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That tilt detector looks awesome, and could lead to great new stage moves.

 

__________ http://photos1.blogger.com/blogger/2895/3269/1600/page_dragon10.jpg

 

:D:thu: Sorry, just had to razz ya... ;):wave:

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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__________ http://photos1.blogger.com/blogger/2895/3269/1600/page_dragon10.jpg

:D:thu: Sorry, just had to razz ya... ;):wave:

 

I think Jimmy's doing that to rest the axe on his hip & take some weight off off his shoulder, though looking cool no doubt had something to do with it.

I've read that he retired the 3 pickup Black Beauty because it was just too damn heavy.

Scott Fraser
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I think Jimmy's doing that to rest the axe on his hip & take some weight off off his shoulder, though looking cool no doubt had something to do with it.

I've read that he retired the 3 pickup Black Beauty because it was just too damn heavy.

 

You might be right about this particular guitar and pose; though holding a guitar up to find and catch a feedback 'sweet-spot' contributed to the lexicon of iconic Rock imagery long ago. I believe that's what inspired the idea for the Tilt Detector circuitry and effect here in this product; great, useful function, and it makes the whole "feedback" experience more familiar and intuitive for players used to "the real thing"- that is, acoustically-induced electric-guitar feedback born of gainy, loud amps and speakers.

 

As for that "black beauty" Les Paul, wasn't that the one that was stolen from Page back in the late '60s or so? Possibly pre-Zeppelin?

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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As for that "black beauty" Les Paul, wasn't that the one that was stolen from Page back in the late '60s or so? Possibly pre-Zeppelin?

 

The Gibson site says it was stolen in September 71, having been played on Zeppelin tours in 70 & 71. So perhaps Jimmy's memory of why he stopped playing it is a bit clouded, but it no doubt was a heavy hunk of wood.

Scott Fraser
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As for that "black beauty" Les Paul, wasn't that the one that was stolen from Page back in the late '60s or so? Possibly pre-Zeppelin?

 

The Gibson site says it was stolen in September 71, having been played on Zeppelin tours in 70 & 71. So perhaps Jimmy's memory of why he stopped playing it is a bit clouded, but it no doubt was a heavy hunk of wood.

 

I'm guessing, then, that he'd stopped using it on stage, but perhaps used it (or would have) in the studio...

 

 

____________ http://1.bp.blogspot.com/-ZAkOJ8M18F0/T01JFXGXJzI/AAAAAAAAAC8/VMWsOOXtO0A/s1600/BB_missing_guitar_ad.jpg

 

____________

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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I'm guessing, then, that he'd stopped using it on stage, but perhaps used it (or would have) in the studio...

____________ http://1.bp.blogspot.com/-ZAkOJ8M18F0/T01JFXGXJzI/AAAAAAAAAC8/VMWsOOXtO0A/s1600/BB_missing_guitar_ad.jpg

____________

 

I bet whoever has it now has no idea what it's provenance is.

But apparently Page's guitar collection is around 1500, so I'm guessing he replaced the stolen one with something just as nice.

Scott Fraser
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He must've gone on one massive binge after Zep broke up, then. There was a piece with Jimmy's guitar tech in a magazine called International Musician & Recording World back around the time when Zep were getting ready to make In through The Out Door, and the author was stunned to find that Jimmy's entire collection numbered 16 guitars and a handful of small amps, a Vox AC-30 being the heavyweight among them.
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There was a piece with Jimmy's guitar tech in a magazine called International Musician & Recording World

 

@hurrican hugo - sorry to truncate your post, but I was excited to see that someone else remembered International Musician & Recording World! Did they go under, or stop distributing to the U.S.? I haven't seen a new copy in years . . .

"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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I remember talk back in the mid-80s(?) about IM&RW merging with some other publication, but I don't know if that actually happened,or if they just went under. :(

 

Loved that mag, though. Their detailed walk-through of Pink Floyd's setup for live performances of The Wall was perfect.

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  • 3 weeks later...
No new pedals here, but here's a very interesting piece by guitarist Henry Kaiser on his philosophy on using effects:

 

http://www.premierguitar.com/articles/Henry_Kaisers_5_Essential_Effects

 

Cool, interesting article, as is the Nels Clines 5 Essential Effects article linked-to therein. :cool:

 

4. Reverse Delay

 

Ive always loved backwards guitar solos, such as Jimis "Are You Experienced" solo. As soon as I got an Eventide H-3000 harmonizer, back in the 80s, I realized that its reverse shift algorithm would let me create this effect in live performances. Such digital effects take samples of your playing and then play them back in reverse, cut up into whatever quanta you set the delay for. Five to seven seconds seems to be optimal for backwards soloing for me. I spent a few years practicing playing delayed, both backwards and forwards, over songs and recordings of chord changes, until I could play in the now, what I wanted to happen five or seven seconds in the future. This does wonders for your time sense, more than any practicing with a metronome could ever accomplish. One catch was that when you kicked the effect in, the harmonizer had to be listening to what you had been playing, so I used the effects loop of a TC 2290 that bypassed the harmonizers return, but not the send to it. Then when I wanted to sound backwards, I could kick the effect in instantly.

 

Eventide brought out the Eclipse harmonizer in 2002, and I used that model for this effect for many years. If I dont want to bring that rack unit, I can use a TC Flashback pedal, with an Electro-Harmonix Killswitch, muting the return and not the send, to and from the TC. Most recently I picked up the Red Panda Particle, which has a great reverse shift, along with some unique stuttering abilities, based upon input level. Its a great entry pedal to start messing around with reverse delay. Oddly, most high-end pedals that do reverse delay did not really implement this properlythey mute the send, instead of the return, leaving a guitarist with dead air when the solo is supposed to start. My pal Nels and other friends enjoy some lower-fi pedals for the unique/warm tones that they can create with them. I, on the other hand, have always preferred the most hi-fi pedals and rack units that I can find. For me, this backwards effect works best in maximum fidelity, and all of the pedals listed in this section are super hi-fi in practice.

 

Y' know what else helps immensely for crafting simulated "backwards" effects live in real-time, either with or without "reverse" delay and/or reverb? Volume-swell techniques, whether by manipulating the volume-knob on a guitar, deploying a volume-pedal, or using an envelope-controlled "slow volume" pedal or a noise-gate type processor. Swelling into notes and abruptly cutting them off when desired, either by hand or a volume-control, can really create very nice "backwards" sounds. When cutting off a note by hand, making some sort of percussive scritch or harmonic squeal or other such noise can also really enhance this effect very well. If you've got a whammy-bar, put that to good use here, too- particularly for bending up into "ghost-bends", etc..

 

Of course, reversed looper tracks are pretty awesome, too- downright addicting even! :crazy:

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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Y' know what else helps immensely for crafting simulated "backwards" effects live in real-time, either with or without "reverse" delay and/or reverb? Volume-swell techniques, whether by manipulating the volume-knob on a guitar, deploying a volume-pedal, or using an envelope-controlled "slow volume" pedal or a noise-gate type processor. Swelling into notes and abruptly cutting them off when desired, either by hand or a volume-control, can really create very nice "backwards" sounds. When cutting off a note by hand, making some sort of percussive scritch or harmonic squeal or other such noise can also really enhance this effect very well. If you've got a whammy-bar, put that to good use here, too- particularly for bending up into "ghost-bends", etc..

 

Of course, reversed looper tracks are pretty awesome, too- downright addicting even! :crazy:

 

I love running an Attack Delay into a 100% wet Reverse Delay. You get no attack, and thus the backwards track has no sudden cut-off, either.

 

Much love for backwards looping! Sometimes, I'll capture a loop, reverse it, process that, then store the new, processed loop as well. Yeah, you need multiple loopers to pull that off . . .

"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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I love running an Attack Delay into a 100% wet Reverse Delay. You get no attack, and thus the backwards track has no sudden cut-off, either.

 

Much love for backwards looping! Sometimes, I'll capture a loop, reverse it, process that, then store the new, processed loop as well. Yeah, you need multiple loopers to pull that off . . .

 

I like :love:LOVE :love: layering 'overdubs' on my Boss looper, and reversing to record some of them, so that those parts are "backwards" when the whole shebang is played forwards again. Sounds INCREDIBLE when "normal" reverb and/or echo is used during the process, as they too become reversed, sounding like the classic "backwards" effects heard on so many great albums over the years...

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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  • 2 weeks later...

Looper with a condenser mic input! Cool, reminds me of my old Casio SK-1.

 

Not exactly a new effect, but I recently picked up a Roland GR-S Space pedal. It has nothing to do with the Eventide Space pedal: it's an odd sort of Chorus/Mod pedal, built out from the V-Guitar series. Despite the four-button layout, it is NOT a digital re-creation of the classic Roland Dimension effect, so don't get your hopes up.

 

It's meant to work with a GK-3 pickup, but you can get some of the effect with a standard 1/4-inch guitar jack. Originally somewhere around $300, I got it as a blow-out pedal for $70. I guess not many people were interested in a $300 Chorus pedal that needed a $200 GK pickup, or an $800 Roland-ready Strat to go with it?

 

http://www.guitarplayer.com/Portals/0/124_gpr0813_Gear_Boss-1.jpg

 

No Rate & Depth knobs, like you might expect, just Color (think of it as a 'More' dial) and Tone. Number 1, Crystal, sounds almost like a tuned Flanger effect. Number 2 sounds most like conventional Chorus. Number 3, Slow Pad, has the Chorus effect 'swell', but if you turn the Color knob clockwise, you hear the Guitar input, which masks some of the Swell effect. Number 4 is called Brilliant Clean!?!?!? It sounds more like the tuned Resonator effect in the old Lexicon Reflex. More Shrill than Brilliant to my aging ears, but maybe I need to experiment with it some more.

 

These things only came out within the last two years, and they're already on blow-out, wherever you find them. If you have a guitar with a 13-pin pickup, you might want to try this. Even if you don't have a 13-pin pickup system, if you see one in your FLMS, give it a try. It's different enough to be worth checking out.

"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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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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Le woof! Le rrrRRROWlllllll! Le pant-pant!

 

[video:youtube]

 

Wow, what great sounding, touchy-feely, extremely versatile and cool pedal! I can understand how and why Joe Walsh, Greg Lake, and Frank Zappa were so enamored of the pedal that it's based on and improved upon... :cool:

 

I expect that it would be GREAT to use in conjunction with some other pedals, so long as they'd play well with it in front of them (such as the way some vintage type pedals don't work well with another pedal between them and the guitar).

 

I bet it'd work very well along with, say, my Octron octave-fuzz (either before or after), both followed by my El Capistan tape-flavored echo, what with the dynamic, textural, and colorful responsiveness of each interacting together... Add a good tube-amp and it' be hard to put the guitar down... :D

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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Well, if you're a pro, you can always stimulate the economy by hiring a guy to change your pedals to your desired settings. A..."knob jockey", perhaps?

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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Oh, man, that lil' box has Zappa's late-'70s guitar sound all over it. I'd love one, especially if there was a programmable version.

Well, if you're a pro, you can always stimulate the economy by hiring a guy to change your pedals to your desired settings. A..."knob jockey", perhaps?

 

Many of my favorite pedals are very versatile, having quite a few different, great sounds in them- which brings me to the question, 'just which pedal do I want this to be... ?!?' :crazy::D:thu: Everyone the world over should have such problems, eh? :):2thu:

 

If I were ever a frequently gigging, touring pro, I'd have some kind of programmable gizmo with motor-controlled flex-shaft drives to turn knobs on a bunch of pedals, AND probably one of the better digital-modeler/multi-effects units. With any luck, and a lot of hard work, I just may wind up with such dilemmas to work out...

 

:D:thu::rawk:

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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oh, I think I could suffer through life with a non-programmable version.

 

Indubitably, indubitably! :D I was just cogitatin' on wants 'n' needs if one was gigging frequently with lots of changes throughout set-lists and all that...

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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I almost bought 3 Tech 21 Blondes...one for my basic sound, one for clean boost and one for distortion as I really liked that pedal. This would have been a very expensive way to go. Luckily I found the Fender Floor multi effects filled my needs and offered a lot of pre-sets if I really needed it for a set list. For the most part, I just go straight in and a clean boost is really all I need these days if I have the right amp...

 

Speaking of which, I have left my Hot Rod DeVille in the closet for a few years now. I've been using lightweight solid state stuff. Since I just moved and was stacking stuff in my new music room to be, and the amp was just sitting there, I thought oh what the heck, and I fired that puppy up. Golllllollllyyy was I brought back to the tube world sans any pedals! :cool:

Take care, Larryz
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Speaking of which, I have left my Hot Rod DeVille in the closet for a few years now. I've been using lightweight solid state stuff. Since I just moved and was stacking stuff in my new music room to be, and the amp was just sitting there, I thought oh what the heck, and I fired that puppy up. Golllllollllyyy was I brought back to the tube world sans any pedals! :cool:

Larry - I have a HRD 4x10 for my backup amp. It is a dependable workhorse and you can get amazing tone from it. I love that amp.

SEHpicker

 

The further a society drifts from truth the more it will hate those who speak it." George Orwell

 

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I haven't played a Hot Rod DeVille with 2 12's, but I have played my old Twin Reverb with 2 12's and it sounded great. I have no doubt that the HRD 212 sounds great too. Two of my buddies have Hot Rod Deluxe's with 1 12 and they sound very nice. I like the DeVille with the 4 10's but the Hot Rod Deluxe is the lightest of the crew weight-wise, which attracts me more these days. I just can't get either of them to sell or trade theirs LOL! :cool:
Take care, Larryz
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