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New Amp


DocPate

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Just curious.

 

When you try out a new(to you) amp, what do you look for? And...how do you try it out?

 

With your own instrument

 

With the store's stuff

 

Take it home and try it out

 

And what tones/volume/reverb/distortion do you want?

 

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For my amps I like a nice clean and deep tone like I get with the Hot Rod Deluxe II with Eminence Cannabis Rex speaker (only on the clean channel). Also tone like I get with my Egnater Tweaker 15 watt head paired with my old EVM 12L. Both Amps sound remarkably similar.

 

I do not like the brightness of the classic Fender amps. Nor do I like any amp that has a built in tremolo feature. I effect my amps with pedals in front.

 

Here is what I need from an amp, clean and deep sounding, not too awful bright and ice picky at the beginning of a note. Ideally my favorite amp would have 2 channels with a full set of gain, volume and tone controls for each channel, & a decent reverb on board. It should weigh less than 30 lbs with a single 12" speaker on board. 20-30 watts, all tube 6L6 or 6V6 power tubes. The tubes should be easy access for changing. Plus it should be priced at or below the cost of a brand new Fender Hot Rod Deluxe but 15 lbs lighter in weight, and 15 to 20 watts less power.

 

But for now I still use tube overdrive stomps, a digital reverb pedal, and a Boss Blues Driver for my Fender style single coil (but Noiseless pickup) guitars only. The Blues Driver is used to fatten up the single coil sound and boost the power of the signal to hum-bucking power only on my strat clone. No other guitars that I own use the Blues Driver only my strat clone.

 

Also I try any amp with my own instruments, usually I get them shipped from Sweetwater, and try them at home. But when I go to Guitar Center, I bring my own guitars. I leave the case in the trunk of my car and just bring in the guitar and strap. At Guitar Center you have to check in the guitar and leave the case at the counter, so I just bring in the ax with strap.

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I usually do not try out amps as I have all that I need (i.e. more than I need LOL!). I don't pack my guitar to the store in order to try one out as there is usually a guitar in the store that can come close enough. I usually buy used amps and I'll pack a guitar to try one out. If it's a tuber and says Fender on the label with spring reverb and a couple of 6l6's, I know I'll be happy. My little Hot Rod 112 Deluxe fills the gap for me and it only weighs in at 40+lbs. I need at least 30 tube watts for clean playing in a band. Weight is a big consideration. For smaller venues I can get by with my little SS portable amp(s). I can go sans amp direct to the PA with my Fender Floor multi pedal too. Reverb is a must, the other effects are not needed and I'll just plug in a pedal if I want distortion. A good clean boost pedal or volume pedal will do the job and I do not need gain channels, overdrive channels, etc. I can get by with out the boost pedal and just use the volume knob on the guitar for the most part. I like different amps for acoustic guitar and mic applications in light weight quick in/out small venues, deck parties, BBQ's, busking, etc. I play my electrics as though they are acoustics a lot of the time and just use dynamics. Having a battery powered amp is also a plus and I'm really happy with my Roland Cube Street EX4. My Fishman Solo amp is also a cool singer songwriter venue amp and can be combined with the Cube Street. :cool:
Take care, Larryz
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@Larry. Do you get adequate acoustic reproduction through an amp?

 

Sorry, I guess I should have posted my thoughts...

 

I haven't bought a new amp in over 40 years, but back in the day, I wanted an amp that would give me a bright, rockabilly tone. I wasn't too concerned with reverb, just volume, tone and I liked the "bright" and "normal" channels. Since I didn't know better back then, I'd use one of the store's amps to try it out. But a tele is a tele, right? LOL.

 

When I first heard some of the Blues guys like B. B. King and Muddy Waters playing through a Marshall amp, I had to try one out. The dark, deep sound was great with the ES-125 and even the Les Paul, not so great with the Telecaster.

 

 

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@ Doc, there are some good amps out there these days made just for acoustics that do a pretty good job. I like the acoustic coming out of a PA for that acoustic reproduction sound. My Fishman Solo amp is a mini PA and does fairly well. A regular guitar amp does not sound bad either, but I don't think you'll get that jangly acoustic sound without the tweeters in most cases. :cool:
Take care, Larryz
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The ultimate acoustic amps are from AER in Germany, but the price is high. They do have some cheaper models now; not sure how good they are. I had one of the "60" models when I was gigging with amplified acoustic bands a lot back in the late 90's through mid to late 2000's, but sold it when my needs changed.

Eugenio Upright, 60th Anniversary P-Bass, USA Geddy Lee J-Bass, Yamaha BBP35, D'angelico SS Bari, EXL1,

Select Strat, 70th Anniversary Esquire, LP 57, Eastman T486, T64, Ibanez PM2, Hammond XK4, Moog Voyager

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I have always liked Acoustic Amps by Fishman, but in the 90s Crate and Trace Elliot made really good ones that were affordable. I agree with Larry thru out this Post.

 

 

DBM Do the Cannibis Rex and EVM 12L sould alot alike?

 

 

Lok

1997 PRS CE24, 1981 Greco MSV 850, 1991 Greco V 900, 2 2006 Dean Inferno Flying Vs, 1987 Gibson Flying V, 2000s Jackson Dinky/Soloist, 1992 Gibson Les Paul Studio,

 

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I just don't buy amps very often. I play amps forever. I have a 65 Twin and 66 Super I got 30 some years ago. I wish I hadn't but I sold the Super because someone offered me a stupid amount of money for it about 10 years ago. I wish I still had it but a friend wanted it really bad.

 

In 91 I bought a 50 watt Mesa Boogie combo and that has been my go to amp until last year. The amp is just too big. It is loud or its off. I added a Kendrick attenuator that sits inside the open back cabinet. It brakes the speaker by either -6 or -12 db. The cool thing is that the attenuator resistors heat sinked well and the box doesn't get too hot and is always connected. Nothing to mess with when setting up.

 

In 2012 I traded a keyboard I didn't use for a 5 watt 1-12 combo. It sounded good mic'd and was small and light. That got me into small amps. I hang out all the time at a local amp shop that does all my guitar and amp repairs. They sell Mesa, Rivera, Fuchs, H&K, SRW and Orange. Some people think I work there but I just hangout and get in the way. Owner has me show amps to customers sometimes so I end up playing most the guitar amp inventory.

 

I try stuff with my own guitars because I have my guitars at the shop a lot. Mesa makes a amp called the Rectoverb 25 that I really liked a lot. Its a small 1-12 combo. It will run in 10 watt mode and is extremely versatile. I bought one of those last year and been using that for about everything every since. There are other amps out there that are great but they are too loud. Fuchs has a little amp that is killer but the Mesa is more versatile. It will do everything from Jerry Reed to Foo Fighters.

 

I never used an acoustic amp until very recently. I always just went direct through a DI to the front desk and used the monitors for my amplification. But with playing multiple acoustic instruments in my Country gig I started using a Fishman Loude Box and a Fishman preamp for banjo and dobro. My acoustic guitar just plugs straight in to the amp. It is just more convenient than the mixer and all the stuff I was using before to get the acoustic stuff into the PA.

 

In Country bands I play pedal steel some and I've only used one amp and that is Peavey Nashville 400. It's a 1986 model I think.

 

I have a 20 watt VHT because a friend needed money and sold it so I helped him out. It is like a poor man's JCM 800. Its a one trick pony but does that trick reasonably well. But it isn't my sort of thing.... plus it is in the shop right now. I don't even know how long its been in the shop. I don't miss it and my tech knows it so he repairs stuff that is more time critical. The shop is like free storage. LOL

 

I like lower wattage amps that can dial in good cleans if needed. I let the sound systems do the heavy lifting. Gigging has changed a lot from how we did things 30 years ago.

"It doesn't have to be difficult to be cool" - Mitch Towne

 

"A great musician can bring tears to your eyes!!!

So can a auto Mechanic." - Stokes Hunt

 

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Just curious.

 

When you try out a new(to you) amp, what do you look for? And...how do you try it out?

 

With your own instrument

 

With the store's stuff

 

Take it home and try it out

 

And what tones/volume/reverb/distortion do you want?

 

In terms of basic specs, combo Amp, 30 to 50 watts, two channels, twin 12's, no onboard FX nor Modeling. Not a Tube purist, nor an advocate for SS, as such; I've had both, and gotten good tones from both, its just a matter of choosing the right Amp, and using it well.

 

One thing, however, if it's a used Tube Amp; I look in back to see if it looks like the tubes are anything like a matched set. If I see a bunch of randomly-selected replacement tubes, I don't even plug in, I figure I'm looking at the cost of a re-tube & biasing, even before I get to really use the poor thing. Better to put that money into something else.

 

I like some warmth to my tone, ambiguous as that term may be. High-gain Amps sound brittle to me, super-clean hi-fi Amps like the Jazz Chorus series sound lifeless and soulless. Not a Blues player, by any means, but count me in for a full-bodied low tone, over icepick highs, or hi-fi Jazz Chorus tones. Somewhere between Duane Eddy's Bassman and Pete Townshend's Live At Leeds sound.

 

First off, I want to hear the clean sound. If I don't have my own Guitar with me, any stock SG or lower-priced LP will do, they all have essentially the same pickups. I'll set the Amp's EQ knobs to mid-point, Volume to zero, Reverb off, before I listen, then bring up the volume to whatever is reasonable. Once I've dialed it in, I'll play some more complex phrases and chord voicings at it, to hear if everything articulates clearly, or if some sounds get muddy. Then, I'll bring up a little Reverb, just enough to add the illusion of some space around the sound.

 

I want to hear if the circuit is noisy, even when the Guitar is quiet, with the understanding that I may not be listening under ideal conditions within the store. Some places have lousy grounding, loud HVAC systems, or nearby sources of RFI interference; sometimes just moving the same Amp to a different spot within the store, or trying a different Guitar of the same model, can make a difference.

 

Despite being an effects freak, and a dedicated knob-twiddler, I don't need a bunch of tiny Boost buttons, Parametric EQ, or a legion of modeled Amps and FX. I like having an FX S/R, a Line Out for FOH, and a jack for an extension cabinet. More likely to use the first two than the third, but it's good to have the option.

 

Prefer a Spring Reverb over a Digital effect, as you can always swap out the Spring tank if something goes wrong. I don't tend to use my Amps for full-out Distortion tones, but a little bit of snarl is good.

"Monsters are real, and Ghosts are real too. They live inside us, and sometimes, they win." Stephen King

 

http://www.novparolo.com

 

https://thewinstonpsmithproject.bandcamp.com

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Here I was just saying I don't trade amps often but I'm thinking hard about getting a 100 watt Boss Katana. In my Country gig I carry three amps. The Mesa guitar amp, the Fishman acoustic amp and the Peavey pedal steel amp. I have friends and acquaintances who use the Katana as a steel and 6 string amp and I hear the acoustic mode is OK also. It should have a ton of headroom which I want for pedal steel and it is really light. Also as far as amps go it is inexpensive. This one if I get it will be a blind purchase unless I take a friend up on his offer to go over to his place and play his.

"It doesn't have to be difficult to be cool" - Mitch Towne

 

"A great musician can bring tears to your eyes!!!

So can a auto Mechanic." - Stokes Hunt

 

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Absolutely what I was looking for in comments... thanks

 

 

Brings up a thought:. Does your favorite guitar store have a "tryout" room? Mine does.

 

Glad to help . . .

 

In answer to your question, neither of my FLMS's has a tryout room, although both have separate rooms for Acoustic Guitars, with a handful of Ukes and Mandolins included. Best bet is to go early to mid-day on a weekday.

 

If I were seriously hunting, sure, I might ask if I could move the Amp I was auditioning into the Acoustic room, just to get a slightly better sense of how it sounded in a room, but again, think of all the sympathetic vibrations coming off all those Acoustic hanging on the racks. Might give you an eerie ambient wash, or something, but hardly representative of what the Amp really sounds like . . .

"Monsters are real, and Ghosts are real too. They live inside us, and sometimes, they win." Stephen King

 

http://www.novparolo.com

 

https://thewinstonpsmithproject.bandcamp.com

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Do the acoustic guitars with on-board electronics (i.e. Taylor, etc) prefer any specific brand/features?

 

I would say no as the Taylors will sound as good as any going through the same amp. However, many higher end Taylors (like my special edition 416) has special electronics which will allow stereo applications using a TRS split to two 1/4" jacks going to two separate channels on the PA or on a stereo amp. They use special body sensors and an under bridge pickup as opposed to a piezo under saddle wire. My Nylon Taylors do not have that function as they use the piezo's. On the TRS set up it works equally well in mono using a standard 1/4" jack. That's the way I like to run mine as the stereo concept didn't do all that much for me (even on the PA). :cool:

 

ps. there is also an anti-feedback switch on the circuit board that can be reached through the sound hole (if needed). On models with the circuit board, there is also an LED red light inside that lets you know when your plugged in and your battery is working.

Take care, Larryz
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If I were seriously hunting, sure, I might ask if I could move the Amp I was auditioning into the Acoustic room, just to get a slightly better sense of how it sounded in a room, but again, think of all the sympathetic vibrations coming off all those Acoustic hanging on the racks. Might give you an eerie ambient wash, or something, but hardly representative of what the Amp really sounds like . . .

 

LA's premier acoustic guitar shop is 'McCabe's' in Santa Monica. They have an ongoing concert series in their main room, which accommodates an audience of maybe 60 or so. They roll the display racks out of the center of the room, but the walls are covered with scores of acoustic guitars. The room resonance/reverb, though specifically tonal, is nevertheless exquisite.

Scott Fraser
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When you try out a new(to you) amp, what do you look for? And...how do you try it out?

With your own instrument?

With the store's stuff?

Take it home and try it out?

If you have a good relationship w/ retailer get a loan & test it in as many places as you regularly play or at least some yer familiar with.

In store (or sellers loc) at least use yer gtr(s) & frequent FX y'use.

While one can get an idea of response otherwise it may not be the same in all rooms b/c of the control settings you might change.

what tones/volume/reverb/distortion do you want?

Long time since I hadda play a big room so I don't look for a lotta vol. Even then it's better all 'round, IMO, to achieve that as an overall balanced stage vol.

 

I started w/whatever I could afford, then went w/Fender for my mostly rock/country/R&B stuff & their sturdiness, dependability & came to prefer a 50W Bassman head that worked well for both bs & gtr.

 

The longer I played the less I leaned on the amp for color, preferring outboard FX & eventually just used a Crown power amp & pedal-board set up, incl. EQ) that was built into a plywood case that matched my homemade gtr case & unfolded a stage platform for me (+ 2 spkrs & a stereo pan pedal).

You can tell I was working from L field. :D

SOMETHING TO CONSIDER

As I plot my mostly online mktg strategy for the future, I'm actually looking toward laptop gear.

Although there will undoubtedly be some live perfs in my Return-To-The-Future-From-The-Past :freak: angle, I'm confident that the convenience & adaptabilty of such an approach will be matched by the tech to achieve the widest tonal spectrum in the easiest way & put me in good stead w/not just the digi-kids but also the bemused blues mavens at Fat Mack's & the NSide Tavern.

YMMV

d=halfnote
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Just curious.

 

When you try out a new(to you) amp, what do you look for? And...how do you try it out?

 

With your own instrument

 

With the store's stuff

 

Take it home and try it out

 

And what tones/volume/reverb/distortion do you want?

 

In terms of basic specs, combo Amp, 30 to 50 watts, two channels, twin 12's, no onboard FX nor Modeling. Not a Tube purist, nor an advocate for SS, as such; I've had both, and gotten good tones from both, its just a matter of choosing the right Amp, and using it well.

 

One thing, however, if it's a used Tube Amp; I look in back to see if it looks like the tubes are anything like a matched set. If I see a bunch of randomly-selected replacement tubes, I don't even plug in, I figure I'm looking at the cost of a re-tube & biasing, even before I get to really use the poor thing. Better to put that money into something else.

 

I like some warmth to my tone, ambiguous as that term may be. High-gain Amps sound brittle to me, super-clean hi-fi Amps like the Jazz Chorus series sound lifeless and soulless. Not a Blues player, by any means, but count me in for a full-bodied low tone, over icepick highs, or hi-fi Jazz Chorus tones. Somewhere between Duane Eddy's Bassman and Pete Townshend's Live At Leeds sound.

 

First off, I want to hear the clean sound. If I don't have my own Guitar with me, any stock SG or lower-priced LP will do, they all have essentially the same pickups. I'll set the Amp's EQ knobs to mid-point, Volume to zero, Reverb off, before I listen, then bring up the volume to whatever is reasonable. Once I've dialed it in, I'll play some more complex phrases and chord voicings at it, to hear if everything articulates clearly, or if some sounds get muddy. Then, I'll bring up a little Reverb, just enough to add the illusion of some space around the sound.

 

I want to hear if the circuit is noisy, even when the Guitar is quiet, with the understanding that I may not be listening under ideal conditions within the store. Some places have lousy grounding, loud HVAC systems, or nearby sources of RFI interference; sometimes just moving the same Amp to a different spot within the store, or trying a different Guitar of the same model, can make a difference.

 

Despite being an effects freak, and a dedicated knob-twiddler, I don't need a bunch of tiny Boost buttons, Parametric EQ, or a legion of modeled Amps and FX. I like having an FX S/R, a Line Out for FOH, and a jack for an extension cabinet. More likely to use the first two than the third, but it's good to have the option.

 

Prefer a Spring Reverb over a Digital effect, as you can always swap out the Spring tank if something goes wrong. I don't tend to use my Amps for full-out Distortion tones, but a little bit of snarl is good.

 

Thats a nice, well thought-out system. Id give you a thumbs-up or XP if this board had such things. :)

Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: âNinety percent of everything is crapâ

 

My FLMS- Murphy's Music in Irving, Tx

 

http://murphysmusictx.com/

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First, I listen to the clean channel. It needs to reasonably but not overly bright, with full-sounding bass response and a sweet midrange. Clarity, without shrillness, body without woofyness, and strength without sneeryness.

 

Then, I listen to the drive channel. I like an edge of distortion without losing the shape of the sound. No kazoo sound that turns to mush with chords of more that two notes. Enough gain to make single note leads sing with sustain, and sustain into feedback when I want them to.

 

The best amp I've ever had, the one that did everything the way I wanted it done, was 60 watt Mark III Mesa Boogie. God in heaven I miss that amp! I haven't felt really comfortable with an amp since.

Always remember that you are unique. Just like everyone else.

 

 

 

 

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Brings up another question:

 

If you play a hollow-body or semi-hollow-body, do you do anything special to control feedback? In other words,do you crank up the volume on the subject amp to check out feedback? Or have you modified your guitar by stuffing?

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Remember Doc, there are hollow bodies and semi-hollow bodies that are fakes (to control feedback). Do you remember the Gretsch with the painted on f-holes? My Taylor T3B is only hollow on the wings. It has a solid main body with two wings with f-holes for the look! Then there are the B&G guitars that look like hollow bodies with f-holes but are just routed out (chambered) of a solid piece of wood. Then again, there are many big jazzbox hollow bodies played on stage by Benson, Pass, Montgomery , etc. with no feed back problems as they maintain clean reasonable volume levels. Guys like BB King and Larry Carlton had no problems with their semi-hollow 335's playing blues as do many others. I think some of the rockers trying to push the limits cause their own overdriven feed back problems using hollow bodies and semi-hollow bodies. My semi is a Taylor T5 and I have had zero feed back problems with it... :cool:

 

 

Take care, Larryz
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A Fender Princeton Reverb Reissue. The limited edition ones with a 12 inch speaker. They make different ones for different dealers, I like the Sweetwater edition with the Cannabis Rex speaker. For now I'm more than happy with my Supersonic 22 combo.

 

On second thought my new amp would be another Supersonic. A much more versatile amp for the same price, even lower price on the used market.

Jenny S.
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A Fender Princeton Reverb Reissue. The limited edition ones with a 12 inch speaker. They make different ones for different dealers, I like the Sweetwater edition with the Cannabis Rex speaker. For now I'm more than happy with my Supersonic 22 combo.

 

On second thought my new amp would be another Supersonic. A much more versatile amp for the same price, even lower price on the used market.

 

Good choices. You (or anyone into similar amps) might also like somethin' like this...

 

_____________. Fender Princeton Recording Amp 2007 with Tone Tubby upgrade

 

________ phbmenukq55d7syjxsor.jpg

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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Doc years ago I played a Fender Coronado II hollow body and stuffed it with foam packing peanuts. That helped reduce the feedback but I think it caused a problem with some of the foam dust messing up the volume and tone pots. I don't remember if it affected the sound but it helped the feedback. What a mess when I took it out. Jim
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Doc years ago I played a Fender Coronado II hollow body and stuffed it with foam packing peanuts. That helped reduce the feedback but I think it caused a problem with some of the foam dust messing up the volume and tone pots. I don't remember if it affected the sound but it helped the feedback. What a mess when I took it out. Jim

 

I can imagine. I've heard of lots of stuffings...even old t-shirts.

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I find it interesting that, while there are some good ideas expressed here & some reliable selections/examples of choice [:thu: on the Princeton] there's dead little concerning new tech or approaches.

 

You know, the world has changed in many ways in the past few yrs & while there are still bands playing small clubs, etc, or even larger venues that use the same set ups one might've encountered 2 or even 4 decades ago, the methods of presentation available in the 21st C, both live & online, may offer much more.

 

Where would we be if Les Paul, Jeff Beck, Hendrix, etc ignored the future as it came up ?

:snax:

d=halfnote
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I find it interesting that, while there are some good ideas expressed here & some reliable selections/examples of choice [:thu: on the Princeton] there's dead little concerning new tech or approaches.

 

You know, the world has changed in many ways in the past few yrs & while there are still bands playing small clubs, etc, or even larger venues that use the same set ups one might've encountered 2 or even 4 decades ago, the methods of presentation available in the 21st C, both live & online, may offer much more.

 

Where would we be if Les Paul, Jeff Beck, Hendrix, etc ignored the future as it came up ?

:snax:

 

Had to respond, brother, even at risk of derailing the thread.

 

My usual live rig is a Hex Pickup-equipped Guitar (got two different models, two different Hex Pickup systems), a digital FX/Amp Modeler with a few hundred User Memory slots for my own sounds, and a Guitar Synth, or modern Analog Modeling Synthesizer. Most of my Guitars were made in this century, as were most of my effects. Lately, I've been getting more into ERG's and Multi-Scale Guitars.

 

I've been chasing the idea of 21st Century Music using 21st Century tech for a while now. Not sure I'm accomplishing or contributing anything of worth, but I'm going to keep looking forward so long as the brain and body hold out. Still waiting for someone to make an 8-string Microtonal MIDI Guitar, but I may have to figure that one out on my own . . .

"Monsters are real, and Ghosts are real too. They live inside us, and sometimes, they win." Stephen King

 

http://www.novparolo.com

 

https://thewinstonpsmithproject.bandcamp.com

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Yes, & :cool:, Winster, but that's not how the bilk of comments are stacking up, eh ?

That's alright---we're all who we are & don't need to all think the same. Boring world if we did !

However I always find it a bit disappointing when artists are dismissive of anything out of hand or reject modernity.

 

BTW, considered what you could do microtonally through programming ?

On of the great potentials for digital processing is the ability to create something then experiment w/out losing the original.

d=halfnote
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BTW, considered what you could do microtonally through programming ?

On of the great potentials for digital processing is the ability to create something then experiment w/out losing the original.

 

I have a couple of Synths that will allow me to create User Scales, a legion of Pitch-Shifting effects & functions, and a handful of Ring Modulators. so it's entirely possible for me to compose in the key of "?", if I feel like it. It's cheaper and easier to find a Fretless Guitar than a Microtonal Neck, but a good friend runs one of the D.C. areas premier Violin Repair shops, so I may hit him up for something weird.

"Monsters are real, and Ghosts are real too. They live inside us, and sometimes, they win." Stephen King

 

http://www.novparolo.com

 

https://thewinstonpsmithproject.bandcamp.com

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:thu: on the Princeton...

 

That Fender Princeton Recording Amp is a pretty cool amp, all-around. I did get to try one, but when I later was considering buying it, and also knew someone else who might've if I didn't, it was gone, and they were out of production.

 

While the built-in compressor and Tube Screamer-like overdrive pedal-type circuits in its front-end might be rather retro at this point (as pedals, anyways, as opposed to being on-board circuits in the amp's preamp-section), having a rather low-wattage tube-amp with a built-in attenuator certainly lends itself to newer techniques and approaches in recording and performance, if not newer technologies...

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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