jimmarchi1's forum posts 8022

I just wasn't going to assume that was all that was there or the only fx they ever use, but I wasn't paying that much attention to what I was saying/typing. Disregard if you want. The tone in the diggin the fuzz video is very Marshall 800 meets ac30 where you linked but us really fuzzy in other parts. The choice of TH30 is interesting because the clean channel and power amp are very much ac30 topboost right down to the gz34 rectifier... not exactly a doom platform although voxes can get heavier than most people think. Maybe the details are a little more matchless/badcat with more power filtering yadda yadda... or maybe they went fixed bias which only a handful of 84 designs do, but that would bush closer to 45 watts I think... seems like a very similar concept to the hot cat 30 with a top boost clean and a minimalist high gain but I guess with the rocker 30 voice knob. that 2×el34 rocker 30 was doomy as hell. I almost bought one. don't know why they discontinued it, it just needed some time to find its market.

edit: if the th30 is making the super fuzzy tones its impressively

welp, that looks like an orange th30, the small size of the model name and knob layout are the tip off

Thanks Jim. I came to same conclusion. I linked to a TH30 being demoed in a stoner rock context in my info dump reply.

did you? shoot

I know the OP was hoping we could point him to a pedal or two to capture that tone, but in the example he asked for, seems like high-gain channel on an Orange tube amp is the answer.

there might be a fuzz involved, not sure... fuzzpedals are very personal, they're so quirky that no 2 people sound the same with them unless its one with diodes for clipping or octave like a muff or superfuzz

EDIT: if one's Crybaby is white, as in the Burning Planet video, it's likely the 105Q model, right?

to the best of my knowledge

welp, that looks like an orange th30, the small size of the model name and knob layout are the tip off

Thanks for the nudge, @jimmarchi1.

I actually wrote a reply to @iplaykeyboard's post the day it dropped, but the site was having forum technical issues that day, and my post wouldn't err... "post"... so here we go:

I remember that day, I tried to reply to someone else and it failed so I saw this and just shelved it hoping someone else would have a better idea than I did.

As for my personal experience, I got burned by wobbly keyboard stands in college and quickly switched to the nuclear option of that era, which I am eternally happy with and will surely outlive me. It folds to fit in a bag, but I wouldn't want to have to carry that bag very far -- MFer is beyond heavy.

those Z jawns are solid... there's this guy Jim Daneker I know who does Arcade Orchestra who has some new stand he's always into, I should check his facebook or give him a hollar

I do have too many keyboards, but i'm never using more than 2 at once.

you and me both, but I can't part with any of them, every time I think of dumping a few I use them and remember why I love them... it was big concession to abandon all my FM keyboards and go down to modules and rack units, but needs must, too many analogs and hybrids that don't come in module form... the keybed on the proph600 is so crappy but I like having it and the behringer clone is so much less buttery, its close but harsh and shrill unless you keep your patching conservative, and my 600 was recently serviced

But to Jim's point, I personally go for the approach he's leaning towards at the end of his reply: with 2 keyboards, I keep them both at the same level/height and arrange them side-by-side, in an wide "L", or just one on each side of me. Elevating my arms dramatically to perform on one, then lowering them back down to perform on the other just always feels unnatural to me. People do it, but it's just never been my thing.

I use 2 tiers when I must, but I pefer to build an L or U with a tier here or there for a mono where it bothers me less to reach up for single note runs or tweaks while I'm running a sequence or arpeggiation. I'm not a great keyboardist, its my 4th or 5th instrument, so having my right and left hand at 2 different heghts throws me off on all bust the simplest parts. During peak trash godz before mike got cancer when we had the commercial space behind his row home for our base of operations I had thise enormous C shaped rig setup with various keyboard, sequencers and modules and it was BLISS. I had a 2nd teir on 1 stand with my polysix and prophet stack but I was using the p6 as the master controller and had the proph tilted so I could tweak it. I ahd this whole stacked pad thing happening or soemtimes I would have 1 running the arp. then I had an odyssey, circuit monostation, some korg Q1s, the pittsburgh modular and often something mid sized like my mopho or prologue 8 for options. I had a rack under the big 80s polys with a tx81z, mks50, rack eared modal argon or yami with the physical modelling engine and bass station rack and some decent fx units into a rane rack mixer for when I wanted to get stupid. I had one of my edirol midi patchbays in there to distribute from all the other other devices as needed and it was also my clock distributor, I would take my clock from mike's squarp pyramid, midi went there for distribution and I after a brief flirtation with the squarp gate out and a clock filter module I just started taking my analog pulses from the circuit because its hella stable. Most solid analog clocking I've ever used.

the lack of replies over the course of last week has probably indicated to you that a stand that hits all your requirements is a tall order...

ultimate support tower is out because you can't really sit at it, an A frame would work but while they say they're portable, and I even own one with a carry bag, it's pretty unwieldy and doesn't setup and breakdown quickly. It's a great stand, forget the make, but I haven't even been using it. my techs at Belltone synthworks recommended it.

My favorite for sitting down are these heavy duty 2 tier Pyle stand which you can see in some of my profile pics (I have 2), but the width isn't individually adjustable on the top tier and they're NOT portable but they can hold a mid format mixing console or even my heavy horkin' Yamaha sk30 string/organ

gator makes tons of highly adjustable stands you could look at, but I own a gator tower and wish I had spring a few more bucks for an ultimate support. the gator is a bit wobbly. Safe in the studio, but I havent had the nerve to gig it.

Am I right in thinking that the yamaha has a much longer keybed than the itty bitty hydrasynth explorer ? I would be tempted to give the yamaha it's own stand and then do a tower to the side with the ASM and another small synth, maybe an odyssey of for mono cheese, but that's me. as a keyboard player, portability really depends on how you're getting to the gig, if you have a compact car it's different than my SUV and that's mire constrained than being in a band with a strip van... portability also depends on how early you can cone to the gig to setup you rig and how long they give you for tear down... good luck

@pkennethk what are your thoughts? you've got a pretty wide collection of boards, what are you using?

try going to the specific piece of equipment's page, then press "save." it'll be somewhere, but it will be small.

that's how i always did it, it encourages you to write a review which in turn feeds the community with content based on first hand experience, and that sets equipboard apart from other gear sites

Yes Great work

no work involved, I've run into plenty of kays, everyone's stepdad had a kay or harmony in the 90s bolt-on hollowbody in the 90s LOL

I do not know that model too , but I would also say its a Kay or Harmony some kinda Archtop similar to the H1213. I think not a Gibson and not a Silvertone.

I feel certain it's a kay or a rebranded kay; harmony mostly used goldfoils, that skinny silver bar thingie or some lower end dearmonds back in the 50s on their hollow bodies like the rockets (h5x), H6x series icluding the well-known jupiter sratotone and meteor and the H7x series... in the 50s you see some goofy rowe/dearmond pickups with adjustable polepieces that might be internally similar to some of the kay pickups but look different, rowe provided pickups to everyone but the big 2 at one point or another... the dearmond 2000 model that gretsch called the dynasonic was the most upscale followed by the so-called kleenex box on higher end kays, by the way, gold foils are rowe pickups too, before guild went in-house they sued them soemtimes as well as the kleenex boxes, but kay always seemed to spring for custom pickups from rowe

looks like a Kay based on the pickups and headstock. The speed demon had 3 of those pickups. Not sure if they're unique to Kay, I could swear I've run into harmonies with them, but they start turning up around 59 or 60. I'm not an expert on kay,you'll want to look for some kay historical sites, you'll ID it.

I was trying it out last night and its incredible now!

alright, I'll try to find your requests in the 23 pages of artist requests, there's no search feature so It'll be a hot minute

thought of another one, quilter microblock... its an mxr sized amp that sounds pretty darned good even in overdrive and it drives like 45 watts into a 4 ohm cabinet and can hanf with a loud drummer, its outright nice to play through and if you don't have a tube amp right next to her you won't know the difference

and let me add another budget monster: behringer sf300 we already mentioned, but there's also the joyo american sound (a clone of the tech 21 blonde as i remember). for $35-40 you get a fully analog fender-tweed emulator with a working eq and cab sim. kinda funny thing.

I'm pretty sure its a blonde/brownface emulator, not a tweed emulator... the blonde's were made for about 3 years give or take and are closer to a blackface electronically than a tweed, individual tonestacks per channel between stage 1 and 2, no cathode follower driving the tone controls so they're lossy and uniquely the mid control is center-tapped and wired up in a unique way that gives them some of the grunt of a big tweed, only twins and bassmans even had mid in tweed... the small brownfaces are closer to late 50s small tweeds like the Harvard and Tremolux have a lot in common with the tweed Princeton and Deluxe, especially the Princeton which went to fixed bias push-pull from being a tweed champ with a tone knob and a 10"

sorry, I really know vintage fender amps and will just ramble

the requst queues are huge, they ebb and flow but are always a lot to keep up with as there are limited mods and we all have time consuming day gigs we need for our survival in or out of music. Equipboard is a break-even labor of love for the admins and mod squad, that said, let me know what band you're talking about and when I have a sec I'll find the request and review it... just a heads up, personally I tend to aprove more add gar requests than artist requests because I know more about gear than musicians who became notable after say '05, I'm middle aged and don't seek out new music in large quantitues and rely on recommendations from people I trust, so I don't feel competent to aprove many artist requests, I've hardly heard of anyone younder than me, nothing against them, just saying

want me to throw some moderation on him, guys?

1k off? oh man, how many model D variants am I going to die with?! MUST RESIST

that said, I was eyeing that trigon for under 400, might be interesting, might be too much like my mopho x4, dunno, but I embrace all synths by dave smith

where do you get off doing something so useful? imagine trying to save us all some money...

@Michael

this guy's not always cool but this one is gold:

https://youtu.be/SVCpT8seZB4?si=bVpTYpTN72Y5aXQx

yeah, I took care of the jack n coke bass and forgot arm the homeless

CRAZY! I was pretty young when 1984 came out, but I remember panama being inescapable and its still one of my guilty pleasures along with hot for teacher. I could be your dad, my son is almost 13 and I was in my mid 30s when he was born. Apparently I can make the JD bass iconic now, I'll take care of it right now.

oh, it definitely kills it for deep dives, I got sucked in for over an hour

I brought it up again... and the jack daniels bass is certainly iconic to people of our age. I was never a van halen fan, my best friend is though, but I would recognize the frankenstrats and the jack daniels from a half mile away. ICONIC like the red special!

odd... @michael

I played around with it and it's cool. Great for a deep dive or just for doom scroll procrastination. Dont get rid of the no-frills old search bar though. 9 times out of 10 I just need a quick hit. I start typing, the drop down pops up with predictions and I get where I'm going fast.

speaking of tech21, I've come to like the XXL which was a gift, so cheap! But they don't seem to trade for much.

EDIT:

here's some not guitar-specific cheap gear I love; the FMR really nice compressor, I have 6, less than 600 including the 2 unit racksmounts, they work. Old ibanez digital delays before the sdd3k. They're all cool, especially the harmonics delay, they're all over early skinny puppy. TOA triple delay line, 12 bit, but really cool, got 2. Cheap lexicons like the Alex, Reflex, Vortex (crazy) and mx series. The MXes are actually really good, even the pushbutton 200. Old german-made behringer stuff. The west-german composer has a cult following due to the daft punk connection, but they did a pretty solid parametric. No mojo, but good utilitarian gear. Symetrix! Anything with a toggle power switch. Why did I just share that?

huh, I've only ever had a problem on windows when the photo is below the minimum size required by EB, although that's for items, all my profile pics have been fine... is it a small, thumbnail type pic?

a lot of my coolest stuff I got cheaply when it was unpopular or some was gifted to me broken, but in generally cheap-o gear that's great I absolutely love the behringer superfuzz that's a copy of the boss hyperfuzz.... the junk housing doesn't bother me because its a once in awhile pedal, it sounds just like a real hyperfuzz and mimics the univox i sold for an insane profit well enough that I can live without it, great cheap-o clone pedal

I have thought about getting into boutique MI before because I occasionally draw up stuff that would work (sometimes I even build it if I have the expensive bits lying aorund form salvage, I have a pretty cool discrete germanium mic preamp prototype built from a salvaged 60s phono amp that sounds pretty good but needs some power regulation and I got distracted before I settled on a regulator and support circuit, drew a few up but haven't been sure how to jam it in there even with the very low parts count, I'm using the old Gates housing right now and its cramped). But every time I've mused about a boutique synth design I stop dead because the de rigeur patch storage and midi are beyond my expertise to say nothing of doing a poly like the expander. And what about that matrix system it has? Intimidating. I just don't have the interest in those digital elements to tough out the learning curve. I like to have them but I don't care how they work for some reason. The audio circuits of the expander are pretty simple CEM based affairs, you could just copy the schematics or easily make something that works even better if money is no object. The fun part is those digital features though.

I've been heavily into Tonepusher and Alex Ball lately... this new Alex Ball Oberheim video is so informative, chock full of anecdotes I've never heard!

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

god I regret selling my SEM module but it was a mess of pitch drift... man I want an OBX and an expander or matrix12.... speaking of which I regret selling my matrix1000, I needed money and it killed me because if you could deal with the interface and could patiently send midi CC dat it was a beast

okay you sold me... it's a cc2 not a c2. I'll look into changing it a little later. I'm not sure if I can edit the item. I'll get back to

I'll get snobby here and say that between a CC or a C, the big difference is cabinet construction from what I gather, either come with wharfedale H30 ceramic style peakers or Blues as an upgrade, but anywho I've never met either I thought sounded good nor have I serviced one, many have been offered to me and I won't touch them because fully PCB tube amps are sketchy unless well spaced and double sided but add the tube sockets to the PCB rather than 80s style flying leads and you should just buy a new one or get a properly built amp. Okay, snob out ended (but there's heat based issues apart from snobbery here, its better vetilated than an old vox but its underventilated for board mounted hot parts). But its a touring durability thing for underfunded bands. Stay away from pcb mount tube sockets! And less ciruitry is more reliable unless its a frickin soldano. Anyway I think the big difference is that the CC series is baltic birch ply while the C is chipboard... a real AC30 from the best era is solid pine like a tweed fender. Later in the marshall era they do baltic birch ply like a marshall cab and those have sound too with their lower end mullard mustard caps and albion transformers, that's the u2 sound, but the badass ac30s are pine cabs, wima tropyfol caps, allen bradley resistors and haddon, radiospares and perhaps woden transformers if they'e not the wax insulated ones that melt, frickin woden, man!

Sorry, but I'm the amp tech here who is an ac30 expert. I know these amps like the back of my hand until the CC which is a doorstop, the C2 doubly so. Anyway, the big difference as I know it is the cabinet and plywood versus MDF is a big deal to me. MDF is cr@p for tone! And why does a tube rectified amp need a standby? I dunno! Unscience there!

I'm always at a loss why anyone would tour a chinese pcb vox on purpose, but that's me, I like reliability over replacability in amps and the reverse in pedals. Can it be proved to be an ac30cc2 vs ac30C2 by year? Maybe the photo predates the singleC version? Look at daes

you can spot a CC or C version by the garish control panel color and non-vintage control layout... the 90s RI has a more subdued color to the panel and 60s top boost controls (6 inputs, 3 volumes, treble n bass, cut, 2 vib/trem controls like an early JMI integrated top boost model before they went to the grey panel), I don't think any other ac30s have had the CC/C control layout on a bright purple/copper panel, although I'm not sure how you tell the CC and C apart, maybe different vents or soemthing? I never paid attention.

of course they do, but there was notice they were giving us the ability to do it recently and I thought it was implemented, but I guess not yet? my bad, redfire

aww shoot, I thought they added it last week

I just marked compeltely incorrect, now any other Mod can delte it... @pkennethk @hashimoto

. Today, the word "liberal" is an insult in Russia.

we're kinda there in the states too, brother... I should cut the politics out, we don't usually do that here, I was just feeling really upset yesterday about all the intolerance, death and profiteering globally. this isn't the world I want for my son

where to begin. tokai is just a label, all the Japanese brands that started in the lawsuit era are just labels, there are a couple venerable old factories like Fuji gen gaki and matsumoko gaki that did/do all of those guitars like tokai, greco, burny (I think burny merged with esp and the good japanese guitars became edwards and navigator and the korean junk became LTD)starting in the 70s... even ibanez started out as a label from various outsourced factories, the cheap lawsuit guitars were from lesser shops and the really nice stuff for the japanese market was usually from the serious shops one if which became squire and then fender japan under a deal with fender. my first electric was an early Japanese squire and it was amazing. when they switched to Korea the quality dropped like a rock. ah the 90s. memories

I'm with Jim: DM or @reply the dude on social media to politely ask them directly. The worst that can happen is nothing, but I'd say better than 50% chance they respond.

never hurts to ask, right? I've made so many friends that way too

hey man, got any tracks I can hear?

yeah, sorry about those sanctions, man, I voted for the guy that laid them on, but I really didn't vote for that because economic sanctions are just a way to make ordinary people suffer while elites drink champagne and toast their body count, so F you Biden, sanctions don't end wars... it's not fair that your guy invaded Ukraine and you get slammed with hardship and our current guy (didn't vote for him 3 times) levels grade schools in Tehran and we're ok.... oh wait, no we're not, there aren't sanctions but inflation shot up again and my expenses are up 50%on average and my income is down, but we're not sanctioned, which feels odd... the suffering here is just all knock on effects, not direct financial retaliation, seems unfair, right? Sorry my Russian friend. I really feel for yall. I hate this cr@p.

I'm ready for internet based direct democracy, parliamentary democracy gives you the british empire's greatest hit and republics tke you back to the roman empire, its all richies richin' it up, killing and stealing... it'd be cool if we chose the chief executive for their shredding skills like in Eddie and the Cruisers 2

I'm saying schecter custom shop, but I'll never prove it without emailing the artist and I don't this person, hell, I've never even heard of them. Good luck, bud.