picker
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Posts posted by picker
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But shorter scales make bar slants easier to pull off.
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Some years back. i took up playing lap steel. It was the most fun I'd had from playing in years. It really was neat.
Recently, I started seeing videos of Larkin Poe, and I was interested to see the girl playing the Rickenbacker lapsteel standing up, with a strap-on platform under it. I've read she and a friend made it themselves. So, I started looking for something similar to use with my Rogue lapsteel.
The closest thing I've found so far is the Asher Belly Bar But $165 seems a bit pricey for a bent tube and some hardware. Does anybody knonw of any other such rig, for substantially less?
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Strymon stuff looks great, but dang, it's pricey!
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There is never enough...trust me.
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Very cool post, SG.
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Also, picker- I bet you'd really like the tiny yet mighty (and all analog) Xotic SL Drive Overdrive, which does a great job of emulating the overdrive and distortion character of vintage Marshal Super Lead and Super Bass amps. I got mine to have a good overdrive to place after my Uni-Vibe stylee that wouldn't get too flubby, throbby, and muddy with the 'Vibe, and I love it! I have another fantastic big honkin' dual-channel modded-Marshall-flavored overdrive/distortion pedal that I love, but it's too gainy for use with the Uni-Vibe in front of it... I can HIGHLY recommend the Xotic SL Drive to ya, and good deals can be found for used ones. It's very versatile and has a very wide range of gain and tone available.
I have one also, and yes, it is indeed Molto Groovy! I started out with the EP booster, and like it well too, and I just got the SP compressor. IU haven't had the time to work with it much yet, but I kinda wanted the who set, y'know?
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I first dialed up a Double Detune sound on a Boss PS-3 Pitch Shifter pedal, and it sounded like Adrian Belew-in-a-box! Much richer than mere Chorus, without the constant LFO pulsing or warbling in the background.
FWIW, a number of my friends in the EM/Experimental Music scene use those little Mooer and Donner boxes, and get great results from them. I've seen that Pitch Box in a few rigs.
Like KuruPrionz, I tend to use Pitch Shifter FX for Special FX, rather than trying to emulate dual-Guitar Harmonies. Unless you have a fully programmable Pitch Shifter, with the ability to create and store Custom User Scales, you're stuck with one or two fixed Intervals, which means you have moving parallel scales in different keys, not real Harmonies. There are few sounds more painful than someone trying to play the closing lines of "Hotel California" or "Free Bird" with a Pitch Shifter pedal set to a fixed Interval; it's just wrong, one of those offenses that should get you evicted from any Guitar store.
I agree that trying to replicate harmony leads on a gadget set to a single interval sounds awful, but I also recall Trevor Rabin playing the lead to Owner Of A Lonely Heart on an MXR Pitch Transposer set to a 5th, and making an epic job of it, too.
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Hey y'all, hope you are all surviving the Great Pandemic of 2020!
I bought a tri-cone resonator guitar a while back Well, the magnetic pickup in it sounds pretty lackluster by itself. So, I purchased a Schatten tricone pickup, and I need it installed. I think I want it to work with the existing pickup, but I'm not sure what would be the best way to incorporate it into the guitar. I think I'd like the two pickups on a blend pot, and from there fed into the volume pot and out to the the amplifier/PA/whatever. But, I wondered if the difference in impedance between the old magnetic pickup and the new piezo would cause problems using one pot, which might not be the correct value for both. So, maybe separate volume pots going into the output jack, like a bass guitar does, would work better.
Or would it?
Being only electronically savvy enough to get into deep do-do if I tried anything beyond my limited knowledge, I thought I ask if anybody could tell me what they think would be the best way to go about this.
WHaddaya say, folks?
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DJ Four Skinn and the Smegmatiques
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I downloaded and installed Presonus Studio One and Toontrack EZ Drummer today. I intend to work with the tutorials and learn how to record my tunes. Sitting on my cakes and watching TV is getting old.
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Update; I have purchased and installed both Presonus Studio One and Toontrack EZ Drummer. I'm going to work through the tutorials, and will hopefully be recording in the next few days. I think my firewire interface will work for a while, anyway. We'll see.
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I might end up making it a featured part of my own sound on original songs. It really sounds cool to me.
I will experiment with the other two settings, but I have tried harmonizers before, and didn't really care for the results I got. I thought an octave up on a bass guitar might sound cool. If the pitch shift does what I think it will, it might be handy for a few things.
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I've been attracted to mini pedals lately. Mostly, they ain't real sexy, but they're cheap, effective, and don't take up much real estate on a pedalboard.
Last night, I was skimming through Craig's List, and saw this little blue box called a Pitch Box. I hadn't heard of that before, so I searched it up on You Tube. I found
I'm not really out to cop Eddie's tone, but I did like the sound this thing made.
I went back to Craig's List, and got the seller's contact info, sent him an email. His asking price was $60.; I offered $40, and he accepted. I picked it up today, and now it's mine.
I've gotten to a point where chorus sounds like too much sugar in coffee tastes, overly sweet. But, I miss it if I'm not using it. This has a sort of chorus-y sound to it, but seems more subtle, not as cloying. It gives a sort of "shimmer" to it.
What do you think, guys?
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Being stuck at home got me to reading. I just finished up Joe Satriani'sw book, Strange Beautiful Music, which made me feel like a complete slug compared to his energetic approach and work ethic towards his music. Man, that guy makes the Energizer Bunny blush in shame. So, having successfully guilted myself into thinking I should start recording some stuff instead of vegging out in front to the TV, I set about trying to accomplish something.
Problem is, I am not set up to record. I did a bit of downloading, a software mastering setup. But it started saying things about where it was being saved to that I didn't understand, and it made me think I had no idea what I was doing or what I needed to record myself.
So, I came here.
What I have aat this point is; an MXL condensor mic, a PC running Windows 10, a Presonus Inspire 1394 interface(ancient, I know) and some mastering software I have no idea what to do with. I'm thinking I need a drum program that's idiot simple to operate, recording soiftware, and some plug-ins. Which ones, where to get them, all that is a mystery to me.
Bearing in mind that I have a $1200 stimulus check as a small budget, how do I get up and running?
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The pickguard and truss rod cover were the parts that made me curious. Then I thought, uh oh. Old Japanese guitar company.
Both parts are genuine tortoise shell. Now, I'm pretty sure the CITIES agreement has a clause for instruments made before it was implemented. But
U.S. customs infamously destroyed an antique piano, due to the ivory keys.
I have always been an environmental advocate. I'm also a guitar player. I don't want to give it away, destroying it would not accomplish anything.
For now I'm just enjoying the sound.
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I agree that destroying the thing would be a waste. Unless you plan on taking it out of the country, just play it and be happy.
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I've got it; a Boogie Mark III 60 watt. It does everything I want, and in style!
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I'll be staying in. My job has been cut down to one day a week for me, fortunately without cutting my pay. I don't have anyplace to be, no one depending on me for anything, and nothing to do besides watch TV and play my guitars. Speaking of which, I just bought a Recording King Dirty 30s in black and I'll be dinking around with it for a while. I wanted a small bodied 12-fret acoustic to get a more authentic country blues tone. It's very much like the $17 Sears Silvertone I started out on.
It's ironic to me; I couldn't wait to get an electric, and then a dreadnought acoustic because the sound of that Silvertone was so thin and plinky. Now, that's the tone I'm going for.
Weird to me.
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I have long thought the weakness of the entire modeling amp thing was the bewildering amount of amp and speaker cab models the back into them. Sure, it's sounds like fun to be able to call up a bunch of cool amp sims, but it seems to me that a jack of all trades is a master of none. Limiting it to just one model simply has to make the one they include more detailed and realistic-sounding. And you don't have to dink around forever, trying out this or that amp model with that cab model, and twisting knobs/cycling menus to make it sound right.
Somebody finally figured out that most of us got into playing guitar to play guitar, not learn how to program a gadget to sound almost as good as a real tube amp. Props to Fender for that!
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I guess my "comfort food" guitar would be my Faded Flying V. I first saw a V in '65 or '66. It was on a TV show called "Where The Action Is", a Dick Clark after school rock show. The Kinks were on, and Dave Davies was playing a 58 V. He had apparently picked it up cheap from a US store it had been hanging up in a display since they came out. It was the most fabulous "space age" sci-fi hunk of wood and metal I ever saw. Of course, I wanted it!
I stumbled across Wishbone Ash around '71, and Andy Powell's red V reignited my desire for one. Somebody I knew had brought an Ibanez Rocket Roll back from overseas. It had a bolt-on neck, but I didn't know any better, so I traded a 68 Tele for it, the first of many really dumb trades I've made over the years. I eventually got into bad straits and had to give it to a guy to cover a debt.
Many years and guitars later, Gibson started reissuing Flying Vs in their Faded Series, at a price I could afford. So, I got one in cherry. And, I made up my mind then and there, anyone who wants it can have it when they pry it out of my cold dead hands!
It's not my go-to axe, but there's an emotional connection that makes me feel good whenever I play it.
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Hey Myles, I ran across this and wondered about it. I never heard of a 12AD7 before. 12AD7 (low noise)What's the story?
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I'm staying in. It's just simpler, and I didn't have anything planed anyway.
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Anybody got an 8ohm EVM 12 they'd trade for a 4 ohm EVM 12?
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I love my guitars, but I'm not really that precious about them. I admit that I'd get a bit twitchy if just anybody wandered into a gig, picked them up, and started going off on them. I think that's rude, really.
But Jeff Beck isn't just anybody...Frankly, I'd only be pissed if he didn't autograph it and let me have pictures of him playing it. The value of my guitar would at least double if I could prove he played it.
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I was reading a post somewhere about a Timmy pedal clone.The guy wrote that he wished more OD pedals had more than one EQ adjustment. It made me think about pedals I had seen.
It seems to me that most of the problems with OD pedals are at least somewhat related to EQ. Fizzy top, flabby/woofy bass, ganky midrange hump(hello, tube screamer fans!), could these things be tamed with enough, or the right kind of EQ?
I recall a Marshall metal distortion pedal that had 3 adjustable bands, and I think there is an MXR Badass OD that has three. But how about 5 bands, or even more? I recall something from the 60's-70's called a Fullrange Booster that had several bands adjustable with sliders. Do you think that would be an improvement over the usual limitations of EQ in dirt pedals?
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