Scott Fraser

AKG made some pretty decent sounding big, furniture-esque spring reverbs in the 70s. This Days of Yore sounded no better than the short crappy springs I remember from that era, and for anybody willing to drop $3600 on something which sounds like this, I have a Radio Shack cassette machine I will gladly sell you for only $5000.

As a now fairly major corprorate conglomerate which has bought up a number of other audio companies, they are in a position where they no longer have to rely on violating patents, i.e. outrightly stealing other people's work. But in a fairly small, tightly knit industry, the legacy of their beginnings, theft and all, remains firmly attached to them.

Actually, if I'm reading the label correctly, it has one mic input. Channel 2 is labeled as "Line". How does a splitter help you with this? Were you thinking of a Y cable, to Y two mics together into one input? This can work if you have two of the same model mics, otherwise balancing them becomes a real wrestling match.

I think the guitar chooses the player.

Wish I'd known a couple weeks ago. My GF just sent a functioning MacBook Pro to landfill because she couldn't afford the time to try to sell it. I would have gladly sent it off to Silver Springs, MD.

Always ALWAYS loved Atom Heart Mother. Critics and Pink Floyd themselves seemed to think it wasn't really a successful effort, but for me it ticked all the boxes; orchestral pomp, some very cool electronics, sound design, expansive structure, an imaginative sonic journey, and PF's distinctly English bluesy funk rock. It's a perfect piece.

WARM Audio is in the biz of cloning successful vintage products. They started with clones of Neumann mics. They strike me as the somewhat less dishonest Chinese version of Behringer, since they make it very clear what product they are 'paying tribute to'. I have no interest in their product line since I have originals of all those Neumann mics & UREI compressors, but discontinued effects are a little different. I'm still rocking my original Maestro Music Modulator, Tom Oberheim's first product, which is a lovely analog ring modulator from the late 60s/early 70s. But it lacks the LFO & voltage control of the Moog ring modulator, which is mighty appealing.

Yep, I was a Boy Scout once, and for those who weren't, the Boy Scout motto is "Be Prepared". I also did a gig at my high school where the guitarist's cable (we all used those coil cords back then) went out at the top of the intro to the first tune. No sound, no gig. Since then (it's been about 55 years since then,) I always carry spare cables, but it never occurred to me to double up on power supplies.

I'm a HUGE fan of slack key. So glad it's still going strong there.

Now you're making me nervous about not having a backup for my One Spot. OK, let this be a warning to me.

Check in with Gretsch-Talk.com. It's the most authoritative Gretsch forum & a cool place to hang out. There are definitely people there who can decipher the CYGC part of the serial number. My very informal guess is that it was built in China, in a series made specifically to be marketed through Guitar Center, but don't take my word for it. Check with the Gretsch-Talk guys. As to the model number, the 5600 models are Electromatics, which are to Gretsch as Squire is to Fender & Epiphone is to Gibson. I.e. very high quality but not as expensive as the top line series, which are the 6000 models. A xx22 is a double cutaway, & the T indicates a Bigsby "trem". Enjoy your new Gretsch. At last count I think I have 8 Gretsches here & I love 'em. Great guitars.

Pretty much the same level of irrelevance as the Rolling Stone 250 Greatest Guitarists list.

I was already a fan, but the Ed Sullivan performance just cemented it, & it changed my life. It was like a tsunami, and I knew from then that I wanted a life in music.

Challenging levels of absurdity (as well as perceptions of competency,) on my Facebook page I have a pic of Brit ex-PM Boris Johnson with a guitar strapped on, confidently gripping the neck behind a capo.

One of the things which distinguishes the Kronos Quartet (whose concerts & records I mix,) from all other "classical" string quartets is their willingness to explore non-conventional timbres. I have run them all through Tube Screamers, octave dividers, chorus/phasers, lots of delays, & my personal fave, the Leslie simulation. We're now doing all our effects in software, but we started out with pedals & rack units. Violins especially take to distortion very well.