jimmarchi1's forum posts 8022

watch your back for the rosie o'donell lzzi comedian mafia then

You toyed with the switchmode stuffs much?

switchmode?

at a grand you can get a beat up 2203 or 2204 or a clone. they kill it fr rock, but venture out and they eat shit. also they like to be played pretty loud, the MV is suggestion that says "play me at 5 or up!"

LOUD AMPS

an ac30 is almost as loud as a 2204 and a an ac15 is maybe 75% as loud tog et the tone, though the clean sounds are good at any level on either because they are cathode bias

you're good in general, whadaya want though? 700 to a grand wil get you anything but the creme de la creme in vintage or boutique and I have that stuff and its diminishing returns from where most people sit. Unless you a guitar god the nuance will be lost. Even as a pretty touch sensitive payer I like my ac30HW just fine, it gets what I do and get s t out there for about a grand. And its pretty.

a tube amp no one wants that's boken, then warm up your meter and solering iron... or look at quilter, but its expensive

for real,what's your max potential budget????

what about sarah silverman and her other coupleof personalities?

I'm a part time, break-even dealer too. Since the 90s. used to be msotly about vintage amps but now I do guitars and keep my faves. helps me groe my tash... i don't have 20 nymore, i liquidated a few but also bought 2 or 3 in thelast week Including a late 80s 335 reissue 59 spec in natural that i really like, eventhe funny pickups.

to give you an idea of my mental illness I currently have 4 ac30s in my beloved '62 bass model with factory top boost on th back, an early 70s arbiter top boost with sild state rectifier and rocker switches, a 90s marshall built korg RI top boost and my beloved fawn HW2X which isalso fabulous.... alll gear trading turned to rabid collecting

Ihad a nightmare lat night where my toddler broke the ehadstock off both my Heart washburns whih I would never sell becaue they play like buttah.

Still though, my favorite fuzz is the Boss FZ-2 HyperFuzz

thats actually mild octave fuzz heavily based on the univox superfuzz

jeff is a a fucking machine who always sends christmas gifst too. He did theunder your bed record in a day, most fun ever by the way... we had so much fun and went out drinking later with his alcoholic receptionist who refers to her issues as 'getting too festive'. Maria Rice who does the fades is an angel too.

I married a goth girl... she's dead. No joke, she is so goth now sitting in a an urn at my mother in law's house. But maybe i should do video lessons because so many poeople on ehre can't grasp even how to hol the guitr let alone get nuance from it. Even when they are fast they are all jackhammer and no emotion.

Th guitar is soe asy to play really well, honest. You just need to redjust your thinking and muscles a bit. It won't hurt your keys playing one bit, i can tell you becaue I am synth guy and mediocre pianist too.

rule 1 is play into the groove.

RIGHT ON SOUL BROTHA!

by the way, I saw you psoted a ton of shit to the magnetic fields guy, Jeff who masters all his stuff is my mastering guy and good buddy

love and or lessons... if you live in philly I will give you lessons at a reasonable price....

here's more dynacomp on all the elads at 75% compression and full output I think.... old strat and an 18 or 20 watt marshall thru an old 60s tall 4x12

https://soundcloud.com/james-marchione-1/unmanageable?in=james-marchione-1/sets/under-your-bed

a stock block logo dynacomp is a underrated sustain and treble boost pedal, used one for tons of leads into a marshall 18 wattclone and vntage 20 watt TnB on one rock record.... tone for days, check the 1st half of the guitar solo before I switch amps and chains to a tonebender and superlead:

I sue a tone of mdoellers all of teh sudden, a TC flashback X4 and a line6 m5 for modulation actually.... not ebcause I have to but because I like them in those roles. I also recently aquired a used kord SDD pedal that's ncie as fuck but isn't in the rig yet.

the jke ehre is I alwaysave cool gadgets but mostly play bone dry into an amps et just right and have a it and always hgave.... a little slap is nice sometimes though

I know Kevin Shields of MBV has literally hundreds of different distortion pedals today. Does anyone know what he was using around the time of 'Isn't Anything' or 'Loveless'?

everything available int he early 90, probably much of it on at once just like Adam from Swervedriver.... just get tons ofs tuff and a huge wall of high wattage and potentially high ehadroom british amps like some 800s and Hiwatts couled with a few AC30s so you cna liquefy small mammals with your E string... and get a yamaha spx90, an alesis mdiverb and some otehr rack stuff for them too, then make insane patches and turn everything on.

JaMC, MBV? like Scream too? you're a dyed in the wool 4AD man! you're okay, dude. But find YOUR sound too.

Part of the problem is that I'm not a very good distortion/riffy guitar player; I'm more into ethereal tones with loads of reverb and delay and modulation. I suppose what I'm looking for is a nice pedal that I can put before these effects which gives me a bit of dirt, but doesn't overpower the overall texture. With the EHX stuff going into reverb with long tails, everything I play just comes out sounding like early Jesus and Mary Chain, which is fun...but a bit more subtlety would be nice too.

you may want a distortion with fuzzy qulities that's got more mids potentially, more dynamics and range on the gain knob, and thus isn't a sledgehammer at moderate settings, try a proco rat or a knockoff (mooer makes a very good cheapie I'm told)... in 'true' ODs with soft clipping check look at the mxr custom abdass OD (I know, that name, but tis a eprfeced Boss SD1) or the way huge green rhino pedals thata re highly tweaked TS9s if you play fenders through fenders.... the Klon knockoffs a re great being a highly tweaked, low gain rat type circuit with separate clipping on the treble knob that you dial in, very unique circuit. I loved a lot of what the EHX soul food did but it just was anemic on abss through my amps using the channels I like. But I have a very tweaky setup. my rat is part of a discontinued Nova Drive by TC. I got it for the MIDI implmentation but love what i can do with a modded TS9 and modded rat in one box with preset recall and the ability to sue the separately, in series either direction or even in aprallel with clean blend. Arguably the ebst old school, 70s/80s/ dirt sound I have ever put hands to. Hard to come by though. The TC Nova Drive actually does wonder with my analog synths too.

Hendrix very rarely/possibly never used the big muff live and at that it was the original russian(which i reccomended) not a standard pi

okay, the russian is an 80s thing starting when mike matthews' EHX factory in NYC burned down and he invested in sovtek.... they built the russian pedals starting with the civil war muff circa 85ish? they would tweak the components based ona vailability and generally changed the box going green and then black... made in sratov russia

what hendrix may have used was the 1st gen 'triangle muff' (probably a prototype at jams with matthews who sued to play B3 organ in NYC at the clubs Hendrix liked to get high and play in at) with knobs laid out like a black russian, pyramid fashion, in a silver box of similar dimesions but different parts types and values. This pedal was first marketed as the guild foxy lady. The original foxy lady is a mosrite fuzzrite if I recall (2 knob foxies) but then they contracted with a young mike matthews to make a distortion unit cheaper and he put the the logo on the 1st gen big muff around the time he was marketing the LPB1 and Muff Fuzz effects under his own brand. In time he released the circuit as an EHX pedal as the Big Muff and there is some overlap with the foxy lady. yes, the triangle is a hair brighter as are the ram's heads (I've owned some rams), the triangle has more ehadroom and attack than a modern one while the ram's head has all the squish and skronk but different midrange character though still quite scooped. its tiny variances in component values and materials thata re pretty audible when dialing in with a close mic ina recording studio. In practical stage situation all big muffs but the80s USA opamp version sound indistinguishable from 6 feet off on stage. Side not, the 80s opamp version was used by corgan on siamese dream. H as inspired tog et big muffs by Catherine (local chicago band whoahd a member dating darcy, she has sicne married him) and thsoe guys had early 70s versions (not sure of type) but Billy nly found the opamp version in the pawn store and didn't know the difference... so the siamese dream sound sues integrated circuits to boost gain like the LPB1 and Muff Fuzz and NOT discrete transistors like previous and alter big muffs ;-) Sounds different. Boxier and grindier in a very even way and it is also friendlier with tube amp inputs due to the very fixed output impedance.

he primarily used the dunlop fuzzface,

dunlop didn't exist then, dunlop bught the fuzz face brand from Crest audio who had aquired Dallas/Arbiter in the 80s. Dallas Arbiter copied the circuit from the Sola Sound Tonebender mark 1.5, the only 2 (rather than 3) transistor tonebender. I have the vox branded version (I've owned 2 of them over the years) which is a circuit licensed by vox and then assembled with some parts changes by JEN, the wah wah people in Italy who made the original wahs. I own a very old one with Mullard glass and its 100% stock. Its a cutting fuxxface with nto enough bass or output for stage but its amazing for revolver and sgt pepper tones in a studio. I have also owned a few legit fuzzfaces and every ones was different based on teh transistor material, type, HFE ratings and the component tolerances throughout the simple circuit which si ery much a mutated AM transistor radio circuit by the way, cribbed from teh 60s Mullard design manual. The other tonebenders were more based around the original fuzztone designed by a recording engineer and his best friend to mimic a broken recording channel in his console. that was sold to Gibson and was the Maestro FZ1 fuzztone (I have owned 2) and it has NO sustain but an amazing attack and fuzziness. No output either. its really cool though and I would still have one if i ahdn't traded both for valuable marshall amps years ago. Vic Flick, the guy who plays the James Bond riff? He ahd one and asked Gary hurst to design hima verion with mroe output and sustaina dnthe tonebender mark 1 was born sparking the UK fuzz boom. Anyway, Hendrix liked the arker and less gainy fuzzface. he used the original germanium tansistor verion and later switched to the blue silicon one that's brighter and gainier. Many Axis tones are clearly a blue silicon fuzzface. Great pedal. The Arbiter values work well with silicon transistors but are finnicky with germanium in a way the sola/hurst and vox/hurst values are not. I think there are places where I ehar a muff fuzz, the 2nd EHX effect? on Axis too. I think thatw as released in 67. Other early fuzzes included the fuzz designed for the ventures, the mosrite fuzrite, a very unique design that is most famous for the guitar sound from Inagadadavidia by Iron Butterfly. i've ahd 2 of those. they are fun but silly. You can hear its first use on the venture 2000 pound bee (or it one thosand pounds? I forget). Yes the early fuzzes aremutted radio designs but none were designed by radio companies that I kow of and none were marketed by them. Theyw ere generally designed by hobbyists at the behest of working musicians seeking a variation on teh satisfaction sound and then amrketed by alrger companies like guitar companies (gibson. mosrite)or guitar retailers (sola, dallas/arbiter/sound-city)... alter the japanese got involved with it creating crazy effects like the shin-ei fuzz and the superfuzz under license to candaian amp manufacturer and amrshall distributor Univox.

Shall i go on?

I wanna change my answer! Now I wanna have dinner with Bradley Cooper doing his Rocket Racoon voice, Eric Idle and Stephen Colbert. I need a laugh.

yeah, the new, dunlop version with the extra knobbies is pretty good at everything you would want an over the top, fuzzy distortion to do. I honestly barely tried the original in the 90s. You didn;t see many and when i encountered one that belonged to studio I didn't have time to dick with it for fun, just tried it for a sec and went 'nope, too blown out for this song, lets try soemthing else.' I actually missed the baot on most of the original way huge epdals, the klon centaur, early fultone and the lovetone stuff like the big cheese and meatball. I was around for it but it was so pricey by the standards of the day that I refused to order any of it blind and stores didn't carry small brands back then.

http://thiseclecticlife.com/wp-content/uploads/2007/03/no-coffee.jpg

ok, dude, hendrix never used the muff on any documented dates and while Mike Matthews knew him Hendrix maybe tried it at 1 jam before going toes up (do the math) as a prototype and Matthews has been trumepting it ever since... however, Hendrix probably did use the muff fuzz on axis, there are souds on that record that are un-fuzz-face and kght be that pair of LPB1s strapped -- there's soemthing on his equipbaord about it but its hotly disputed,man.

as far as the revolution? the revolution was the FZ1, the original fuzz and 1st dedicated distortion effect.... hell it was like the 2nd tompbox I can think of , 3rd if you count the sho bud volume! You're like 15, 16, maybe 21 at most, right?

I am not saying that the idea is bad, i am saying that its a stone age pedal in thatthe EHX stock big muff uses shit componenents and was voiced by a keyboard player... soemtiems stoneage pedals are good, some fo them work great, msot do not.... I used to colelct vintage fuzzes, theya re finnicky and difficult and mainyl good for wild colors in the studio. its ahrd to beleive the big muff has held on this long but it has with only a short laps in production when I was a kid. I stillr ecommend for live purposes looking at modern stuff built on a stone age topology. There are lots of functional big muffs out there. But if you must muff, then just get the little big muff as its a sallish enclosure with a good switch and mostly the same crap parts as the bigger one and the same transistors (you don't wanna go much crappier than whats inthere already). God knows whats in the nano.... if you want one as small as the nano get a boutque version froms tomp udnerfoot. You will be imrpessed by it until you need t play lead in a band with anotehr guitar player or a horn section.

You're just trying to see if you can escalate this into a flame war for some reason a -- is it because I refuse to like the big muff and keep suggesting you try soem other stuff in a store when you try out the little big muff to hear the difference for yourself?? because I don't like it and have owned gobs of them and a bunch of boutique ones that were considerably better and I couldn't get them to do much for me other than as accent stuff in the studio or jamming in my bedroom. I had much better stage luck with the even more ancient but less stupid circuit of the burns buzzaround/tonebender 3. That's me, but I can tell you I really did go through lke every fuzz out there. From where Iw as standing the big muff was actually cool, but if I went off axis on a big ass stage I was gone and I was told that even through a 100 watt marshall AND a pwoerful PA I sounded like tiny little bees in the audience. Every variant I tried had the same effect and ic ame to realize thatmy sound only had attack at the lwowest gians ettigns which deeated the whole purpose of the muff. I'm just telling you to try other things in teh store and maybe walk around the store while you do to see how you sound when you're nto right in front of the amp. If you wanna mock me for sharing my experience then i won't share it with you again.... you have all the big muffs and I'll continue to collect gear that sounds good.... like vintage ac30s and stuff. More for me!!!!!!

Terry mentioned that thebig muff works for him but he should also tell you he has about a zillion dirt pedals on this gigantic homemade pedalboard and a 100 watt JCM800 2203, a beast from the 80s. God knows what he gets up to with that rig!

Anyway, this long post is the sound of Jim waking up to find more smack talk after I had pretty much dropped it and making a loud mouthed reply without drinking enough coffee or having a cigarette.... just go get the little big muff, but while you're there try some other stuff, man. Swollen Pickle, Fuzz War if possible, a stright fuzzface, an mxr BC108 fuzz.... try some shit before you talk smack based on marketing at least.

anyone who likes the cars is kay by me, elliott easton is the man.... welcome

the one I played ahd a medium neck, kinda early 60s gibson

its been a long time since I've seen one but I think they're around the 9 pound amrk, like a medium LP standard... maybe 10 lbs at teh outside. I knew someone who ahd one. Built like a tank and played msotly like a fender. itneresting pickups. Ugliest guitar ever,e asily, but in a strangely appealing way. On the otehr hand the T40 kinda reminds me of a gibson ripper, as a abss those cosmetics work for some reason.

thanks for getting my abck on this one! I don't know why someone would get a flawed, pedestrian distortion from the stone age of this type of epdal when ther are better options! Its one thing if tis an old one and you're a collector, i've been there. But a new one? In new fuzz/distortion the world's your oyster. I second the fuzz war, defintiely in the muff camp and sooooooo much better. Or an obvious alternative is the Swollen Pickle mk2 with all those little mid-sculpting knobbies bult in. When I got ym first few big muffs there was nothing simialr out there except the pickle mk1 whichw as rare as hen's teeth.

I don't think the Big Muff is a bad pedal for live performances. It just takes a few months of performances to discover the right sound. Other bands have used it live such as Bush, or STP.

dean deleo doesn't use a big muff or any dirt boxes other than an all tube SIB varidrive as a slide boost. I have talked with that guy for over an hour after an army of anyone show and I know all about his gear preferences. His live rig is VERY well known and his studio tones are a surprising amount of weird, off-brand amps turned up to meltdown.

did you call Bush a band?

Besides, someone found a way to make it work

"oh yeah, I am youtube video kid and I know so much better than the old soundman because I watch videos with limited bandwidth... whoopdeedoo! I told him."

okay dude, dave gilmour invented that trick with a colorsound overdriver AFTER a muff I think back before even I was born, but it really only works in a very limited way and it adds noise to an already noisey distortion, butting the mid boost BEFORE the muff will be noisier...

you want a big muff? just get the little big muff, its 90% the same pedal, the main difference being some miniature surface mount parts that are full size, thru hole parts on the NYC (I would say get the nano, but maybe its all surface mount aprts, I dunno if EHX cheaped out more on it, never repaired one). If there's a difference in performance in another circuit there won't be in a muff because its clipping sections are like a fucking sledge hammer -- with the stacking trick I have always thought it seemed a little nutty to get a pedal with no midrange and then add more circuitry after it to try to add some midrange back. Isn't that like driving 5 miles north to find an onramp to drive 10 miles south? Just take a different road. The big muff is a cool idea and some EHX versions sound ebtter in a band than others but none are particularly useful outside the studio. Go cheap or go with a modified boutique. I ahd a SKreddy Mayo that was pretty decent in a band contextif you were careful and being NOISE FREE it definitely could survive the stacking tricks better than an EHX muff. I also had a copy of a mayo froms tomp unerfoot and that was killer. That guy is a great guy though he's really jacked the price of his pedals up now. You should chat with him though because he is very knowledgeable and friendly. Thing is, operative word is HAD. I've ahd a geen russian, a balck russian, a rams head, a NYC, a mayo, a stomp underfoot and on and on. They are all gone and I never miss them.

https://youtu.be/iwBSuZvVoHs?t=7s

try some other stuff and even some more expensive, boutique type muffs too... and pay as little as possible for the mini-big-muff because the EHX stuff has shit resale unless its old

I'm tryig to be helpful and get you the msot for you money, but if you wanna be combative and not just go "I think i will try the muff anyway, thanks for your observations though, I'll reread them if i can't get the muff to work for me" then keep going and I will taunt you a second time.

But seriusly? having looked at your personal equipboard I think you may wanna lay off on effects and save your money for a tube amp. You really aren't going to appreciate any fuzz or muff tyle pedal without one. Theya re not solid state friendly pedals, man. They wanna itneract with the variable impedance load of a dual triode in roder to really 'breathe'. These are all discrete transistor devices and behave somewhat differently than a DS1 that's driven by an IC like the headphone amp in your phone. I propose that what you were going to spend on a big muff and a TS9 to goose the front you put into your savings account to start the nest egg for a tube amp in 6 months to a year (remember to add money to the account monthly).

let me begin to answer this by saying that No one who is really into guitar and tube amps lsitens to Corgan ebcause he has a great guitar sound, he often doesn't, but its cool sounds that were unique at the time and they serve the song.

having seen smashing pumpkins more times than probably anyone else on EB I can tell you I never saw him use a big muff live. I am pretty sure he just used it to record and then mainly just on siamese dream and probably not on as many individual guitar takes in that sea of guitar as you might think. There's also a considerable amount of univox superfuzz on that record.... at an rate, i think the post-MCIS guitar sounds are infinitely better, pun intended.

thing is, a stock EHX big muff is almost useless on stage for anything but bass, and then you want old russian ones... its also not a fuzz, for those of you still thinking its a fuzz

I think before people go big muff they should try some actual fuzzeslik a fuzz face (dunlop makes some good ones now for the first time in ages), a tone bender or 2, maybe something in the mosrite style (catalinbread makes a fuzzrite clone and the demo soudns just like the vntage one I had)... and of course check out the EHX satisfaction fuzz even though its will be compeltelely worthless for mdoerb music... but also try the original EHX muff fuzz or better yet try the double muff. The muff fuzz is 2 LPB1 boosts in a row one at full tilt fuzzing into the 2nd one that's got a vriable output still.... the double muff is 2 of those in a row so tis fr boosters mutilating eachother in true fuzz fashion. They sound good. Think Aladdin Sane album like Panic in Detroit....

I know I am doing that thing where someone says "should I try the little big muff' and I go "no, you should try some other fuzzes first" but a stock big muff gets lost on stage. End of story. Its sludgey, has no dynamics and is sos cooped that the bass and cynbals eat it unless you EQ after it.

a very good price for an SVT

get outta bed, read this arrticle and think, this is whats up, especially the part about practicing being its own reward

https://www.premierguitar.com/articles/25744-dear-6-string-sensei-how-do-i-get-started-with-improvisation

too many people want to be rockstars and that's a job description that's less and elss relevant every eyar and your odds of becoming one were enver good to begin with... anyway, this article is pretty damn good and I don't usually like Six String Sensei

yeah, I do the same thing. I have a guitar in very room but the master bathroom.

when Iw as growing up they barely existed.... there was a boss molded plastic one that only fit boss pedals and then the rest of us just taped our stompboxes to the stage and professionals had fancy rack systems. I came in with the stompbox comeback, but I was always kidna weird about effects pedals

http://friedmanamplification.com/pedal-boards

I like the oens with the 'buffer bay' where its got the buffer and the midi jack. Very cool. All you pedal-heads with disposable income should check these out. ricey though.... then again, once you have thousands in stompboxes you might as well invest in a perfect board for them with all the trimmings. I've never seen anything ths impressive as a commercial product. Makes me wanna dump my rack drawer and add the non-midi pedals back in on one of these bad-boys.

none of the above, jumbo or supa tonebender, very similar, less clipping diodes, fuzzier.... or skreddy's stuff, killer

probably an MIJ, for the stuff they built udner contract its hit or miss.... its cheap though. typically in stuff like this you will get crappy pickups. I mean, a 70s fender has shitty pickups and they're 'vintage' and go for real oney now so whatever. Only thing is the parts might all be wonky spacing. Nothing was standardized in clones back then. Can you play it?

its little like a mustang, but I guess its more of a jag/jm shape.... total piece of shit either way. Hate those things

use your judgement.... at 60 bucks shipped the silvertone may be worth it to you if you like lipsticks

other people's aprtscasters are really hit or miss depending on your taste... I hate teiscos, but tel_nobody would probably say to snatch it... link me to the harmony strat style. I am not aware of any harmonies amde in the USA that look like strats, just the bobkat that's like a shitty mustang.... but the bbkat coems with gold foils dearmonds whicha re worth more than the shitty guitar. Annie Clark manages to get some music out of her bobkat, but my band's old manager had one and I enver got it playing well enough and my bets friend ahd ne that we scrapped and gutted the pickups from (that good) so YMMV

the amp's the best part, though tis a shock hazard.... 9 out of 10 vintage danos have irreparably warped necks. Most people use them for slide.... I sued to buy them all day with the amp for $100 or less at guitar shows before idiot hipsters made it cool to play junk catalog guitars. just ebcause its old doesn't mean its vntage.

I f you wanna refurb an old sivertone and the enck is warped (and it will be) you can get a dan-o replacement enck with a proper truss rod from allparts I think. And ay bridge is better than the stock one with the wooden saddle

back before there were modern copies me and my buddy used to buy up unplayable silvertones (any model) and gut the lipstick pickups, attach new, full length leads and resell them for twice what the guitars cost to guys looking to add a lipstick to their tele or build a surf-caster

in my oppinio unless its in great shape witha straight enck any dan electro guitar is worth about 50 bucks... the aps are anotehr story, every single one is pretty cool. Is it $60 shipped?

Xaqary may have a different opinion of the amp in case as he uses one and seems todig it, but to me dano guitars were just not built to last! my dad's first guitar was an amp in case and he assures me it started great but eventually got thrown away as it become unplayable and irreparable through the 60s

nah, I think it might be a moderator thing the pictures.... i forget what my priviledges are versus regular users.... but you should add a soundcloud and all that stuff if not to get more points/priviledges then to share your music with the community ;-)

for me its under edit, but I'm a moderator

fixed it for you

I think what's scary about being widowed is that if I want to remarry or even not remarry I could get roped into having another one or the new wife might come equipped with one from a previous marriage. The perils of getting old.

I'm revising my dnner list and disinviting Lucian and isntead I wanna have Charlize Theron as my 3rd dinner guest, just for eye candy.... but she seems pretty bright so maybe Ill talk with her during the fracas (yes, I said fracas)

depeds on the venue and the band... I ALWAYS have 1 spare guitar and a small toolbox containing a multimeter, wirestrippers, plers, screwdrivers, allen keys, spare tubes for my amp, spare fuses, spare strings etc. Just a little box the size of a pedalboard case. There's be a spare snark tuner in it too in case my polytune fails. I never have needed to open the toolbox at a show though I have been glad to have it on short tours between gigs. The toolbox has been packed and ready to go for 20 years easily. i've added to it and replaced things like tubes or fuses that are different types for different amplifiers, but its the same box and same basic shit as always. I just throw that little toolbox in ht e car and I know nothing will go wrong because nothing ever does when you prepare for the worst.