jimmarchi1's forum posts 8022

I don't thik anyone is being serious in this thread about the emtal zone, or any thread.... I think it got mentioned by anrcist in a tongue and cheek post alst week too.

I wasn't going to trash your english, my second language is a dead language and I'm rusty. 2 languages is a lot to hold down conversationally.

jesus you're needy... a lot of my guitar books are ins torage (have thousands of books including my late wife's huge library, won't all fit in the house unless I get rid of amps and guitar and synths and that's not hapening). I'll try to job my memory. Economics is well covered by great writers like Adam Smith, Karl Marx, Maynard Keynes, Friedrich Hayek.... lsots of differeing views but filled with consistent observations on the abstract socio-political forces driving our economic system.

its hard to work with this question because the title and 1st paragraph contains a tacit assumption that old guitars are universally better than new ones which is simply not true... it also assumes that collectible markets like comic books, baseball cards, toys, records, vintage guitars and amps are driven soley by the quality of the old items in question when its driven by demand versus supply and the disirability versus the scarcity of each specific item. That's driven by reputation and scarcity of remaining examples. Reputation is driven by so many factors. For isntance why are ES335s worth mroe than 345s and 355s? The higher numbered guitars were more expensive new, but they have additional features thata re not always desireable to players while the 335 was also played by a lot more guitar heroes than the two upgrade odels... so there's reputation at play too. During the pre-65, so-called golden age of 335s the specs are pretty similar, there's a stock color options change from antural to heritage cherry and switch to block inals from dots an. The necks on later ones tend to be slimmer, but its no rule, but certain years are msot desireable. Why? Guys like Clapton used a very specific year on iconic records and collectors know it. Therefore that year is mroe ind emand. Is that ebcause its ebtter? No, clapton bought the one that he found at a good price near his house and took it out with Cream. That's it, but that year now has the reputation of ebing 'the one Eric played' so it comands a premium as a collectible not as an isntrument.

making sense yet? I'm getting tired of typing.... the vintage instrument market has been driven by market forces that have little to do with the superior utility of these peices as instruments for some time. This market was born during a dark period in american guitar making from the late 60s until the 90s. The reputation fo the japanese amrket is fueled by the brief superiority of high end japanese models to their maerican coutnerparts of teh same period. I cna really explain the Japanese guitar market in the USA to you if you want, but it'll take a while and I have stuff to do in 15 minutes. Why don't you read a book on economics if you're that itnerested. And if you want to know more about the real differences between modern and older factory guitars (for better or for worse) then maybe do some reading on that topics too. Tooling and electronic parts tolerances are tighter now, materials engineering ahs made huge strides in metalurgy, plastics etc, CNC routers make extreme consistency possible now, old growth wood is in short supply, some wood species are gone from the market forever, environmental regulations restrict the use of acetone based aerosoles, modern environmentally friendlyfinishes are designed to be mroe durable, self-levelling and quick drying by the furniture industry and theya ren't worried about how wood breathese on a guitar to enhance resonance... there's a lot to all of the topics youraise that is far beyond the scope of a forum post, man.

https://youtu.be/B1uc7ohS7cU

oh, no kidding, that's a lovepedal? huh... actually, I don't look at his stuff usually

I think the build quality is good for the Plexi Tone...so far i'll report back if it lacks luster. However the Superlead to me sounds like all the other Klone clones.

I meant the model of amp superlead, man... as in the plexi or metalfaced marshall superlead. I am unaware of a pedal named the superlead. I used to play old superleads on stage. The thing they do can be immitated with a dirtbox but turning one all the way up produces some nuance as well as the thunderous power amp breakup. They have a lot going on. I ahd just gotten rid of my last superlead when i got a plexitone in trade many eyars back and I remeber thinking it was a great distortion but it was not really getting everything a cranked plexi was giving me even at relatively punishing volumes, working the speakers hard. I felt the same way about the ZVex distortron when I ahd one. Neat distortion, but it doesn't actually sound like a JTM45 to me.

I'll be the third person to recommend you at elast try a rat or rat-alike, the classic rat design with a tlm103 opamp is classic for a reason... if you are new to gainier dirt boxes its an excellent starting point.

you don't see the recent JMI branded AC30s anywhere I've lived but they are supposedly faithful reproductions of a handful of the best regarded circuit revisions... they are quite expensive. In cintage ac30s the best deals out there are the Arbiter and Rose Morris models from the 70s and 80s. The arbiter is pretty much a late JMI spec without a tube rectifier sporting 25 watt M magnet 'greenbacks' with blue vox baxks instead. I have one. Its punchy and marshally compared to earlier examples. The real classic 70s queen sound from the alte 70s into the 80s tends to be Arbtiers fitted with Blue Alnicos. The Rose Morris is just a PCB version of this circuit revision. They sound quite good though there's defintiely varying component quality year to year and PCBs in an amp that gets as hot as an AC30 makes me nervous the traces will burn up with prolonged use. I've also heard horror stories about theRose Morris ones failing. The 90s Korg Reissue made by Marshall is also an excellent version. PCB again, but this version is toured extensively by ltos of artists so clearly the traces are thick enough to withstand the heat. The current handwied reissue is excellent if you don't need the vib/trem channel. I play that ore than my 90s one and 2 vintage examples, although some of that is just ebcause if it has a meltdown I can afford to replace it.

How much can you spend? That's the big question. In really good versions the pricing starts around 1200 USD used and goes through the roof for the most collectible versions.These are some of the msot coveted british amps up there with Marshall plexis with old ones getting as thin on the ground as JTM45s. You honestly see more superleads for sale. The sound is fairly similar on all of them but there's a different 'feel' to different versions and the original JMIs have this cloud of magic pixie dust around the notes that's hard to put into words. With that comes a real 'looseness' to the sound that isn't to everyone's taste. Its hard to describe in words. On the whole its ahrd to find a bad sounding ac30, even the customs and custom classics aren't terrible.

did you just call me, My Dear? that's just creepy.... dude, i've eben amrried, I am not looking to do it again any time soon.

What iw as suggesting is you read the notes and soruces for the effects lsited. also, When it hink Gary Moore I think of raging Marshalls and Peter Greene's Les Paul wth the out of phase pickups. Huge part of the sound. I will also point out that there is nothing special about any of the effect son his page. Its pretty typical stuff. Its seems like he uses a distortion, overdrive or boost, a chorus or flanger and some bad reverb. I think the real thing with hsi sound is hands, get les pauls and amps turned up to KILL. Not every sound comes in a pedal. in fact most iconic sounds are more amp and guitar than effects. Even Hendrix who introduced the whole effects heavy guitar thing, it woulda soudned kinda weak without those cracking loud, overloading Marshalls, Showmans and Sound Cities.

its not covered here?

https://youtu.be/g8huXkSaL7o?t=12s

I actually am really tickled by the way this guy said "we all want the production of the good sound". That syntax is great.... "THE good sound." Its also funny he posted this in the a DJ thread in the synth forum. Spam smarter people, spam smarter. I mean, its possibleeh's some sort of semi-sentient spam-bot I guess. Do they have that sort of technology? This is just coherent enough that if it was done by a spam app its pretty impressive.

wgile I found the plexitone to handle teh upper frets unusually well, it doesn't sound like superlead! caveat amptor. I think Carl Martin coulda callled it the 'refined distortion'.

the tubescreamer is more of an OD, the line is blurry but its defintiely a relative of the barber direct drive

for isntance, the original DISTORTIONS were the Ross and MXR Distortion+. Pretty much variations on teh same design, but sow as the DOD overdrive 250. But tis generally accepted that 'distortion will ave a ton of dirt into a bone clean amp and that it'll be pretty ahrd clipping. A tubescreamer produces a lot of its own clipping turned up but tis pretty mellow compared with a distortion+ which is no more distorted but the character of the distorted harmonic overtones is just brash and in your face.

I like your suggestion of the friedman pedals... you also can't go wrong with a rat or similar. its kind've a benchmark in distortion. It took the MXR/Ross/DOD250 formula to new places and a stock rat is still a good starting point with a lot of amp and guitar combs. There are lots of boutique rat-alikes that just kick some extra butt. If you want soemthign that's like a gainier amp in a box theres 2 or 3 camps. The best to my ear are in the brown sound in a box camp. Basically 2 cascaded boosts with some sort of tonestack. This includes the BoR/Distortron, every Catalinbread foundation drive, all of Wampler's amp-in-a-box styles and I suspect even pricier stuff like the Alexander Jubilee, solid state friedmans etc. There's also the CMOS inverter style of dirt. Even a modest 4 stage CMOS chip design like the Red Llama can produce everything from a hairy boost to distortion bordering on fuzz-like. All of these including the 2 non-tube versions of the EHX Hot Tubes, Ibanez Mostortion and Catalinbread Hyperpak/SCOD are based on a project designed by the famous Craig Anderton that he called the tube sound fuzz. Its a fairly brilliant design. CMOS designs tend to suffer from hiss problems. The hiss does not decrease in elvel by turning the gain down, however the red Llama isn't so bad having only 4 stages. If you can live with some static hiss these pedals sound great. There are actually tube distortions out there too but i've seldom seen a design that wasn't producing the distortion by starving the tube's plate and hitting it with a healthy solid state gain boost essentially using it like some clipping diodes. The main stomp boxes that run at high voltage and produce their tones the same way a gain banger amp does are the Matchless, Soldano and Mesa ones. Even the venerable Tube Driver is running a somewhat starved plate, i think that tis the pedal that brought the whole idea to distortion actually. So caveat emptor with the affordable tube stuff at your local big box store.

oh, and then tehre's the Crowther Hotcake, nothing quite like that. Look it up. Its more of a vintage british amp thing though.

I think May suffers arthritis in his left hand. He was rubbing it a lot between songs for the last 30 minutes. He also gave a very alckluster performance of his aprts in Bohemian Rhapsody at the end and the encore of we will rock you was fine but he seemed to be straining. I don't thik eh can play for more than 2 hours.

don't take it to a big box store, those guys won't do any better of a job than you will. If you aren't changing it from stock I would recommend opening it up and looking at the assembly before deciding to replace everything. Whats in there for wire and a switch might be fine and you will just need better pots and the new pickups. Why not just drop those 6 items in then? I would say that tis not worth rewiring unless you are going to go fancy with soemthing solid core like the evidence audio wire or go true vintage with the solid core push-back cloth covered wire (which I seem to always use ebcause I got a lot of it for free from angeltone pickups thank to a big year of custo pickup orders and also testing for Ken.

Personally I don't like Alpha pots but I've used them and they work okay. Not the soothest taper and they just feel chintzy, I dunno. I like CTS and Bourns for guitar controls and you KNOW I am a guy who works those volumes and tones so I'm not BSing you. The stock CTS pots are more than fine. Bourns are cheaper usually but the cheapest ones aren't as smooth as CTS. There are better pots than stoc audio taper CTS for this purpose (or some are special order CTS pots or sorted ones, guitarists are crazy and the little guitar specialty electronics websited will stock anything they think they can sell at an upcharge), but to be honest its diminishing returns. So much of good volume and tone swells is about knob weight versus the pot smoothness and taper and a strat is not the ideal knob style for great swells to begin with. Get a decent pot but after that make the best of it. Tele knobs, gretsch knobs and Gibson speed knobs are the ebst for smooth adjustments and special effects in my experience. Put any of those on a CTS audio taper pot and you're good to go. Gibson top hats, strat knobs? not as good. Strats are the worst because theya re the lightest and those pots are suspended to a flexible sheet of PVC (nitro cellulose is a little stiffer, but not substantially so until its old and cracking). Anything light with bad grip? easy to get it moving but even with the smoothest pots from like RS guitar works and Specialty Guitar you are looking at a knob that requires too much strength to keep moving steadily while playing. suspend those, small, light plastic knobs knobs on a PVC pickguard and I feel like it doesn't matter what kinda pot you chose, you never get optimum performance. If the knob floats too low it rubs and if its too high its easy to get the pickguard flexing and fighting you in ways you barely feel but definitely HEAR

for your strat I would be looking for a heavier pickgaurd material, nitro, bakelite etc....or back it with a decently thick metal sheet for shielding, that wills tiffen it though. Foil won't but there are products that will... I would also be looking for ehavier knobs, I might even consder going with a more logical shape. Honestly, heavy knurl tele knobs can look good on a strat. Go ahead and stick with split shaft since you can screw a knob into a split shaft but you can't push a plastic knob onto a solid shaft....

it'd be really cool if you provided some content for Equipboard

my late wife looked like.. well she was an unusually beautiful woman like that and had a similar sense of style right down to the docs

no, but she looks like my late wife... maybe 10% less sexy

spend as long as you need to, no more, no les... the secret of songwriting is going at the song's pace

here's the long and short of it, you can't expect people to respect you if you don't respect yourself... this shit is like the movies, don't tell me, show me! If you value your work and yourself as a creative then be involved even when you're not invited. Approach me and start a conversation and put yourself out there and I am going to respect that even if it disagrees entirely with my aesthetic.

hey, I share tracks with you soemtiems thata retotally incomplete and you give meinput and I graciously say "hmmm, I am ging to try that..." send you soemthing and ask if that's what you were talking about. i also go, you can't hear it yet but that's a bad idea. I have enough faith in whats going on to say "terry's a genius" without it hurting my self-esteem. I also have enough self-esteem to say "terry is isnane' and shoot you right down.

YEAH! I posted on his Facebook yesterday. And put a video up on my facebook. If this isn't a big deal to you then you're living under a rock. We're so lucky he's an inveterate tinkerer who never rests on his laurels... because he enver had to design teh focusrite boards let alone start RND! Truly one of the greatest influences on music.

that's the kinda attitude you wanna squash... you coulda elft that at "I with draw beaten." But you added some self-deprication that's actually sincere. If that's what you beleive and tis not modesty, but really internalized its getting in your way. That feeling is literally coming out of your figners when you sit down to play, its udnermining every assertion you make in a collaboration. Don't roll over but don't take your ball and go home either. I mean, some people, like the guy who prompted this whole thread? You're not going to reason with him, but I'll bet the way you approach your criticism fuels him to butt heada with you. You pick up a lot of practical psychology in music. To me se;f-confidence in music is also a aprt of MOTIVATION. When you aren't rearranging the entire world to get your music the way you want its often due to some nagging self-doubt. We all have that but give it expression in a song, not in your demeanor and don't factor it into any decisions. If you act on your beleif you will make msitakes, but you won't make them twice. If you act on your doubts you are going to make the same msitakes over and over.

you know that I know we're talking about short shorts and a fishnet t-shirt... there's no way you dress like your profile picture every day

all joking aside, the technical aspects of this production have improved some... they could improve more though. I can't really help you with that right now. My sinuses are a mess and I am not hearing up to snuff. Its been really spastic weather in Philadelphia (temperature all over the amp, humidity at extreme ends of the spectrum on a daily basis) and I am not working on sonics or giving advice until the weather calms down and my head doesn't feel like its udner water. I can ehar well enough to say that this is your best balance and nothign soudns voertly fucked up. This is pretty much electronic music though and it falls down in having boring, canned sounds. it doesn't sound like you spent any time getting expressive isntrument sounds. And if you did spend time on those soudns prior to the mix hase then shame on you because you cna do better. Honestly I am not really interested in twaching you anymore because you're just in too big a rush. Old Roman proverb, less haste, more speed.

Its also ahrd for me separate out my boredom with the timbrality of most of this recording from my aesthetic distate for the material. I have no diea what you're singing about, so tis not a secular musician thing. its that this song is duller than a bowling ball and tis not aprticularly beautiful either like some droning, repetitive music. Perhaps switch gears next time, abandon the hymns/covers and write another Nikhil original song. Go ahead and write some christian music, that's what you do. But consider this... you may create a more engaging piece by following the classic dictum 'write what you know.' So yes, praise, Jesus but perhaps consider the more religious inflected U2 music. not stylistically but the way they write from a eprsonal place and then broadly expand into the universal and spriritual. Or the reverse like on the early tracks of Joshua Tree. Maybe combine some social commentary about your home region of India with an appeal to Jesus or an appeal to people to find answers through your church? I think just getting a few core lyrical concepts with this kind of integrity may help you write some really meotionally authentic and dynamic music around those ideas... I don't know from church music really, but I think that most of the stuff I ehar has plenty of itnegrity but acks authenticity. Yes they're authentic beleivers or they would make secular music, but it doesn't have that bold faced honesty. On teh otehr hand, Burning Ring of Fire by June Carter Cash is really church music but his this tnense and personal iamgery and when johnny sang it he brought his struggles to it and amde it mroe spiritual and that's how good church music can be. That's the kinda church music that non-beleivers will sltien to and maybe you'll convert some with it, I dunno. Youa ren't reaching people without reaching into Nikhil. Smoke that over, N-Dawg. Peace out.

sarcasm noted, but it soudns to me like this story is the core of how you turned into who you are now because you weren't there when stuff was being done and when you asked for changes you got told to shut up.... before it was easy to email roughs around to epople who couldn't be there for the mix I felt that if you could not bother to attend then it was tough shit if you were unhappy. Because I used to rearrange my life to make sessions and saw lots of otehr people do it, but I also rescheduled them (or bullied people into rebooking them depending on the situation) if soemthing came up because I always felt like it was a real cop-out to say "I know I couldn't make it but you guys fucked that song up at the mix session, fix it!" I feel that way with EVERYTHING. But I have the disposition of a chainsaw. You would often rather withdraw and ebat on yourself than ruffle a few feathers.... normal behavior is in the middle.

hi Monica,

Apologies this is so long, but there are a number of things I want to reply to in detail here.

So, hey.... can you maybe not spam us with links to your competing guitar lessons/reviews website? Or at least become more of an EB regular before you do so? We're pretty damn liberal man. Rack up some more gear sitghtings, reviews and board posts? I for one really think its cool that you posted a video example where you give your point of view on camera, but its less cool that you added a link to your own blog on a Equipboard which has its own blog and articles. I confess we are less technique focused here (not that I woudn't like to see us expand) but still.... This is not really a profit operation and we rely on our little bit of advertising to stay afloat... those advertisers like to see our articles getting lots of traffic. As a content contributor I would've been a little elss ruffled if you had at elast made a handful more posts and contributions to Equipboard before you set out to sneak ads for your own blog into your messageboard replies. Is it really going to hurt Equipbaord? Probably not, but its tacky.... you look my age so I gues you feel its like bringing your flyers to another bands show when you're starting out. Totally cool... thing is, the Equipbaord concert never ends. NEVER. Its just bad form, like heckling us during our set.

And damn, this thread keeps getting necroposted. Its not young, the OP never replies. Its a bunch of people who already have a sense of what works for them talking to EACHOTHER now. Kinda silly...

As a beginner, you should be aware that pedals, especially distortion pedals, can hide problems in your technique. Don’t use this as a crutch. It will hurt your development as a player.

It’s tempting to throw a lot of pedals into the signal chain, but whatever you use, take the time to thoroughly understand the effect of each and every knob and switch between your fingers and the speaker.

but this up here? this is excellent and its nice for someoneone else on this gear-centric meessageboard to point out that every component is a potential tone drain and, more than just dirtboxes, all that componentry gets between you and the speaker and therefore you and any potential audiene. Does the 'cool' factor of all these effects outweigh direct emotional connection and is it better to be able to have a scifi guitar sound than to ehar everything you're ding and know its always spot the fuck on? Having just seen Queen with Adam Lambert on Sunday I am tempted to reference Brian May's conservative effects usage and routing ehre but that's not eactly beginner turf. Anyway, thanks for sharing. If you have any interest in cotnributing content to OUR website and blog reach out to [email protected] who is in charge of content. Speaking of which I have been procrastinating writing an article for days now. I should finish it already.

PS: not everyone plays with reverb, Monica. In 27 years I have generally shied away from it for anything but 60s gimmick sounds on recordings and its not like I haven't owned piles of vintage Fender combos, lexicon processors etc. I have certainly known people who NEVER use it. Making a Reverb pedal a first priority for someone who ash an amp without it seems odd to me ebcause it just doesn't seem like an essential effect. Reverb set up without respect for the music can be even more technique masking than a proco rat at 10 LOL. Ingeneral its my opinion that ons tage or in the studio reverb does more harm than good unless its in teh hands of someone who really gets it. I would describe it as a alte addition to any effects rig and usually told my students to keep things dry.... if they were still too iffy for a lot of distortion then they were also not eveolved enough for reverb. Then again I amde a lousy teacher.

okay, why weren't you micromanaging your part of this recording and maybe everyone elses, keeping an eye on the engiener in case he was a shithead but also learning in the process (hopefully)? If you met the engineer when you were recording I am not sure why you needed a point man in the form of the uncle. You sit down and record and you walk into the control and you don't elave til tis right and if the guy want to go hom with it unfinished you are back there with or without anyone's say so the mintue he returns to work assuming tis not a completely different project that's booked the enxt day.... but you know thats chedule and you go abck there and you put your vision out there if you care, you lsiten and learn as well. i don't even duenrstand how stuff happens when someone is ther eunless they don't care. When iw as a kid you COULD NOT GET RID OF ME. I was a nuisance, but eventually people spent so much tiem with me we were buddies ever after LOL

the one thing em and Zach didn't emntion about the nonprofessionals who are still rgeat is they just have single-mindedness and attention tod etail and they are willing to fake sick at their day job to be back at the studio keeping an eye on their music, okay? I might be voerstating it a bit, I don't know, but I seem to remember working without sleep, food whatever for so much of my youth. Would I do that now? No. But I udnerstand why I was like that and I think I eneded to be like that. I elarned a lot and later on it preserved a lot of stuff that some idiot was trying to fuck up. I stright up fired a guy on one record who worked for teh label, caused a rift between him and his boss, scrapped 2 months of work, changed studios and production teams and startedover to get in the situation where thigns would coem out the way we wanted. And every gave me their wishlsit and let me figure out how to get rid of the weak producer and go out and pick out new guys and spaces we could afford on our shoestring because Iw as te attention to detail guy.

I am rambling, no sleep alst night.... but there's a psychotic attention to detail that's alcking in your story. you got walked on because no one asked you. you weren't asked ebcause you weren't there. Whether it was a lack of itenrest, confidence, time? You deprioritized your song and it got changed by aanother part of teh team because abandoned that leadership role. And thats fine, but admit tis cllaborative. Its the difference between Bowie and Joy Division in teh studio. And Martin Hannet did great stuff with JD, but the guys will tell you that's not how they sounded live, the video footage and lvie recordings back that up and at elast Hook and maybe Barny was not into the Hannet sound. They thought they were a punk band for some time. Whereas Bowie? well, we all know about Bowie. He put together a team adn micromanaged it ebcause he had vision. Sound and Vision.

this will sound ahrsh, but I mean it nicely; with the whole story in my mind's eye I just see a guy who deproioritized his authorship until the end when he was unhappy with the collaborative result. Hey, that's life in the big city.... if you don't show up you might as well not have an opinion.

I actually just took myball and went home after awhile. I couldn't take the amount of buttheads I ahd to deal with to keep the lights on. I think we're in the midst of a massive thread hijack here and in the complete opposite direction of what Terry is saying.

yeah, thats the extent of Jim 'producing' -- I don't feel that in pop and rock that's outside of the engineer's sphere when there was no pre-production. You have to optimize the bandwidth usage so their music can be ehard, you're not changing the aprt, just suggesting it be a an octave up or use a sound that there's more space for. In pop/rock everything is all embiggened and you need that bandwidth. You can't just turn soemthing up idnefinitely without making any other changes, maybe fix it in the mix? not the answer. Right man?

being able to hear precisely and tlak enough talk to address the issue i the 2nd way is really a good palce to be... I also have run into problems with people who are amazingly proficient in their isntrument OUT OF CONTEXT and create problems by playing in registers thata re already full using 'their sound' which may be totally inappropriate to the material as written and arranged (often their own I might add)... you might get the other 3 clients in the band on apge with you as you try to hack away with EQ at the problem and they start tog et it that maybe it would be better if he played that phrase an octave up because the bass can't go any lower to get out of his way and the groove would crumble if the bassist went up for that long? but that guy will invariably then say you got everyone ganging up on him, however he was demanding you turn him up the whole time and bitching when you had to use subtractive EQ on his sound to get the bassist audible again... maybe its a number of factors conspiring against him that he walked into the studio with and its not going to amtter a ton what you do sicne he didn't really think that through. Whats that you say? it works live? In a big enough room probably, sure, theater size is like the only limiting factor on live sound dynamics and bandwidth really. But recording media has serious limits in ehadroom and bandwidth and ignoring them will get you distortion, a bad balance, a pumping bus compressor, frequency masking.... you might need to play for the medium. Before microphones you needed some pipes to sing but belting it out slowly went outta style with good microphones... and the crooners came in. Both styles played to the strengths of their tools to reach the audience with the right feeling and also just to be heard.

anyway, don't be that guy? I guess??? the guy Iw as tlaking about how is like turn it up but don't take any abss outta it, tis deep guitar man!!! I went off on a crazy tangent, I'm really worn out from last night

also this might be helpful-

http://edmprod.com/beatport-analysis/

thats a really interesting article if only for his structural analysis although the way he lumped some of the different sections together was a little confusing for me ebcause it was a lot more, umm, homogenous than how traditional american songwriting looks at structure, but hey, there must be soe sense to it becaause EDM comes from house and techno and house for the smot part comes from disco, techno comes from Kraftwerk but also funk, so there ya go, there are ties to blues-based songs, gospel and the great american songbook

https://splice.com/blog/4-tips-to-help-you-better-analyze-music/?utm_source=internal&utm_medium=social&utm_campaign=3tips_analyse_music

they also left out the pink suit though... or the glittering leather daddy outfit... or this one fro the encore that came equipped with a comedically large rhinestone encrusted crown.... that one was a winner... the giant robot head and flaming gay, pink bicycle for 'bicycle' also help. I am serious, it will help with your listening, writing, singing.... just pick soemthing. I am going to wear my pink shirts more often now that i know this.

the later starfires with the stop bar definitely have less plunkiness in general, but no, they don't have the classic starfire sound... they ditched the riginal pickups and changed a lot. I don't pay attention to the fender korean reissues so i will take your word for it.

well, you can't put a stp bar on a fully hollow guitar unless there's reinforcment in the to to anchor it and you don't see much of that on affordable instruments.... on a blocked semi-hollowbody like a 335 I find the stop bar is capable of longer and more musical sustain.... its not a low of nature but more of a rule of thumb. ost vintage 335 afficianados will tell you that they generally sustained ebtter before they switched to the trapeze in the 60s but that they have certainly run into trapezed 335s that keep up with the average stop bar. If you can't play a ton of guitars then focus on the stop bar. Guild pretty much exclusively used trapeze bridges (like gretsch) until the late 70s as far as I am aware. It ahrd to compare a vitnage spec, trapeze starfire to a later westerley with a stop abr though ebcause they also changed a lot of other features from top and back wood to depth and neck joint... pretty much any pre-fender guild is a good guitar but different years will vary wildly in features and eprformance. All different shades of good.

a eally safe bet would be a Yamaha SA700 or 1000. Bang for buck guitar but thin on the grund outside japan so don't expect to play it first.

https://www.izotope.com/en/community/blog/tips-tutorials/2017/07/8-common-compression-mistakes-music-producers-make.html

I am not joking, it works for Adam Lambert.

perhaps if you wore a pink suit and rode a giant robot while singing....

A acoustic guitar is the most popular and stylish instrument in the world.A Acoustic Guitar makes a guitarist the best and Stylish guitarist in the world and makes thier music unique and rocking.

how come you capitalized stylish the second time only?

and no, this makes a guitarist the best: http://www.theguitarmagazine.com/wp-content/uploads/2017/04/Brian-May-Vox-cover-1.jpg

if I ahd any doubts they were obliterated in the onslaught of 9 vox ac30s alst night at Queen featuring Adam Lambert.

this is also an excelent guitar accessory https://photos.smugmug.com/CathysPhotos/Queen-and-Adam-Lambert-Toronto-July-2017/i-gNC2hxH/0/b113a612/L/Queen_Adam_Lambert_July2017%20%285%20of%2013%29-L.jpg

yes, a flamer in the 'gayest pink suit ever' (I am quoting) riding the giant robot head from News of the World... definitely more stylish than an acoustic guitar. Brian also road his arm.... the robot's arm, not Adam's.

When it does it will leave a huge gap in the Music Market. Prices will go up as everyone will lose money and need to recoup it.

you've atually seen it happening already in the hikes of fender prices, if you look at the debt that fender is holding on GC you can tell it was hitting a critical mass point around the time of the biggest hike and fender profits had plateaued and even fallen off despite enormous growtth fueld by GC's pre-ordering guitars every year on credit that they may not sell! The price hike was an attempt to offset some of this without calling in the note on Fender's #1 retail outlet. The price hike's continueto appease their share holders, but at some point there will be a blowup and a amssive reshuffle at Fender and that's when GC will have to worry. You referenced Best Buy and in many ways its an accurate comparison. Best Buy was udnercutting onalbums but the demand for hard copy was subsequently shrinking so they had an increasing share in a dwindling market. I feel lie there are more people fiddling with music than ever, but statics, aprticularly related to guitar purchasing show quite theopposite in the USA. So its very similar... interestingly I feel like my perception of 'veryone plays the guitar or makes bad club music these days' has been fostered by the proliferation of cheap recording technology and public websites that will host your music regardless of quality. There's more music out there than ever but as it turns out there are less people making it. In the past there were more people in bands or eprforming ins mall clubs with their acoustic guitar then now apparently, however no one outside the local live music scene heard msot of them. When the majors controlled the recording and sitribution means you only heard a small portion of musicians. This wasn't good, though tiw as profitable for the few (and the idea that a rock star would ivnariably get rich certianly fueled guitar sales)... what we have now isn't good either. On the off occassion I go off seeking enw music its a rabbit hole of sifting through the sand for some gold... there was a happy medium in the 90s where profits driven by the CD revolution really got a wider market for idnependent labels and artists and we had a very highs tandard of quality control with a wide selection as well. There were a lot of tlaented people whow ent unheard, but there were a lot of people who couldn't get it right on their own who got the hel they eneded and amde better music as aprt of a larger family of creatives... the major and indie systems were also adept at putting music into the hands (ears) of the people who would appreciate it giving them the opportunity to gid deeper or to just enjoy the music that was at their fingertips and know that the enxt album would generally be of similarly high quality.

I think the gretest thign about the Damned for me is that Captain Sensible never stopped being Captain Sensible in public even though his persona isn't as famous as Johnny Rotten's

that's a foggy photo, Terry, wow, I wouldn't have recorgnized the fuel tank if you hadn't already said it