabling on that is cut to size before ends were soldered on and zip-tied to the pedal board. Its nice and clean like that, however, the layout looks kinda sketchy. I hate tap dancing on multiple rows of pedals, it hurts my performance. I haven't worked with a lot of guys who don't play better when you simplify their pedal setup so they can focus on playng the part with authority. But if you ust have a mountain of effects check out this great non-midi multi-pedal patch solution:

http://www.musiciansfriend.com/amplifiers-effects/carl-martin-octa-switch-mkii-effects-switching-system?cntry=us&source=3WWRWXGP&gclid=CMSF37KQkscCFdcXHwodnscOCQ&kwid=productads-plaid^83573308107-sku^H93853000000000@ADL4MF-adType^PLA-device^c-adid^53736456387

when I was using 4 or 5 pedals I came really close to buying one of these for the front of my board so I could call up combinations of multiple pedals with one tap, but then I wound up doing the Yamaha SPX90 and I think later a TC rack and stereo rig for a little with only a fuzz pedal out front and that was super-easy to handle without compromising my actual performance.

I had 4 lousy buttons to deal with... just echo or modulation on/off, tap tempo, plate reverb if needed all AFTER my plexi's full power tube distortion ala EVH in the 70s and the stereo output from the Yamaha or TC feeding a dual mono-block PA that drove my 2 Marshall cabs on either side of the stage... and then there was the fuzz if I needed a little extra into the 1st stage of my plexi to bring the nasty. It just got to be too much of a hassle to carry all the extra kit. I am getting old and my 'roadie' got deported back to Russia when his visa expired, so I have gotten simpler and simpler ever since because my poor back. Once that band got a rhythm guitarist my need for that wide sound disappeared too and I could really just focus on having a great fender or vox clean, a good british crunch and a soaring lead. Hell I just sold a few pedals because I don't use 'em, but a lot of folks are effects driven because of the genres they play in, so for those people who can't afford a reliable midi system I recommend the octaswitch. Its epic.

You sound like you use one pickup and a few pedals.

SHUN

OK, but majority of the time, I use my neck hum, only because I like the sound for leads. I rarely ever use the bridge, usually if I play with light overdrive, something that requires fast strumming. Sounds a bit muddy on the neck.

I am not telling you to like LP jrs, just to consider that working with limits is actually freeing

if by a few you mean a tuner and maybe a boost or OD? then yes. 1 or 2 is a few. I used to have tons though, but I set em up for nothing as I seldom ever engaged them at gigs. Every time I would forget to engage some effects in a song and the audience didn't even care I realized that they are totally pointless!

I cannot believe NO ONE ELSE chimed in on this amazing topic!!!!

No neck pick-up? I'd probably destroy this thing just trying to make it function as a double humbucker, or maybe just move the bridge up to the neck.

I need my neck hums. Some bridge pick-ups sound so trebly, It's disgusting. Balance, people. There's a reason dual and triple pick-up combinations are more popular. Billy has a ridiculously linear sound, so he can easily rock that Juniour, but not the people who want more variation and aren't wanking on four chords and a single, "serving-the-song" solo.

you'll understand 1 pickup guitars when you're older... treble is our friend if our technique is up to snuff (your guitar has a tone control, bud)... harsh, you say? get a better amp... even the thinnest, most ear-splitting fender bridge pickup will be an ear-pleasing sound through an ac30, for instance.... or try that harsh pickup through a tweed deluxe, you might just enjoy the extra bite and spank.

My first grownup guitar was a guild starfire 1 with a single neck pickup. I learned a lot playing jazz on that bad-boy through my old Princeton reverb and also figuring out how to rock out with a fully hollow 1 pickup guitar with no 'lead' pickup.... control the tone and play with overdrive without feedback or even utilizing all that feedback musically and controlling it with stage position, and dampening with my body and arm.

Get outside your comfort zone like that and you are going to make it about the music and start controlling your bass and treble response WITH YOUR HANDS, which are literally the best tone controls you've got if you know how to use them. Stop practicing the notes and start practicing new ways to approach the note and you will find you just need a guitar that plays and an amp that can get out of the way of what you are already doing unplugged, man.

Excelsior!

I once played a $1000 Taylor right before playing a $3500 Gibson acoustic. The Taylor beat it in every way.

Martin and Co, mate. Martin and Co.

I am going to go off here, because I have gotten really picky about acoustics in my old age and have the opportunity to play A LOT of good ones on recording sessions and such over the years. So I say "meh" to both of you. I would still take a $2k current Taylor over ANY current martin... the new martins do not play well and they don't sound as good as they used to, moreover the tone is DIFFERENT than an old one.... the Taylor ha no pedigree to speak of. It is a modern guitar that is meant to have a modern sound and I think that sound is the best thing going in current production flattop acoustics, especially when you factor in the solid playability.

Martin had a good run of guitars in the 90s as did Guild and both companies made some decent guitars in the 50s, 60s and 70s.... but Matin's whole rep is built on the guitars from the 30s and 40s, just like the reputation of Gibson's flat-top acoustics is from that era (though to a lesser extent since the jumbos are a 50s/60s thing). I have been lucky enough to play a lot of pre-war era Martins and Gibsons at this great little shop on Broad Street in Philly. They literally do not make them like they used to. Some of it is the old-growth wood (wood matters more in an acoustic, so duh) and some of it is just superior craftsmanship. They do not AND cannot make them the way they used to.

With what Martin and the big G charge for a really well-made current acoustic you can turn around and get a vintage one that's been refretted, probably had some damages repaired as well as maybe being refinished and you will be way happier. They just play and sound better. The current Gibsons play like crap, but the basic acoustic tone is the same if not as good, whereas an old Martin is like nothing else. Its lie Martin forgot what acoustic guitars should sound like! You put an old one next to a new one and do a blind listen? You will pick the old one and wonder if the new one was even made by the same company.... I can't afford to drop $4-5k on a high end, current Martin 000, but if I could spare that kind of coin on 1 guitar I would go to Broad Street and buy an old one that's had some repair work done by master craftsman like the brothers who own this store (they also own the Philadelphia vintage violin store and restoration service, Philly rules and I love this family).

To me my $300 Jap Epiphone dreadnought from the 90s is fine. No better or worse than anything else on the market since that time. If I can't have a stand out acoustic why spend the money at all? Martin and Gibson are both a joke now when it comes to acoustics and if I break a grand on a new Taylor then I feel like I'm throwing away the downpayment on a guitar from the golden age of flat-top acoustics that will outperform anything made since in every way.

Keyboard - Jimmy Destri, Blondie

nice #5!

I've seen nearly everyone I would want to.

1. Metallica

I don't enjoy their new stuff, but I want to be at a live show at least once. They were the very first piece of music that spoke to me. I was 6 and they made a huge impression on me.

saw the free Philly show in the 90s (I am from Philly), it was fun as hell, they were great... it was also before they laid too many eggs so the setlist was solid

2. Garth Brooks

For old time's sake

I would go see 'ol Garth with you... I secretly love country music

3. Pantera

I don't agree with the lyrics or nature of their music now, but I would have really loved to have seen them.

I saw them in the 90s, they were abrasive and hard to take and I was a metal fan at that time... not deafeningly loud abrasiveness, just ear-ache FOH mix... dime was really impressive in person when I could make out what he was playing. His persona was so much more understated then his chops.

Numero Uno with a bullet, the fucking Beatles... also, the Beatles for number 2

and for number 3 I will go with Miles Davis

Welcome Dtorre,

I've personally not heard of that brand before. I'm of no help here.

ditto on both counts

You should just make a YouTube channel about your opinions on music, you'd do well ranting about the fall of the music and guitar industry.

Believe it or not I have high hopes for the future... once we get through this slump caused by the proliferation of affordable instruments and recording equipment in the hands of people who are amateurs at best with little to say I think music will get really great now that people with a lot of talent and dedication can really get DIY about things thanks to that same affordable gear and the wonderful distribution avenues afforded by the interwebs... I am sure there is more great and innovative stuff happening right now than anyone knows about because its just so hard to sift through all the hero-worship and vanity projects that proliferate the net. The future of music is almost here. Also, I think now is a great time for all things guitar. So many great options out there and they are easier to find then ever thanks to the web. Amazing things are happening with electronic instruments too... but the real cream is pricey. Although cost can really weed out the men from the boys so to speak.... I would sell a kidney for the right guitar!

You're damn lucky you used intelligible paragraphs or your post would have topped the last as biggest post in EB history.

Stay grammatical, friend.

LOL, then pay me tow rite magazine articles or essays, when I post my insights for free I ramble without regard to foolish ideas like grammar... its like free jazz!

I forgot about the paul butterfield blues band with good 'ol mike bloomfield on lead guitar and the 50s miles davis quintet when they had train, cannonball and bill evans... they're all pretty great too. I mean, obviously there's the Beatles, but they are beyond a band and beyond a favorite. I mean the Stax house band (AKA the t-birds AKA booker t and the mgs) was pretty epic and played with all the Stax artists when they recorded in Memphis so just for breadth of catalog maybe I wanna change my answer to those guys? God did they have some soul. I still have a warm spot in my heart for some of the bands of my youth too like MBV, the pumpkins, Swervedriver, STP and Soundgarden (though SG's work really fell off since the reunion)... to say nothing of industrial and electronic acts from my youth that are actual BANDS (unlike this new ebm stuff my ex likes) such as ministry or skinny puppy... in this basic idiom front242 tickles me as does Depeche mode. Oh, and autechre. Damn! This is a hard question, but for sheer impressive innovation and artistry that is way outside the box I guess I stick with Neubauten.

I worked for a guy as a kid who taught me about recording and had an enormous and varied record collection and he gave me the 2nd best piece of advice I ever got about music. Between his colelction and my uncle's insane collection (hes an attorney with money to burn and a great love of musicology and his collection takes up an entire bedroom in his house just for storing it ON CD, not vinyl) I had a lot to check out and its an ongoing process. So this friend said, 'be willing to listen to anything.' In highschool the Jazz Band coach told me to 'really listen' and that's the best piece of advice I ever got because I REALLY LISTENED to those 2 words and made it my life's goal to understand what listening can really be. Put those 2 together and you can do anything if you are willing to shed.

There is a lot of drudgery involved in putting in the requisite practice and study after really listening and training your ear to appreciate what all good music has in common. There's always a reason why something is popular and apart from a few cases it is not the marketing budget, you are just not hearing what grabs listeners other than you. That's the chore, to be objective and clinical with the tough stuff or try to put yourself in the shoes of joe-fan for an hour of seemingly-sophomoric music you don't readily identify with. Heck, it can be drudgery listening objectively to stuff you like at first. Even if you are already broad minded about music, do you know WHY you really like what you already like? What it all has in common and the real factors that give each artist their individuality? Most of you, I promise, do not. No one is open minded to start though. You have to listen, deconstruct, learn and practice to open your mind up all the way. Your ears are the best piece of gear you will ever own. I should add them to my equipboard! And this is from a guy who is always still trying to learn and expand because 25 years in I feel like a rookie some days.

There are a lot of young guys on EB so I feel the need to get on my soapbox once in a while on this forum.

Listen to everything and learn to play or produce it. I eman learning songs by ear as well as leanring how a certain sound is achieved. Learning tow rite in the style of so-and-so who you do not even like or how to comp over some changes in someone else's solo style. This process will change you, but you will change every piece of music you touch. The hand is ultimately shaped by that which it creates. I forget who said that, but I always liked that quote and NOWHERE is it more true than with music. These organized vibrations in the air we all want to make here? They are like people's lifesblood. They bind us together just like the human need for food and shelter. But a starving person in an alley can be transported from his troubles for 3 minutes by music...

so smoke that over like Supafly

Haha, thanks for the help anyway

seriously though, when I used a bunch of pedals live for about a year I just got a sack of jacks and cut broken 20' cables to size and soldered 'em up to make a neat little board (still only like 5 pedals at my max I think, but that's a whole lot for me - I think I had my trusty radial ABY splitter, a TU2 on the tuner out, then an old fuzz of one sort or another to my marshall depending on my mood, and to my showman on the clean side I would run a mutron flanger and a small stone? I think Is tarted with the flanger hooked up to the plexi with an mxr blue box in the mutron... I think I sold that mxr to the girl from Haelstorm after I switched to tonebenders, wow, old times... then I had a whole fuzzface period where I ran it into a cork sniffer standalone buffer before my marshall when I switched my rhythm amp to the HC30 and eschewed all other pedals apart from the tuner and splitter... although there was also the 'plexi on a load-box with Yamaha SPX90 and power-amp' period too... I am rambling, who cares what my rigs were 8 years ago? especially since I would never remember to engage any of those effects at shows LOL... I just remember a lot of guys would drool at my stuff, most of which I hardly used).

i dislike les paul juniors the just don't feel nice at all.

they are not nice, not at all... they are lean and mean, I own 'nice' guitars, lots of them! I miss having a Jr or Special and plan to buy another or build a Precision Guitar Kit and finish it myself.

I totally agree with you there. I own a Gibson LPJ, which has been dropped, smashed against things and has had a cup of tea spilt all over it and it just keeps going. I don't usually go for the 50's style fat and chunky neck, but the first time I picked it up it just felt right. Great guitar. I think many people are scared off by them when they see it only has one pickup, and then they run back to a Strat or Les Paul.

People always ask me why I don't add a neck pickup to my esquire since most have a route for it (as does mine).... because 1 pickup imposes creative limits that can actually be liberating. Everyone gets scared of the 50s fat and chunky neck until they give it a real whirl during a long stage set and then they find they are less fatigued than they are by their modern slim necks!

I don't understand how you can possibly connect with them, they look like dead people that just got reanimated. Even the street musicians are, at most half the time, terrible. The other half are skilled musicians that didn't get signed, I guess.

Walk behind some highschool girls for one minute, you'll get what I mean. It's like my head's gonna explode, but I had to deal with it since I was going in the same direction (back in high school).

I am still having my morning coffee and look like a dead person that got reanimated right now. It happens to the best of us. You need to take the blinders off and see some life, man. Ask some of these people their story. Everybody's got a story. Those are people, not zombies. People. Unless you don't write the songs for your band, in which case I guess it doesn't matter. But seriously, what did Woody Guthrie say? You can only write what you see....

Listen, if I walk too close to highschool girls their parents might call the police.

California is kinda the same, but only in the big cities. All the smaller neighbourhoods are actually very nice, and the colleges here are top notch. Except for the high schoolers

I went to lots of industry get togethers in LA, NAMM, all that crap... in hindsight I think those people (some who are 'city people' or many with beautiful homes out towards the desert)were the real losers but I really liked the homeless people, the tramps, junkies, freaks and weirdos down at Del Taco at 2am.... and the real desert people who lived out there all along are interesting too

highschool students flew way under my radar 20 years ago when I still attended highschool

I once played a $1000 Taylor right before playing a $3500 Gibson acoustic. The Taylor beat it in every way.

taylor makes a great acoustic that's easy to play open chords on, I don't deny that, but the OP was talking about electric guitars, specifically Les Paul Jrs and I think I heard your Taylor story before and I think we all know you don't like any Gibsons you play ever and that if you had a 59 335 sitting around I could probably trade you a mediocre Jackson soloist for it dead swap and we would both part happy. Different strokes and all that. You have a thing against deep necks with wide string nuts and plenty of shoulder and that's okay. Other than the entirely too thin Ibanez wizard profile and the cartoonishly fat U neck on my buddy's jazzmaster, I've never met a neck shape I couldn't make music on. I have preferences for various reasons ranging from fatigue to stability, but I can play for a couple hours on whatever and make it sound good, though if your guitar's neck is too thin you will be mad after I do a bunch of headstock-bend pitch dives and produce TRUE vibrato by warping the neck back and forth rapidly with palm strength while fretting, fucking your truss adjustment up in the process...

I really like the sturdiness of 50s-style fat necks. The way I hold my hand makes the profile relatively irrelevant and the fat neck takes a lickin' if I decide to play aggressively. a good old Jr or decen RI or clone really does it for me. You can abuse a 59 LP Jr and it just keeps on rockin'

I am going to piss Boom off here and laugh while doing it... love Les Paul Jrs BECAUSE THE NECKS ARE USUALLY HUGE LIKE A BASEBALL BAT EVEN BY GIBSON STANDARDS... P90s sound great and having 1 pickup and 2 knobs is the jam, plus the wrap-around bridge really adds to the caveman aesthetic! honestly you could make me an LP Jr with just a pickup and a jack and I would be even happier, but the 2 knobs are nice to have to control the amount you are overdriving your amp and the tone control is nice if, like me, you really like caveman tube amps without tone controls... they could be positioned a lot better for easy pinky access, but I accept the challenge. I prefer double cut Jrs and SG jrs for fret access, but only the single cuts have consistently chunky necks to scratch my Louisville slugger itch.... you strap on a good Jr and you feel like johnny goddamn thunders.

LOL, that sounds like a lot by my standards

I am thinking DC and Marvel could collide thru the astral plane where the Shadow King hides out.....

Thank you everyone for your very helpful advice, I will be sure to take it into consideration to choose my patch cables

you could also use less effects, if you have a snark tuner then you only need 1 long cable, LOL

here's yet another one....

http://equipboard.com/items/fender-mexican-standard-stratocaster-olympic-white

I am guilty of this, I grabbed this when I first joined because it best fit my tobacco burst frankentele:

http://equipboard.com/items/fender-standard-telecaster-tobacco

but we should straighten it all out already, EB is getting mazelike

be careful with amps though! they really vary from year to year in the vintage era, especially vox and marshall... I would spearhead a vintage amps project to both consolidate and expand all the pre-1980 amplifiers because I am not sure anyone else on EB right now is as knowledgeable as I am, I just don't know if I have the time

Most any DAW can be used to produce EDM, if you know how to use it the right way. I use Reason 8 to do electronic stuff all the time, and I've been told that Reaper has MIDI programming capabilities which, when used with VSTs and virtual instruments, could be used to produce electronic music. Same goes for Logic, ProTools, and just about all other modern DAWs.

I swore by Logic back before apple bought it... back then I had the original FL and used it to create loops from my own samples that I would bounce down and use in logic.... later this was my approach with Cubase sx and I also flirted with rebirth and then reason when it came out, but FL just grew and grew and I gave up on doing anything outside of FL unless it was totally 'organic' (versus electronic) music....

I am still awestruck at how many people are using FL these days from newbs to pros... I spent years worrying it would disappear from production and I would be stuck with the propellerheads software (which I never quite warmed up to, though rebirth sounded pretty col at the time I must admit)... I am so glad they expanded FL and it caught on with the world like it has. While they have added tons of features and packs of samples for beginners it still secretly caters to guys like me who build every millisecond of audio ground up using hardware, stock FL features and 3rd party plugins out the whazooo. Its a 'have it your way' platform and I like that.

As far as the different colors go, I think they should merge them. As far as Vintage is concerned... I think there is a huge difference in sound between a '59 Les Paul, a 80's Les Paul, and a new Les Paul. It's pretty objective too. No one would argue that an early 70's Tele Deluxe sounds like the reissue. They're not made in the same country, they use very different sounding pickups, even the resonance and weight is dramatically different even from early 70's to the late 70's in that particular guitar. There should be a vintage distinction even down to the year as far as I'm concerned.

I agree 100%, before CNC machines there was a huge variation even within a given year of a given model! I have played a lot of old and new SGs and there was way more difference between a 67 and 68 SG then between that 68 and the 2010 I own (especially with mine having old T-Tops)... that's just 1 for instance. Sometimes color does effect tonality though as solid colored fender guitars switched from Dupont's Lucite cellulose lacquer to their Duco acrylic lacquer earlier than their blonde or burst colored counterparts, then eventually fender started clear coating all their guitars in fullerplast prior to applying the Duco.... this topic is a potential minefield guys. But if we admit that prior to the widespread use of CNC machines in the industry no 2 guitars of the same model were truly similar I think we can all agree that an entry for each year prior to, say, 1990 (I will do some research) could have a unique entry (because two 58 les pauls surely have more in come than a 57 and a 58) and maybe some colors ought to because of the changes in finishing materials and processes for certain colors instituted at fender in the 60s.... I mean, parts tolerances for ots and such used to be really loosey goosey until the 90s and pickups were either hand-wound or the bobbins were filled on machines with no tension control and no counters or auto-stop (guys at Gibson were tasked with TIMING the winds for humbucker bobbins until the t-top era)

http://equipboard.com/pros/richard-lloyd/vox-ac30-guitar-combo-amp

I made a mistake in the body of my text in this gear sighting for Television's Richard Lloyd. The original source was Guitar Player and the Television reunion tour was in the 90s... sorry, can anyone fix this?

Musicians who play with distortion with no treble, so It's incredibly loud, but no one can here the actual notes over the drummer or the singer, so all you hear is some kind of controlled feedback that is the guitarist.

or just guys with no treble in their sound in general... the guitar produces a great range of frequencies and I like to hear all of em

It's a great combination and i use it a lot. If you want a preview of the results i suggest you to search on youtube for the EHX Stereo Electric mistress, it has both chorus and flanger and you can use then together as well.

yeah, the stereo mistress is a cool example of one way to combine these 2 similar effects

Darkseid isn't nearly as clever as Thanos though... in my opinion at least. Anyway, I need to process all of that. That was a blast of info, some of it outside of my comic book era (I didn't keep up with doomsday after superman died and returned as I was getting out of mainstream comics)...

The Doomsday that killed Superman in "Death of Superman" was a pupai or baby form of Doomsday. When he comes back to life, he is then immune to dieing from being beaten to death since that's the way he died in Death of Superman. He comes back, is allowed to mature, and is way worse than before. He was so powerful the next time that Superman could not figure out how to even slow him down. Superman had to resort to using weapons, armor, and a whole lot of help. He took Doomsday through a wormhole to the end of time and left him there until he could find a way to end him.

THEN.... we have Doomslayer. This was created when Darkseid trapped Doomsday into an eternity tunnel. Doomsday, living millions of years in what we perceive as a few days allowed him to evolve into an even more disgustingly strong version of himself that is super intelligent to boot. He actually sets out to kill all versions of Doomsday left.

It sounds like a lot happened in the DC universe (I know I missed a lot in Marvel, but I am getting caught up) since I stopped following mainstream comics and started cruising around the USA on tour and stuff... I don't even remember finding out what Doomsday's deal was back in the 90s... I remember him dying, but that's it!

This is Texas sir. Most things that come from California are a turn off for us. :)

Number 1 complaint through Texan's these days is "Well ever since all those Californian's started coming over in droves and taking all the jobs and housing...." The idea of a Californian Exodus is not a popular one here. Texas has taken on large communities over the passed 10 years or so and our culture and atmosphere have changed considerably because of it.

Didn't all the losers from the music business in LA move to Austin over the past decade... that is the ones that didn't already move to Portland, I mean....

regardless I was only marginally more impressed with Texas than I was with California... I think I'm all 'merica-ed out and I am just going to pick up and move to the south of france one of these days, give up guitar and focus on growing grapes and blending a superior bourdeaux

This

https://www.youtube.com/watch?v=y9r5uxuwhjM

I was looking at this again and was reminded of a number of completely sober classical musicians I know who will get a little drooly sometimes while doing something really intense.... cut slash a break, I think hes probably done the least drugs of any other member of GnR. I mean, I think Duff is an NA guy now, but you don't wind up in NA by using in moderation once in a while...

I dunno, just a thought.

I laugh whenever a bass player says "Well I need a pick". DO YOU?! LOL C'mon man. That's like a pianist saying they need gloves to play.

I am stealing that line, man! I work in long-term care and the nicer facilities I manage have pianos and I'll sit and play for the elderly if asked (or if the mood strikes at lunch)... what if next time someone asks me to play a few standards at the 'ol folks home I turn on 'em and say "Sorry gramma, I forgot my piano gloves... so shut up and leave me alone!" LOL, people are so whiney about their precious picks.

I mean, I'll play with a pick sometimes if I have one, certains tuff just cries out for a plectrum. I love to play fingerstyle though and in a pinch I'll use a coin outta my pocket or even rip a button offa my jacket before I go whining for a pick to some other musician.

Livewire for the 30 dollar range.

I bought the color coded cheapy patch cables online that come in a set. They are hit and miss though. One of them was bad right out of the package and caused a hum. You get like 12 of them for 8 bucks though so it's not the end of the world if they don't work.

I really dig color coding for stuff like that. Much easier to follow the cables on racks and such.

If you have the time and want to create your own, you could always dip them in that colored rubber coating for tool handles.

I still have some of those colored plastic ones you are talking about that I bought in like 1995 or some shit and they sound good and the ones I haven't lost still work... but new ones? nah!

Do NOT buy those lightweight, 5 dollar cables you see in guitar shops in buckets and fish tanks.

those tiny cables in bins for a buck are definitely crap, but the jacks are sometimes great! and the hole shitty cable is cheaper than buyin' jacks online... you have to look at them. Also ask the guitar store if they have any 'house' cables laying around that have been broken by customers. I used to like to buy the broken cables from stores in big bags for a couple bucks and then repair them.