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<DIV><FONT size=2 face=Arial>I've heard those cobalt strings are nice, I've been
using elixirs for years, yes they sound more broken in but hold their tone
longer and with my very acidic hands,</FONT></DIV>
<DIV><FONT size=2 face=Arial>it works better for me.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>My strat plus has those quick locks
too,</FONT></DIV>
<DIV><FONT size=2 face=Arial>which are much nicer than the more complex sort of
that ilk, just a twist of a thumb screw and you don't have to worry about string
slide,</FONT></DIV>
<DIV><FONT size=2 face=Arial>which is very handy when you need to quickly change
a string between songs when one breaks.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>My bridge is locked down, so I get better
performance with double stop bends and such,</FONT></DIV>
<DIV><FONT size=2 face=Arial>or chordal bends, but I do like a floating bridge
for some things you just can't do otherwise.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>I started off playing a paul, loved that big solid
guitar,</FONT></DIV>
<DIV><FONT size=2 face=Arial>will not so big, but solid and heavy,</FONT></DIV>
<DIV><FONT size=2 face=Arial>and then switched to a strat,</FONT></DIV>
<DIV><FONT size=2 face=Arial>for more tonal possibilities, but I always kick
myself for trading my les paul custom fora drum machine back in the
80s,</FONT></DIV>
<DIV><FONT size=2 face=Arial>but I made a lot of money with that piece of
kit.</FONT></DIV>
<DIV><FONT size=2 face=Arial>for the time.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>I'll get one again or some hybrid, I don't care for
brand names so much as long as the build quality is good and there are lots of
hybrid guitars out there now taking advantage of the two different
approaches</FONT></DIV>
<DIV><FONT size=2 face=Arial>from gibson and fender that prs with the
piezo bridge pick-up might be nice for covering lots of ground and it doesn't
sound half bad for an acoustic simm,</FONT></DIV>
<DIV><FONT size=2 face=Arial>especially in a mix.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>Those prs's have lots of sustain.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>But that's a lot of money for a guitar, but the
really good ones do cost more,</FONT></DIV>
<DIV><FONT size=2 face=Arial>you really do get what you pay for
sometimes.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>Just not going to get all the game out of a c note
guitar, though you might get something </FONT></DIV>
<DIV><FONT size=2 face=Arial>really nice for that price in that
class.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>But the whole attention to detail set-up frett
work, and quality control, rare woods, great electronics, all that drives the
price up and rightly so.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>I have never been happy with a cheap guitar, my
first guitar </FONT></DIV>
<DIV><FONT size=2 face=Arial>was a tok, and I like those, they're like the
working man's taylor,</FONT></DIV>
<DIV><FONT size=2 face=Arial>I don't mean going to the top of the
pile,</FONT></DIV>
<DIV><FONT size=2 face=Arial>by cheap guitar, I just mean the low end off the
shelf stuff, I made the mistake of getting a</FONT></DIV>
<DIV><FONT size=2 face=Arial>acoustic variax which sounds great but plays like a
pig,</FONT></DIV>
<DIV><FONT size=2 face=Arial>but that's the difference in a 6 hundred dollar
guitar, </FONT></DIV>
<DIV><FONT size=2 face=Arial>where they put 200 in the guitar and 400 in
electronics, I would have rather they spent a little more on the guitar side and
paid a bit more.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>My tok I play now goes for about 12 bills
new,</FONT></DIV>
<DIV><FONT size=2 face=Arial>and she plays really sweet.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>I think I'm going to install some of those miniflex
mics in her,</FONT></DIV>
<DIV><FONT size=2 face=Arial>my folk group I'm recording now all has them and
they are sweet,</FONT></DIV>
<DIV><FONT size=2 face=Arial>the next best thing to micing up but minus the
hassle of logistics of recording a group all at once in a modest space, and
better separation.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>But my first tok was just under 4
bills,</FONT></DIV>
<DIV><FONT size=2 face=Arial>and I still have that guitar, it just gets better
with age.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>But the frets are worn, and it's been through it,
I"m 50 now and I've had her since I was 15.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>Some of those composit guitars aren't so bad,David
plays one in the above mentioned folk band it's a 12 string, and it's just
beautiful sounding.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>And a great working man's guitar because they won't
swell or warp.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV> </DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<BLOCKQUOTE
style="BORDER-LEFT: #000000 2px solid; PADDING-LEFT: 5px; PADDING-RIGHT: 0px; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px">
<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="FONT: 10pt arial; BACKGROUND: #e4e4e4; font-color: black"><B>From:</B>
<A title=blulemon@telus.net href="mailto:blulemon@telus.net">Colin
McDonald</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A title=rwp@reaaccess.com
href="mailto:rwp@reaaccess.com">Reapers Without Peepers</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Wednesday, September 18, 2013 6:20
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: [RWP] Adrenalinn guitar
pedal's sounds</DIV>
<DIV><BR></DIV>your right, the string through design with a hard tail bridge,
IE a <BR>telecaster, has excellent sustain. A telecaster has amazing
sustain.<BR>A les paul only has a bit more because of the set
neck.<BR>Actually, a telly typically has more sustain than a les paul, but an
LP <BR>doesn't have that sharp initial attack which sort of makes a telly
sound <BR>like it has less sustain...the lp will keep that mid range snarl
going for <BR>longer, but the over all length of the sustain is a bit less on
an LP <BR>compared to a telecaster.<BR>I have audibility on my
telecaster low E string for 21 seconds.<BR>now there is sustain lol.<BR>that's
also with the new earny ball cobalt strings which honestly do have <BR>the
most sustain of any strings I've ever used. I still don't like the feel
<BR>of them much, but there is no denying they sustain
forever.<BR><BR>Regards<BR>Colin<BR>--------------------------------------------------<BR>From:
"Indigo" <<A
href="mailto:33indigo@charter.net">33indigo@charter.net</A>><BR>Sent:
Wednesday, September 18, 2013 4:48 PM<BR>To: "Reapers Without Peepers" <<A
href="mailto:rwp@reaaccess.com">rwp@reaaccess.com</A>><BR>Subject: Re:
[RWP] Adrenalinn guitar pedal's sounds<BR><BR>> In looking at the six-screw
Fender trem pivot system, it seems to me that <BR>> it would have a heck of
a lot less friction if it pivoted on a hard metal <BR>> strip instead of
pivoting on painted wood.<BR>><BR>> Also, if the metal pivot strip was
glued to the wood with a really hard <BR>> glue; like apoxy, it would
transfer more vibration than the soft Fender <BR>> plastic paint transmits
to wood.<BR>> Bare wood might transmit more vibration, but you'd get way
more friction <BR>> than with the trem pivot against painted wood.<BR>>
I'm not even certain you'd get more sustain from the bare soft woods <BR>>
electric guitars are made of, like Alder, ash, basswood.<BR>> Their
softness might deaden the bridge plate's vibrations.<BR>> I might try
making a metal insert to go below the trem pivot; like a piece <BR>> of
stainless steel shim.<BR>> Probably the greatest friction point in the
6-screw system is where the <BR>> screws slide against the sides of the
holes in the bridge plate.<BR>> You can lube at that point, but you still
have a bunch of friction there.<BR>><BR>> Well, I would think that if
not using your trem, and blocking it in, plus <BR>> using 5 springs
increases sustain, then a hard tail bridge with <BR>> strings-through-body
should provide the greatest amount of sustain <BR>> possible.<BR>> Some
people believe that the whole trem system, with its block and twangy <BR>>
springs, makes a Strat sound like a Strat.<BR>> Slipping rubber surgical
tubing over each spring to deaden it would ruin <BR>> the Strat
resonance.<BR>> I haven't decided any of these things, just observing and
experimenting <BR>> before drawing conclusions.<BR>> In my wife's photo
studio there's a device of some kind with nice foot <BR>> long
springs.<BR>> Man, I can't walk by that thing without plucking those
springs<BR>> Amazing harp-like and very synthesizer-like sounds in a
big spring like <BR>> that, and no two springs sound the same.<BR>> I'll
have to record that sound and put it in Alchemy to spread across a <BR>>
keyboard, or run granular synthesis on it.<BR>>
Indi<BR>><BR>><BR>><BR>><BR>><BR>><BR>><BR>> On
9/18/2013 12:29 PM, Colin McDonald wrote:<BR>>> the higher quality metal
in the trem block helps sustain because it<BR>>> allows bettter transfer
of vibration into the body wood from the strings.<BR>>> the cheap pot
metal kind of sucks it up. You know how if you tap a<BR>>> really
cheap butter knife on the counter top it kind of tings, but<BR>>>
doesn't sustain a long clear note? whereas, if you have a well
made,<BR>>> high quality piece of flat ware, a butter knife, and you tap
it on the<BR>>> counter, you'll get a clear ringing note that will
sustain a long time<BR>>> with good quality cast metal.<BR>>>
Don't forget, every fender style trem also has springs that attach
that<BR>>> chunk of metal in the block to the body via the spring
claw. The<BR>>> quality of the springs will also help with sustain
and even the over all<BR>>> tone sometimes.<BR>>> The more springs
you have, the more vibration transfer you will<BR>>> achieve. If
you don't use the trem at all, putting 5 springs in, plus a<BR>>> block
between the metal trem block and the side of the routed area will<BR>>>
improve transfer even more.<BR>>> Also, the 6 screw bridge design
insures a very solid contact between the<BR>>> trem plate and the top of
the guitar compared to the american standard<BR>>> design of two bridge
pins.<BR>>> I also wish they would not coat the wood at the point where
the trem<BR>>> plate touches the guitar...this would improve tone,
volume and sustain<BR>>> even more if the layer upon layer of coating
wasn't in the way.<BR>>> If you have stock tuners, cheap tuners, on
anything still, just work<BR>>> them a little bit each day to prevent
those dead spots from happening.<BR>>> Even just an eighth of a turn and
then back to standard pitch will keep<BR>>> them from developing those
dead spots and slack points.<BR>>><BR>>> regards<BR>>>
Colin<BR>>>
--------------------------------------------------<BR>>> From: "Indigo"
<<A
href="mailto:33indigo@charter.net">33indigo@charter.net</A>><BR>>>
Sent: Wednesday, September 18, 2013 10:13 AM<BR>>> To: "Reapers Without
Peepers" <<A
href="mailto:rwp@reaaccess.com">rwp@reaaccess.com</A>><BR>>> Subject:
Re: [RWP] Adrenalinn guitar pedal's sounds<BR>>><BR>>>> I do
all those string tricks now; smoothing and lubeing friction<BR>>>>
points, stretchings strings manually.<BR>>>> After reading the great
articles on how to get a Fender trem to return<BR>>>> to tuning after
use, I have smoothed the saddle slots, plus lube them<BR>>>> with
teflon, one of my guitars already has a GraphTech Tusq
teflonized<BR>>>> nut, plus the Schaller-type Fender
tuners.<BR>>>> You definitely can't get more than a couple of turns
onto those<BR>>>> extremely short Shaller pegs, and their locking
system never slips.<BR>>>> I don't have problems with the strings
slipping on the cheapo Squire<BR>>>> tuners either; I don't put too
many turns onto them; it's just that<BR>>>> they're stiff as a board
when new, then will get crunchy or sloppy as<BR>>>> they wear, with a
big dead spot as you turn the tuning key.<BR>>>> I really don't mind
the cost or work changing them to quality tuners,<BR>>>> ; only not
Schaller-types again, because of its very troublesome<BR>>>> mounting
system.<BR>>>> Mainly what I need right now is new cast saddles for
my Squire Mini,<BR>>>> which has cheap stamped sheet-metal saddles,
and the height adjusting<BR>>>> screws rattle in the worn out threads
in the saddles.<BR>>>> I'm getting a shipment soon which will include
saddles.<BR>>>> Eventually, I'll probably get a heavy steel trem
block for the Squire<BR>>>> HH, to replace the stock pot metal
block.<BR>>>> You know, Colin, my wife and I sell all kinds of
antique and<BR>>>> collectable things, and potmetal, sometimes called
Britannia, or white<BR>>>> metal, has been around for hundreds of
years; used for very<BR>>>> respectable sculptures, lamps, all kinds
of beautiful old things; but<BR>>>> used to be much harder than the
pot metal, or zinc alloy, that Fender<BR>>>> uses
now.<BR>>>> The stock cast saddles are not much harder than copper,
you can easily<BR>>>> scratch them with a knife, almost like lead;
not nearly as hard as<BR>>>> yellow brass.<BR>>>> I think
they're okay when new, but if you do much adjusting of the<BR>>>>
saddles those threads will wear out and the screws will
rattle.<BR>>>> I can get a set of 6 cast stainless steel saddles for
about $13 USD,<BR>>>> probably worth getting those.<BR>>>> I
suppose a hard steel trem block will provide more sustain than
the<BR>>>> acoustically dead pot metal trem block, some folks say so
anyway;<BR>>>> though I really can'comprehend how the part of the
string beyond the<BR>>>> saddle could influence
sustain.<BR>>>><BR>>>> I would never call myself a competant
guitarist, since my arthritic<BR>>>> hands and wrists make it very
painful to hold big chords; So, I get by<BR>>>> with slinky .09-42
strings, plus I put a cut capo on the second fret,<BR>>>> sometimes
other frets, which only capos strings 3, 4, and 5.<BR>>>> This gives
a wonderful bunch of chords that only require a couple of<BR>>>>
fingers to hold, and the droning open strings take me into a
Celtic<BR>>>> world of harmony.<BR>>>> There's another cut
capo technique that uses the 3, 4, 5, capo, plus a<BR>>>> full six
string capo 2 frets below that; that offers a multitude of<BR>>>>
chord equivalents.<BR>>>> I'll do what ever it takes to get
by.<BR>>>>
Indi<BR>>>><BR>>>><BR>>>><BR>>>><BR>>>><BR>>>><BR>>>>
On 9/18/2013 12:43 AM, Colin McDonald wrote:<BR>>>>> you know as a
highly experienced guitar player, as are many people here<BR>>>>>
I would guess, the quality of the tuners is only part of the
equation<BR>>>>> for stable tuning.<BR>>>>> I can
obtain pretty stable tuning even with the worst tuners
just<BR>>>>> because I pay attention to how I thread and wind my
strings. The <BR>>>>> method<BR>>>>> I use gives
the string an awful lot of stability at the tuning peg<BR>>>>>
itself.<BR>>>>> Also proper bending and so on at the saddle and
nut helps to keep that<BR>>>>> string where it's supposed to be,
or allows it to return to a given<BR>>>>> point even with trem use
on a guitar without locking machine heads etc.<BR>>>>> If you look
around on youtube, there are some tricks that high end pro<BR>>>>>
level guitar techs use to maximize tuning stability on strats where
the<BR>>>>> player uses the trem but doesn't want locking
anything.<BR>>>>> I've been using some of them for a few years and
I get excellent<BR>>>>> results...even on the vintage tuners that
come stock on the squier<BR>>>>> classic vibe guitars. you
know, the slotted peg where you poke the end<BR>>>>> of the string
into the middle of the peg...and therefore have to cut it<BR>>>>>
to the right length etc.<BR>>>>> It's mostly about kinking the
string on both sides of the peg before<BR>>>>> winding, and making
sure the windings are even, and that the string<BR>>>>> stays at
the bottom of the winding going towards the nut...also,
the<BR>>>>> right number of windings, no more than 2.5, and that's
even a bit much<BR>>>>> for good solid
stability.<BR>>>>> too many windings gives the string too much to
slip on...kinking the<BR>>>>> string helps to keep it in position
in the peg hole, or in the peg <BR>>>>> slot.<BR>>>>>
Also, of course, even consistent stretching of the string once up
to<BR>>>>> full tention to take all the slack, if any, out of the
windings makes<BR>>>>> all the difference in the world. I
pull the strings out from the<BR>>>>> fingerboard and snap them
until the open string doesn't drop more than <BR>>>>>
a<BR>>>>> quarter step when pulled sharply.<BR>>>>>
there are lots of ways to skin the cat with strings, but some
methods<BR>>>>> just work everytime and allow you to have a guitar
that stays in tune<BR>>>>> very well with lots of bending, and
that will stay in tune even ifyou<BR>>>>> don't play if for a
while.<BR>>>>> The old excuse of, oh, I have new strings and
that's why it's going out<BR>>>>> of tune or is out of tune is
absolute crap if you have put them on<BR>>>>>
correctly.<BR>>>>> sorry, had to rant there. I'm sure this
discussion has digressed in <BR>>>>> the<BR>>>>>
extreme from the original thread, sorry
guys.<BR>>>>><BR>>>>> regards<BR>>>>>
Colin<BR>>>>>
--------------------------------------------------<BR>>>>> From:
"Indigo" <<A
href="mailto:33indigo@charter.net">33indigo@charter.net</A>><BR>>>>>
Sent: Tuesday, September 17, 2013 7:40 PM<BR>>>>> To: "Reapers
Without Peepers" <<A
href="mailto:rwp@reaaccess.com">rwp@reaaccess.com</A>><BR>>>>>
Subject: Re: [RWP] Adrenalinn guitar pedal's
sounds<BR>>>>><BR>>>>>> This is from that same guy,
who talks a lot, but really compares<BR>>>>>> details on
guitars.<BR>>>>>> I'm sorry he has no clean sound for this
Squire Bullet HH, but you can<BR>>>>>> still hear the big
humbucker sound.<BR>>>>>> By the way, he's feeding into the
Overloud TH2, I think it's called,<BR>>>>>> all software amp
modeling.<BR>>>>>> He describes the tone controls on the HH
wrong.<BR>>>>>> It doesn't have a screwy wiring system,
actually very simple; each<BR>>>>>> pickup has its own entirely
separate tone control.<BR>>>>>> , Of course both tone controls
would do the same thing in the middle<BR>>>>>> position, since
each is controlling its own pickup.<BR>>>>>> Notice how much
stronger an effect the tone controls get than on SSS<BR>>>>>>
strats, at least on the ones here.<BR>>>>>> He's out of tune on
this one as well., always says he has new strings.<BR>>>>>>
He's right about the stock tuners, they're the really horrible
cheapo<BR>>>>>> ones with a shell made of stamped metal, and
very crude gears.<BR>>>>>> I took mine apart and crammed a
bunch of my secret mixture horrible<BR>>>>>> tuner lubricant
inside, so now all but 1 are smooth enough.<BR>>>>>> I'll
replace them with some good ones later, but never Schallers
<BR>>>>>> again.<BR>>>>>> Installing Schallers
was a nightmare, with their mounting
system.<BR>>>>>><BR>>>>>> <A
href="http://www.youtube.com/watch?v=VYnSSrAHYoQ">http://www.youtube.com/watch?v=VYnSSrAHYoQ</A><BR>>>>>><BR>>>>>><BR>>>>>>
On 9/17/2013 6:20 PM, Colin McDonald wrote:<BR>>>>>>> don't
worry I found the clip I think...the one where he compares
the<BR>>>>>>> fifties with the sixties strat, and the john
mayor strat?<BR>>>>>>> all three dreadfully out of tune
lol.<BR>>>>>>> I found the fifties strat had more chime, a
smoother low end presence<BR>>>>>>> and was just nicer
sounding...given the recording and amp conditions.<BR>>>>>>>
the sixties strat definitely had more mid punch and a bit
more<BR>>>>>>> bite, and<BR>>>>>>> did the
hendrix stuff quite
well.<BR>>>>>>><BR>>>>>>> of course all my
local stores are out of stock on the squier HH,<BR>>>>>>>
and out<BR>>>>>>> of stock on the 60's strat
too...<BR>>>>>>><BR>>>>>>> the john mayor
signature strat was smoother and more articulate,<BR>>>>>>>
without<BR>>>>>>> some of the clang and rasp associated with
cheaper pickups. but, for<BR>>>>>>> $350, both the
classic vibe strats were more than acceptible to
my<BR>>>>>>> ears.<BR>>>>>>> A simple pick
up change to something more suited to the player
and<BR>>>>>>> style<BR>>>>>>> of music
while still maintaining the strat vibe still puts
you<BR>>>>>>> ahead of<BR>>>>>>> the cost
of a mexican made standard
strat.<BR>>>>>>><BR>>>>>>> BTW, both the
custom, and '50's tellies are routed for a humbucker
at<BR>>>>>>> the neck position.<BR>>>>>>>
That's because one of the models, the thin line maybe? has a
<BR>>>>>>> humbucker<BR>>>>>>> at the
neck...it sounds horrible though with the stock
pickup.<BR>>>>>>><BR>>>>>>>
regards<BR>>>>>>> Colin<BR>>>>>>>
--------------------------------------------------<BR>>>>>>>
From: "Indigo" <<A
href="mailto:33indigo@charter.net">33indigo@charter.net</A>><BR>>>>>>>
Sent: Tuesday, September 17, 2013 2:58 PM<BR>>>>>>> To:
"Reapers Without Peepers" <<A
href="mailto:rwp@reaaccess.com">rwp@reaaccess.com</A>><BR>>>>>>>
Subject: Re: [RWP] Adrenalinn guitar pedal's
sounds<BR>>>>>>><BR>>>>>>>> Hey, I got
the right guitar, a Classic Vibes Telley, but the
wrong<BR>>>>>>>> YouTube, which would have been comparing
the Strat 50's and 60's; <BR>>>>>>>>
and<BR>>>>>>>> not the
Telecaster.<BR>>>>>>>> Anyway, it's a great sounding
guitar in this video, isn't
it?<BR>>>>>>>><BR>>>>>>>> On
9/17/2013 4:49 PM, Indigo wrote:<BR>>>>>>>>> I think
this is the link to the YouTube of both the 50''s and
60's<BR>>>>>>>>> classic Vibes compared, in the same
YouTube by the same player,<BR>>>>>>>>>
feeding<BR>>>>>>>>> them both into the same effects
and amp model.<BR>>>>>>>>> <A
href="http://www.youtube.com/watch?v=SNaxOo9SNgo">http://www.youtube.com/watch?v=SNaxOo9SNgo</A><BR>>>>>>>>><BR>>>>>>>>>
The 50's has Alnico 3 magnets, and the 60's has the more
powerful<BR>>>>>>>>>
Alnico<BR>>>>>>>>> 5 magnets, plus the 60's pickups
are slightly overwound, just as<BR>>>>>>>>>
Fender<BR>>>>>>>>> originally made them sometime in
the 1960's, 1967 I think it was.<BR>>>>>>>>> What's to
say, I absolutely love the soft sweetness of the
50's<BR>>>>>>>>>
pickups,<BR>>>>>>>>> especially in blues, but the
slightly nasty snarl of the 60's<BR>>>>>>>>> pickups
is<BR>>>>>>>>> also compelling, so I gotta get both
eventually.<BR>>>>>>>>> At $20 for the 50's neck
pickup, $18 for the middle and bridge, how<BR>>>>>>>>>
can<BR>>>>>>>>> I not hoard
them?<BR>>>>>>>>> I'm gonna write to the dealer and
try to get a even more bargain<BR>>>>>>>>> deal
on<BR>>>>>>>>> a complete set of
both.<BR>>>>>>>>> A few years down the road they'll be
worth much more, plus quality<BR>>>>>>>>>
will<BR>>>>>>>>> probably have deteriorated by
then<BR>>>>>>>>> There's a Strat forum that discovered
that the factory in China <BR>>>>>>>>>
that<BR>>>>>>>>> winds them also winds the exact same
pickups and markets them with<BR>>>>>>>>> ToneRider
labels on them for $100 each.<BR>>>>>>>>> The Strat
forum guys got both the Fender Classic Vibes and
the<BR>>>>>>>>> ToneRiders and took them apart,
measured their number of windings,<BR>>>>>>>>>
impedance, voltage output, every detail; and report that even
the<BR>>>>>>>>>
parts<BR>>>>>>>>> numbers are the same, with only a
different letter prefix.<BR>>>>>>>>> Hey, try a Squire
HH when you go to get the Classic Vibes
Telley.<BR>>>>>>>>> As a Fender guy, haven't you
always harbored a secret envy of that<BR>>>>>>>>>
huge<BR>>>>>>>>> humbucker sound of
Gibsons?<BR>>>>>>>>> I always did.
smile.<BR>>>>>>>>> The other night I had it on the
bridge pickup, with its Texas<BR>>>>>>>>> twangyness,
and got into countryish sounds with it, a
totally<BR>>>>>>>>>
foreign<BR>>>>>>>>> thing for
me.<BR>>>>>>>>> I don't even own a John B Stetson ten
gallon hat!<BR>>>>>>>>> Nothing will replace the Strat
single poles, but I never thought I<BR>>>>>>>>>
could<BR>>>>>>>>> get such a great humbucker sound
from Fender, for only $99, on sale<BR>>>>>>>>>
from<BR>>>>>>>>> Musician's
Friend.<BR>>>>>>>>> When you lift up the pickguard you
see there's a place routed out<BR>>>>>>>>> in
the<BR>>>>>>>>> middle for a single pole pickup, if
you want to add one.<BR>>>>>>>>> You'd need to add a
switch for it, though, and I think I'll
just<BR>>>>>>>>>
leave<BR>>>>>>>>> the HH as it is, and do my
experimentation on the mid-nineties<BR>>>>>>>>>
Squire<BR>>>>>>>>>
PartsCaster.<BR>>>>>>>>>
Indi<BR>>>>>>>>><BR>>>>>>>>><BR>>>>>>>>><BR>>>>>>>>>
Indi<BR>>>>>>>>><BR>>>>>>>>><BR>>>>>>>>>
On 9/17/2013 2:09 PM, Colin McDonald
wrote:<BR>>>>>>>>>> the classic vibe '50's has the
pine body. the classic vibe custom<BR>>>>>>>>>> has
an<BR>>>>>>>>>> alder body I
think...<BR>>>>>>>>>> I expect I'll have to go get
the original guitar I wanted, being<BR>>>>>>>>>>
the<BR>>>>>>>>>> classic vibe '50's telly...I like
the custom, but the pine body,<BR>>>>>>>>>>
maple<BR>>>>>>>>>> neck etc just screams that telly
sound to me.<BR>>>>>>>>>> the custom is warmer and
a bit rounder sounding if you will.
but<BR>>>>>>>>>>
still<BR>>>>>>>>>> plenty of telly twang and
bite.<BR>>>>>>>>>> More of a modern telecaster
sound.<BR>>>>>>>>>><BR>>>>>>>>>>
It's not just the woods in an electric, but the combination
of<BR>>>>>>>>>>
woods<BR>>>>>>>>>>
and<BR>>>>>>>>>> hardware and pickups and design
that all work together to make an<BR>>>>>>>>>>
electric sound like it does.<BR>>>>>>>>>> Though a
swamp ash strat, will sound quite different than
a<BR>>>>>>>>>>
basswood<BR>>>>>>>>>> strat with exactly the same
pickups and hardware etc. Often it's
<BR>>>>>>>>>>
a<BR>>>>>>>>>> diffference in attack, release,
sustain, peak frequency of each<BR>>>>>>>>>>
string<BR>>>>>>>>>>
etc.<BR>>>>>>>>>> And I can tell you right now, a
maple fingerboard sounds utterly<BR>>>>>>>>>>
different than a rosewood fingerboard on an
electric.<BR>>>>>>>>>> probably not allot of tonal
difference between say alder and<BR>>>>>>>>>>
basswood...many woods are highly similar as you
know.<BR>>>>>>>>>> wood is often a very subtle
thing in a guitar, but it does make<BR>>>>>>>>>>
enough<BR>>>>>>>>>> difference from instrument to
instrument to make them
individuals.<BR>>>>>>>>>><BR>>>>>>>>>>
Did you recommend the classic vibe 50's strat, or the 60's
strat?<BR>>>>>>>>>><BR>>>>>>>>>><BR>>>>>>>>>>
Regards<BR>>>>>>>>>>
Colin<BR>>>>>>>>>>
Regards<BR>>>>>>>>>>
Colin<BR>>>>>>>>>>
--------------------------------------------------<BR>>>>>>>>>>
From: "Indigo" <<A
href="mailto:33indigo@charter.net">33indigo@charter.net</A>><BR>>>>>>>>>>
Sent: Tuesday, September 17, 2013 6:51
AM<BR>>>>>>>>>> To: "Reapers Without Peepers"
<<A
href="mailto:rwp@reaaccess.com">rwp@reaaccess.com</A>><BR>>>>>>>>>>
Subject: Re: [RWP] Adrenalinn guitar pedal's
sounds<BR>>>>>>>>>><BR>>>>>>>>>>>
Well, I think it's okay to talk guitars here, since guitars
have<BR>>>>>>>>>>>
midi<BR>>>>>>>>>>> too. ha ha, and I record my
guitar in Reaper.<BR>>>>>>>>>>> I think that
Classic Vibes Telly has the pine body,
yes?<BR>>>>>>>>>>> Pine is probably great for a
guitar body.<BR>>>>>>>>>>> You know basswood is
what they use for most of the Squires,
and<BR>>>>>>>>>>>
it's<BR>>>>>>>>>>> not as respected as White
Ash, mahogany or some of the other<BR>>>>>>>>>>>
woods,<BR>>>>>>>>>>> but I worked with basswood
when I was into model airplanes as
a<BR>>>>>>>>>>>
kid,<BR>>>>>>>>>>> and it's the wood of the
really noble Linden tree; that grows
a<BR>>>>>>>>>>> hundred feet tall before it gets
many branches, so its wood is<BR>>>>>>>>>>>
absolutely straight grained and tight, soft enough to
work<BR>>>>>>>>>>> easily,
but<BR>>>>>>>>>>> hard enough to take a great
finish, actually ideal for
electric<BR>>>>>>>>>>>
guitar<BR>>>>>>>>>>>
bodies.<BR>>>>>>>>>>> Sometimes the
oriental-made Fenders cheaton the actual
wood<BR>>>>>>>>>>> used
in<BR>>>>>>>>>>> the
necks.<BR>>>>>>>>>>> I have two made in
Indonesia Squires; that have real rock
maple<BR>>>>>>>>>>>
necks;<BR>>>>>>>>>>> as hard and dense as wood
gets; and a Made in China Squire
from<BR>>>>>>>>>>>
the<BR>>>>>>>>>>> mid nineties that had the
excessively fat baseball bat neck,<BR>>>>>>>>>>>
which I<BR>>>>>>>>>>> slimmed down, and it's an
OK wood, but it's definitely not
maple.<BR>>>>>>>>>>> Same with the Korean
pseudo-strat, its neck is also some
oriental<BR>>>>>>>>>>>
wood<BR>>>>>>>>>>> that looks the same color as
maple,; my wife says; but I know
how<BR>>>>>>>>>>> maple works, and how it smells
when you're cutting it.<BR>>>>>>>>>>> My wife
and I lived in upper New York state for a while,
with<BR>>>>>>>>>>>
maple<BR>>>>>>>>>>> trees all around, I drilled
holes in the Sugar Maples and made<BR>>>>>>>>>>>
maple<BR>>>>>>>>>>> syrup, so I know
maple.<BR>>>>>>>>>>> Maple was a common
furniture wood in America for centuries, and
I<BR>>>>>>>>>>>
have<BR>>>>>>>>>>> maple furniture parts around
here.<BR>>>>>>>>>>> When I get through with some
current experiments, I'm going to<BR>>>>>>>>>>>
build a<BR>>>>>>>>>>> sort of chapman stick
thing, and I'll probably use some
old<BR>>>>>>>>>>>
furniture<BR>>>>>>>>>>> maple for its
body.<BR>>>>>>>>>>> I already cut down the body
from the Korean pseudo-strat to make
<BR>>>>>>>>>>>
a<BR>>>>>>>>>>> chapman stick thing and got sick
from the poisonous wood and<BR>>>>>>>>>>> glue
in<BR>>>>>>>>>>> its
body.<BR>>>>>>>>>>> I think it was Black Ash, or
some variant, which I was really<BR>>>>>>>>>>>
allergic<BR>>>>>>>>>>> to as a
kid.<BR>>>>>>>>>>> Actually, I'm not buying the
mythology of how much difference
the<BR>>>>>>>>>>> species of wood makes to the
sound of an electric guitar.<BR>>>>>>>>>>> Some
of the Dan Electros of the sixties and earlier weren't
even<BR>>>>>>>>>>>
wood,<BR>>>>>>>>>>> but that paper pressed
board, about 3/eighths inch thick, with
a<BR>>>>>>>>>>> minimal frame inside of 1 inch
square Douglas Fir wood, and a big<BR>>>>>>>>>>>
rubber bumper all around the outside edge, so you could knock
it<BR>>>>>>>>>>> around all you pleased
and it'd never show a scar.<BR>>>>>>>>>>> Those
Dan Electros bring big prices from the
collectors.<BR>>>>>>>>>>> The Dan Electros were
totally shielded against hum inside, so
<BR>>>>>>>>>>>
they<BR>>>>>>>>>>> weren't affected by
flourescent lights or amps nearby,
which<BR>>>>>>>>>>>
helped<BR>>>>>>>>>>> their sound more than any
fancy wood would ever have done.<BR>>>>>>>>>>>
Indi<BR>>>>>>>>>>><BR>>>>>>>>>>><BR>>>>>>>>>>><BR>>>>>>>>>>><BR>>>>>>>>>>><BR>>>>>>>>>>><BR>>>>>>>>>>><BR>>>>>>>>>>><BR>>>>>>>>>>>
On 9/16/2013 6:19 PM, Colin McDonald
wrote:<BR>>>>>>>>>>>> yep, the clasic vibe
'50's telly was my first choice, but all
<BR>>>>>>>>>>>>
the<BR>>>>>>>>>>>>
local<BR>>>>>>>>>>>> stores were sold out,
and I won't buy a guitar without playing
<BR>>>>>>>>>>>>
it<BR>>>>>>>>>>>>
first.<BR>>>>>>>>>>>> The classic vibe custom
telly was a real close second, and
I<BR>>>>>>>>>>>>
actually<BR>>>>>>>>>>>> liked it a bit more
with the rosewood fingerboard...I know,
I<BR>>>>>>>>>>>>
know,<BR>>>>>>>>>>>> tellies should be maple,
but just the combinations of woods
<BR>>>>>>>>>>>>
makes<BR>>>>>>>>>>>>
this<BR>>>>>>>>>>>> one sound incredibly
telly like.<BR>>>>>>>>>>>> anyway, this isn't
the blind guitarist list
hahaha.<BR>>>>>>>>>>>><BR>>>>>>>>>>>>
regards<BR>>>>>>>>>>>>
Colin<BR>>>>>>>>>>>>
--------------------------------------------------<BR>>>>>>>>>>>>
From: "Indigo" <<A
href="mailto:33indigo@charter.net">33indigo@charter.net</A>><BR>>>>>>>>>>>>
Sent: Monday, September 16, 2013 3:55
PM<BR>>>>>>>>>>>> To: "Reapers Without
Peepers" <<A
href="mailto:rwp@reaaccess.com">rwp@reaaccess.com</A>><BR>>>>>>>>>>>>
Subject: Re: [RWP] Adrenalinn guitar pedal's
sounds<BR>>>>>>>>>>>><BR>>>>>>>>>>>>>
When I heard YouTube demos of the Classic Vibe 50's and 60's,
I<BR>>>>>>>>>>>>> said
I<BR>>>>>>>>>>>>> gotta have those
pickups, which are classic alnico III
or<BR>>>>>>>>>>>>> alnico
5's<BR>>>>>>>>>>>>> staggered single
poles; and copied exactly from the ones
Strats<BR>>>>>>>>>>>>> had
in<BR>>>>>>>>>>>>> the fifties or sixties,
only with vinyl insulated
wires<BR>>>>>>>>>>>>> instead
of<BR>>>>>>>>>>>>> cloth
covered.<BR>>>>>>>>>>>>> I bought the
Classic Vibes fifties neck position pickup
new,<BR>>>>>>>>>>>>>
genuine<BR>>>>>>>>>>>>> Fender part with
serial number, for $20 on
ebay<BR>>>>>>>>>>>>> It's sitting in the
neck position on my Squire Mini
right<BR>>>>>>>>>>>>> now,
and<BR>>>>>>>>>>>>> sounds
great.<BR>>>>>>>>>>>>> I'm going to order
the others later, the middle and bridge
of<BR>>>>>>>>>>>>>
the<BR>>>>>>>>>>>>> Classic Vibes fifties
and sixties; too good to miss for such
<BR>>>>>>>>>>>>>
low<BR>>>>>>>>>>>>> prices, and the next
thing you know they won't be available
any<BR>>>>>>>>>>>>>
more.<BR>>>>>>>>>>>>> They're not over
Wound or hot, just soft and
sweet!<BR>>>>>>>>>>>>> I really don't get
why alnico should sound so good, magnets
are<BR>>>>>>>>>>>>> magnets, and I can't
believe the material could put out
a<BR>>>>>>>>>>>>>
different<BR>>>>>>>>>>>>> sort of
magnetism, but the alnicos sure do sound
sweeter.<BR>>>>>>>>>>>>> On the other
hand, I think the Squire HH humbuckers
are<BR>>>>>>>>>>>>> ceramic,
and<BR>>>>>>>>>>>>> it's so easy to get a
classic fat Gibson sound from
them.<BR>>>>>>>>>>>>>
Indi<BR>>>>>>>>>>>>><BR>>>>>>>>>>>>><BR>>>>>>>>>>>>>
On 9/16/2013 5:32 PM, Colin McDonald
wrote:<BR>>>>>>>>>>>>>> squier's have
gotten really good again. I've got the
classic<BR>>>>>>>>>>>>>>
vibe<BR>>>>>>>>>>>>>> custom telecaster
and it's a very very good guitar in
all<BR>>>>>>>>>>>>>>
aspects.<BR>>>>>>>>>>>>>> Putting
seymour duncan vintage 54's on it soon because
that<BR>>>>>>>>>>>>>> is
my<BR>>>>>>>>>>>>>> preference not
because the stock pickups are
bad.<BR>>>>>>>>>>>>>><BR>>>>>>>>>>>>>>
I'll try out the squier HH next time i'm in the guitar
shop.<BR>>>>>>>>>>>>>><BR>>>>>>>>>>>>>>
regards<BR>>>>>>>>>>>>>>
Colin<BR>>>>>>>>>>>>>>
--------------------------------------------------<BR>>>>>>>>>>>>>>
From: "Indigo" <<A
href="mailto:33indigo@charter.net">33indigo@charter.net</A>><BR>>>>>>>>>>>>>>
Sent: Monday, September 16, 2013 3:16
PM<BR>>>>>>>>>>>>>> To: "Reapers
Without Peepers" <<A
href="mailto:rwp@reaaccess.com">rwp@reaaccess.com</A>><BR>>>>>>>>>>>>>>
Subject: Re: [RWP] Adrenalinn guitar pedal's
sounds<BR>>>>>>>>>>>>>><BR>>>>>>>>>>>>>>>
I read that Gibson is sneaking partial printed circuit
boards<BR>>>>>>>>>>>>>>>
into<BR>>>>>>>>>>>>>>> their
guitars.<BR>>>>>>>>>>>>>>> Strats
and Squires are still hand-wired circuits, though
<BR>>>>>>>>>>>>>>>
parts<BR>>>>>>>>>>>>>>>
like<BR>>>>>>>>>>>>>>> the China 5
way switch looks like something you'd find on
a<BR>>>>>>>>>>>>>>>
printed<BR>>>>>>>>>>>>>>> circuit
board.<BR>>>>>>>>>>>>>>> Sometimes
it's just luck.<BR>>>>>>>>>>>>>>> I
just got the Squire HH, with two Fender-made
humbuckers,<BR>>>>>>>>>>>>>>> and a
3<BR>>>>>>>>>>>>>>> position
switch.<BR>>>>>>>>>>>>>>> Man does
it sound like a big fat Les Paul Gibson, and not
<BR>>>>>>>>>>>>>>>
much<BR>>>>>>>>>>>>>>> like
a<BR>>>>>>>>>>>>>>> Strat, but what
a winner for
$99.95.<BR>>>>>>>>>>>>>>> Made in
Indonesia, with a perfect neck, perfect
intonation,<BR>>>>>>>>>>>>>>>
low<BR>>>>>>>>>>>>>>>
lying<BR>>>>>>>>>>>>>>> action,
nothing I need to do with setup to make it
better.<BR>>>>>>>>>>>>>>> I believe
the body cavity is even painted with
conductive<BR>>>>>>>>>>>>>>>
shielding<BR>>>>>>>>>>>>>>> paint,
because there's a grounding wire screwed into the
wood<BR>>>>>>>>>>>>>>> at
the<BR>>>>>>>>>>>>>>> bottom of the
cavity.<BR>>>>>>>>>>>>>>> It's dead
quiet, no hum at all, even before I got the
Zoom<BR>>>>>>>>>>>>>>>
G2.1U<BR>>>>>>>>>>>>>>>
grounded.<BR>>>>>>>>>>>>>>> I'll
replace the stock tuners sometime, probably get
better<BR>>>>>>>>>>>>>>>
saddles,<BR>>>>>>>>>>>>>>> probably
a steel trem block instead of the potMetal one,
but<BR>>>>>>>>>>>>>>>
those<BR>>>>>>>>>>>>>>>
are<BR>>>>>>>>>>>>>>> just niceties,
not essentials.<BR>>>>>>>>>>>>>>>
Some people report crooked necks, setup all wrong,
crooked<BR>>>>>>>>>>>>>>>
screws.<BR>>>>>>>>>>>>>>> The first
Peavey Power Slide I got; Handcrafted in
China,<BR>>>>>>>>>>>>>>> had
no<BR>>>>>>>>>>>>>>> springs on the
pickup, so if you tilted the guitar the
pickup<BR>>>>>>>>>>>>>>>
fell<BR>>>>>>>>>>>>>>> toward the
strings, then when you tilted the guitar
the<BR>>>>>>>>>>>>>>> other
way<BR>>>>>>>>>>>>>>>
the<BR>>>>>>>>>>>>>>> pickup fell to
the bottom of the body
cavity.<BR>>>>>>>>>>>>>>> Whoever
strung it up had sharp kinks in the middle of most
of<BR>>>>>>>>>>>>>>>
the<BR>>>>>>>>>>>>>>>
strings.<BR>>>>>>>>>>>>>>> I could
have found springs for the pickup somewhere, but
I<BR>>>>>>>>>>>>>>>
called<BR>>>>>>>>>>>>>>> Peavey and
they said to send it back, not to fix
it.<BR>>>>>>>>>>>>>>> The next one
was totally perfect, no flaws I can
find.<BR>>>>>>>>>>>>>>> I guess the
factory terminated the worker who made the
first<BR>>>>>>>>>>>>>>> one
and<BR>>>>>>>>>>>>>>> recycled
him.<BR>>>>>>>>>>>>>>>
Indi<BR>>>>>>>>>>>>>>><BR>>>>>>>>>>>>>>><BR>>>>>>>>>>>>>>><BR>>>>>>>>>>>>>>><BR>>>>>>>>>>>>>>>
On 9/16/2013 3:34 PM, Colin McDonald
wrote:<BR>>>>>>>>>>>>>>>> yep,
that's how they're making them and have been for
quite<BR>>>>>>>>>>>>>>>>
some<BR>>>>>>>>>>>>>>>>
time.<BR>>>>>>>>>>>>>>>> if you
read any amp forum, especially fender amp forums,
one<BR>>>>>>>>>>>>>>>> of
the<BR>>>>>>>>>>>>>>>> first
recommended mods is to install a proper input
jack<BR>>>>>>>>>>>>>>>> on
the<BR>>>>>>>>>>>>>>>> amp...one
that has lots of metal in it, and that you can
<BR>>>>>>>>>>>>>>>>
hard<BR>>>>>>>>>>>>>>>> wire
to<BR>>>>>>>>>>>>>>>> the PCB
instead of the stock plastic version that has
pcb<BR>>>>>>>>>>>>>>>>
lugs<BR>>>>>>>>>>>>>>>>
soldered<BR>>>>>>>>>>>>>>>>
directly to the
board.<BR>>>>>>>>>>>>>>>> Input
or output jack nuts are constantly coming loose
with<BR>>>>>>>>>>>>>>>>
regular<BR>>>>>>>>>>>>>>>>
use,<BR>>>>>>>>>>>>>>>> and so
once that nut has loosened off a bit, all the
strain<BR>>>>>>>>>>>>>>>>
from<BR>>>>>>>>>>>>>>>>
your<BR>>>>>>>>>>>>>>>> patch
cable is put onto the solder lugs of the jack, and
<BR>>>>>>>>>>>>>>>>
thus<BR>>>>>>>>>>>>>>>> onto
the<BR>>>>>>>>>>>>>>>> pcb
itself. This either snaps off lugs, breaks
solder<BR>>>>>>>>>>>>>>>> joints,
or,<BR>>>>>>>>>>>>>>>>
cracks<BR>>>>>>>>>>>>>>>> traces
on the board...stupid design, but a buck
cheaper<BR>>>>>>>>>>>>>>>> for
the<BR>>>>>>>>>>>>>>>>
manufacturer.<BR>>>>>>>>>>>>>>>>
that's why I always run my cable through the handle on
the<BR>>>>>>>>>>>>>>>>
amp<BR>>>>>>>>>>>>>>>>
for<BR>>>>>>>>>>>>>>>> strain
relief.<BR>>>>>>>>>>>>>>>> I've
got an older dunlop crybaby wah which is supposed to
be<BR>>>>>>>>>>>>>>>>
high<BR>>>>>>>>>>>>>>>> quality
construction. I opened up to fix, and both jacks
<BR>>>>>>>>>>>>>>>>
are<BR>>>>>>>>>>>>>>>>
plastic<BR>>>>>>>>>>>>>>>> housed
and have spring pins for the ground contact on
the<BR>>>>>>>>>>>>>>>>
sleve<BR>>>>>>>>>>>>>>>> of
the<BR>>>>>>>>>>>>>>>> quarter
inch plug...what happens with spring contacts?
they<BR>>>>>>>>>>>>>>>>
either<BR>>>>>>>>>>>>>>>> bend,
or loose their spring over time and fail to
make<BR>>>>>>>>>>>>>>>>
contact.<BR>>>>>>>>>>>>>>>>
guess<BR>>>>>>>>>>>>>>>> why the
pedal isn't working right now? lol and the
worst<BR>>>>>>>>>>>>>>>>
part<BR>>>>>>>>>>>>>>>> is,
the<BR>>>>>>>>>>>>>>>> way they
designed the pedal, you have to use these
specific<BR>>>>>>>>>>>>>>>>
jacks<BR>>>>>>>>>>>>>>>> because
of their housing and how the shell of the pedal
is<BR>>>>>>>>>>>>>>>>
built.<BR>>>>>>>>>>>>>>>> the
common quarter inch phone jack is a very old
design<BR>>>>>>>>>>>>>>>> and
the<BR>>>>>>>>>>>>>>>>
industry<BR>>>>>>>>>>>>>>>> and
consumers I guess, are still willing to put up with
the<BR>>>>>>>>>>>>>>>>
inherent<BR>>>>>>>>>>>>>>>>
problems associated with those kinds of
connections.<BR>>>>>>>>>>>>>>>>
not only are you depending on a compression spring
contact,<BR>>>>>>>>>>>>>>>> but
it<BR>>>>>>>>>>>>>>>>
moves<BR>>>>>>>>>>>>>>>> and
twists all the time. neutric, speak on, even xlr is
far<BR>>>>>>>>>>>>>>>>
better.<BR>>>>>>>>>>>>>>>> and
don't even get me started on gold plating
lol.<BR>>>>>>>>>>>>>>>><BR>>>>>>>>>>>>>>>>
regards<BR>>>>>>>>>>>>>>>>
Colin<BR>>>>>>>>>>>>>>>>
--------------------------------------------------<BR>>>>>>>>>>>>>>>>
From: "Indigo" <<A
href="mailto:33indigo@charter.net">33indigo@charter.net</A>><BR>>>>>>>>>>>>>>>>
Sent: Monday, September 16, 2013 12:45
PM<BR>>>>>>>>>>>>>>>> To:
"Reapers Without Peepers" <<A
href="mailto:rwp@reaaccess.com">rwp@reaaccess.com</A>><BR>>>>>>>>>>>>>>>>
Subject: Re: [RWP] Adrenalinn guitar pedal's
sounds<BR>>>>>>>>>>>>>>>><BR>>>>>>>>>>>>>>>>>
You know, something bothers me about what you say
about<BR>>>>>>>>>>>>>>>>>
inputs and<BR>>>>>>>>>>>>>>>>>
outputs having plastic
threads.<BR>>>>>>>>>>>>>>>>>
For a jack to work you need at least two
conduction<BR>>>>>>>>>>>>>>>>>
points, 1<BR>>>>>>>>>>>>>>>>>
for the<BR>>>>>>>>>>>>>>>>>
sleeve of the plug and another 1 for its
tip.<BR>>>>>>>>>>>>>>>>>
Please don't say that China is making all plastic
jacks,<BR>>>>>>>>>>>>>>>>>
with<BR>>>>>>>>>>>>>>>>> only
a<BR>>>>>>>>>>>>>>>>> tinfoil
thick metal liner inside the plastic
shell?<BR>>>>>>>>>>>>>>>>> Oh
Lord, what next; are they going to make our gear
<BR>>>>>>>>>>>>>>>>>
entirely<BR>>>>>>>>>>>>>>>>>
from<BR>>>>>>>>>>>>>>>>>
rice<BR>>>>>>>>>>>>>>>>> flour
noodles?<BR>>>>>>>>>>>>>>>>>
The China pickguard I just bought has a 5 way toggle
switch<BR>>>>>>>>>>>>>>>>>
that<BR>>>>>>>>>>>>>>>>>
feels<BR>>>>>>>>>>>>>>>>>
about the same from the topside as the classic
Fender<BR>>>>>>>>>>>>>>>>>
switch,<BR>>>>>>>>>>>>>>>>>
but<BR>>>>>>>>>>>>>>>>>
underneath the pickguard you find the switch is only
a<BR>>>>>>>>>>>>>>>>>
little<BR>>>>>>>>>>>>>>>>>
rectangle made of fiberboard, with tiny solder lugs
and<BR>>>>>>>>>>>>>>>>>
switch<BR>>>>>>>>>>>>>>>>>
contact<BR>>>>>>>>>>>>>>>>>
points riveted to the
fiberboard.<BR>>>>>>>>>>>>>>>>>
I was replacing the neck pickup, and placed the tip of
the<BR>>>>>>>>>>>>>>>>>
soldering<BR>>>>>>>>>>>>>>>>>
gun against the corner lug, with light pressure,
and<BR>>>>>>>>>>>>>>>>>
suddenly<BR>>>>>>>>>>>>>>>>>
the lug<BR>>>>>>>>>>>>>>>>>
and a chunk of the fiberboard split
off.<BR>>>>>>>>>>>>>>>>> So
great to watch how it all is getting flimsier
and<BR>>>>>>>>>>>>>>>>>
flimsier;<BR>>>>>>>>>>>>>>>>>
isn't<BR>>>>>>>>>>>>>>>>>
it?<BR>>>>>>>>>>>>>>>>>
Luckily I have a classic-era Fender 5 way switch
to<BR>>>>>>>>>>>>>>>>> replace
it<BR>>>>>>>>>>>>>>>>>
with,<BR>>>>>>>>>>>>>>>>> an
all metal thing with big sturdy solder lugs and
switch<BR>>>>>>>>>>>>>>>>>
contacts<BR>>>>>>>>>>>>>>>>>
inside it.<BR>>>>>>>>>>>>>>>>>
By the way, if you're an experimenter, you can make
an<BR>>>>>>>>>>>>>>>>>
auditory<BR>>>>>>>>>>>>>>>>>
conductivity meter from a small battery holder, preferably
<BR>>>>>>>>>>>>>>>>>
a<BR>>>>>>>>>>>>>>>>>
single<BR>>>>>>>>>>>>>>>>>
triple A battery, wired in series with any old
single<BR>>>>>>>>>>>>>>>>>
headphone<BR>>>>>>>>>>>>>>>>>
salvaged from a pair of stereo headphones that quit
working<BR>>>>>>>>>>>>>>>>> on
one<BR>>>>>>>>>>>>>>>>>
side.<BR>>>>>>>>>>>>>>>>> You
end up with 2
wires.<BR>>>>>>>>>>>>>>>>> If
there is conduction between any 2 lugs you touch
with<BR>>>>>>>>>>>>>>>>> those
2<BR>>>>>>>>>>>>>>>>> wires;
you hear a nice loud click in the
headphone.<BR>>>>>>>>>>>>>>>>>
You can use a battery that's too weak to run any gear,
and<BR>>>>>>>>>>>>>>>>>
it'll<BR>>>>>>>>>>>>>>>>>
have<BR>>>>>>>>>>>>>>>>>
plenty of voltage to make the headphone click for months
<BR>>>>>>>>>>>>>>>>>
and<BR>>>>>>>>>>>>>>>>>
months.<BR>>>>>>>>>>>>>>>>>
Indi<BR>>>>>>>>>>>>>>>>><BR>>>>>>>>>>>>>>>>><BR>>>>>>>>>>>>>>>>><BR>>>>>>>>>>>>>>>>><BR>>>>>>>>>>>>>>>>>
On 9/16/2013 12:00 PM, Colin McDonald
wrote:<BR>>>>>>>>>>>>>>>>>>
you got lucky, many pedals and multi-effects units
these<BR>>>>>>>>>>>>>>>>>>
days<BR>>>>>>>>>>>>>>>>>>
have<BR>>>>>>>>>>>>>>>>>>
plastic shell input/output jacks. Which means that
though<BR>>>>>>>>>>>>>>>>>>
they<BR>>>>>>>>>>>>>>>>>>
may<BR>>>>>>>>>>>>>>>>>>
have<BR>>>>>>>>>>>>>>>>>> a
metal nut on the outside, it's holding a plastic
housing<BR>>>>>>>>>>>>>>>>>>
around<BR>>>>>>>>>>>>>>>>>>
the<BR>>>>>>>>>>>>>>>>>>
jack.<BR>>>>>>>>>>>>>>>>>>
IE, no ground path through the retention
nut.<BR>>>>>>>>>>>>>>>>>>
You often have to go inside and solder or secure a
lug<BR>>>>>>>>>>>>>>>>>> to
the<BR>>>>>>>>>>>>>>>>>>
metal<BR>>>>>>>>>>>>>>>>>>
plate that generally resides on the bottom of
these<BR>>>>>>>>>>>>>>>>>>
units
to<BR>>>>>>>>>>>>>>>>>>
give<BR>>>>>>>>>>>>>>>>>>
them<BR>>>>>>>>>>>>>>>>>>
weight.<BR>>>>>>>>>>>>>>>>>>
Even the hallowed boss pedals use a big old plate on
the<BR>>>>>>>>>>>>>>>>>>
bottom<BR>>>>>>>>>>>>>>>>>>
of the<BR>>>>>>>>>>>>>>>>>>
pedal to give it some weight and make people think it's
a<BR>>>>>>>>>>>>>>>>>>
higher<BR>>>>>>>>>>>>>>>>>>
quality<BR>>>>>>>>>>>>>>>>>>
unit because it's heavier...it's also done to help keep
<BR>>>>>>>>>>>>>>>>>>
the<BR>>>>>>>>>>>>>>>>>>
pedal<BR>>>>>>>>>>>>>>>>>>
from<BR>>>>>>>>>>>>>>>>>>
sliding around all over the
place.<BR>>>>>>>>>>>>>>>>>>
you also got lucky because putting an additional
wire<BR>>>>>>>>>>>>>>>>>>
from a<BR>>>>>>>>>>>>>>>>>>
unit<BR>>>>>>>>>>>>>>>>>>
to the<BR>>>>>>>>>>>>>>>>>>
other equipment in your signal path can often create
<BR>>>>>>>>>>>>>>>>>>
ground<BR>>>>>>>>>>>>>>>>>>
loops<BR>>>>>>>>>>>>>>>>>>
which<BR>>>>>>>>>>>>>>>>>>
causes a bigger problem than
before.<BR>>>>>>>>>>>>>>>>>>
don't forget, your patch cables do all the grounding
for<BR>>>>>>>>>>>>>>>>>>
you at<BR>>>>>>>>>>>>>>>>>>
least
on<BR>>>>>>>>>>>>>>>>>> the
audio signal path
side.<BR>>>>>>>>>>>>>>>>>>
wall warts have no ground to speak of beyond the
obvious<BR>>>>>>>>>>>>>>>>>>
one at<BR>>>>>>>>>>>>>>>>>>
the<BR>>>>>>>>>>>>>>>>>>
ground side of the 2 prong plug into the
wall.<BR>>>>>>>>>>>>>>>>>>
What you were actually experiencing was a high level of
AC<BR>>>>>>>>>>>>>>>>>>
floating
on<BR>>>>>>>>>>>>>>>>>> the
DC coming from the wallwart to your
pedal.<BR>>>>>>>>>>>>>>>>>>
wallwarts
are<BR>>>>>>>>>>>>>>>>>>
seldom<BR>>>>>>>>>>>>>>>>>>
properly rectified, so they have allot of AC
bleeding<BR>>>>>>>>>>>>>>>>>>
through<BR>>>>>>>>>>>>>>>>>>
which<BR>>>>>>>>>>>>>>>>>>
causes the hum you
hear.<BR>>>>>>>>>>>>>>>>>>
that is why allot of pro audio gear uses AC to
the<BR>>>>>>>>>>>>>>>>>>
equipment,
and<BR>>>>>>>>>>>>>>>>>>
takes<BR>>>>>>>>>>>>>>>>>>
care of the rectification and filtering inside the
unit<BR>>>>>>>>>>>>>>>>>>
itself.<BR>>>>>>>>>>>>>>>>>>
what you've essentially done is allowed for
some<BR>>>>>>>>>>>>>>>>>>
rectification
on<BR>>>>>>>>>>>>>>>>>> the
dc<BR>>>>>>>>>>>>>>>>>> and
you are bleeding the ac off into a large
ground<BR>>>>>>>>>>>>>>>>>>
source,
IE<BR>>>>>>>>>>>>>>>>>>
the<BR>>>>>>>>>>>>>>>>>>
rack...the rack probably has something in it that
has<BR>>>>>>>>>>>>>>>>>>
excellent<BR>>>>>>>>>>>>>>>>>>
rectification and a good solid ground source to
bleed<BR>>>>>>>>>>>>>>>>>>
additional
AC<BR>>>>>>>>>>>>>>>>>>
out<BR>>>>>>>>>>>>>>>>>> of
the
circuit.<BR>>>>>>>>>>>>>>>>>>
anyway, regardless, sounds like it
worked.<BR>>>>>>>>>>>>>>>>>>
anyone who runs 9VDC equipment in the studio should have
a<BR>>>>>>>>>>>>>>>>>>
proper<BR>>>>>>>>>>>>>>>>>>
power<BR>>>>>>>>>>>>>>>>>>
supply to help minimize hum and so
on.<BR>>>>>>>>>>>>>>>>>><BR>>>>>>>>>>>>>>>>>>
regards<BR>>>>>>>>>>>>>>>>>>
Colin<BR>>>>>>>>>>>>>>>>>>
--------------------------------------------------<BR>>>>>>>>>>>>>>>>>>
From: "Indigo" <<A
href="mailto:33indigo@charter.net">33indigo@charter.net</A>><BR>>>>>>>>>>>>>>>>>>
Sent: Monday, September 16, 2013 4:11
AM<BR>>>>>>>>>>>>>>>>>> To:
"Reapers Without Peepers" <<A
href="mailto:rwp@reaaccess.com">rwp@reaaccess.com</A>><BR>>>>>>>>>>>>>>>>>>
Subject: Re: [RWP] Adrenalinn guitar pedal's
sounds<BR>>>>>>>>>>>>>>>>>><BR>>>>>>>>>>>>>>>>>>>
I'm not too skilled on either, but I'd rather play
midi<BR>>>>>>>>>>>>>>>>>>>
files<BR>>>>>>>>>>>>>>>>>>>
from
a<BR>>>>>>>>>>>>>>>>>>>
keyboard than from a
guitar.<BR>>>>>>>>>>>>>>>>>>>
I only want midi pads to make guitar tracks more
lush;<BR>>>>>>>>>>>>>>>>>>>
and
do<BR>>>>>>>>>>>>>>>>>>>
what<BR>>>>>>>>>>>>>>>>>>>
only synths can do in the
background.<BR>>>>>>>>>>>>>>>>>>>
Yesterday I put a ground wire on my Zoom G2.1U, did
a<BR>>>>>>>>>>>>>>>>>>>
neat
job<BR>>>>>>>>>>>>>>>>>>>
with
a<BR>>>>>>>>>>>>>>>>>>>
solder lug under the nut on the pedal jack in back' with
<BR>>>>>>>>>>>>>>>>>>>
a<BR>>>>>>>>>>>>>>>>>>>
wire<BR>>>>>>>>>>>>>>>>>>>
going<BR>>>>>>>>>>>>>>>>>>>
up to the steel and aluminum rack; where all the
gear<BR>>>>>>>>>>>>>>>>>>>
resides,<BR>>>>>>>>>>>>>>>>>>>
which<BR>>>>>>>>>>>>>>>>>>>
seems to have soaked up all the stray RF fields in
this<BR>>>>>>>>>>>>>>>>>>>
room;
so<BR>>>>>>>>>>>>>>>>>>>
hum<BR>>>>>>>>>>>>>>>>>>>
is no longer a
problem.<BR>>>>>>>>>>>>>>>>>>>
The little 9 volt wall wart transformer for the
Zoom<BR>>>>>>>>>>>>>>>>>>>
pedal
was<BR>>>>>>>>>>>>>>>>>>>
not<BR>>>>>>>>>>>>>>>>>>>
internally well grounded, so that I would hear hum
and<BR>>>>>>>>>>>>>>>>>>>
buzz<BR>>>>>>>>>>>>>>>>>>>
when
on<BR>>>>>>>>>>>>>>>>>>>
very high gain overdrive settings, but could touch
the<BR>>>>>>>>>>>>>>>>>>>
metal<BR>>>>>>>>>>>>>>>>>>>
cover
of<BR>>>>>>>>>>>>>>>>>>>
the cable's plug; or touch the metal foot switches on
the<BR>>>>>>>>>>>>>>>>>>>
Zoom<BR>>>>>>>>>>>>>>>>>>>
and<BR>>>>>>>>>>>>>>>>>>>
all<BR>>>>>>>>>>>>>>>>>>>
the hum and buzz would go
away.<BR>>>>>>>>>>>>>>>>>>>
Amazing what a good ground our body
provides!<BR>>>>>>>>>>>>>>>>>>>
I can only imagine how many different RF frequencies
are<BR>>>>>>>>>>>>>>>>>>>
buzzing<BR>>>>>>>>>>>>>>>>>>>
through my body right now, and I don't even feel
them.<BR>>>>>>>>>>>>>>>>>>>
So, now that it's properly grounded; the Zoom is
good<BR>>>>>>>>>>>>>>>>>>>
enough<BR>>>>>>>>>>>>>>>>>>>
as
a<BR>>>>>>>>>>>>>>>>>>>
multi-effects unit and preamp for the guitar, then
I<BR>>>>>>>>>>>>>>>>>>>
got
the<BR>>>>>>>>>>>>>>>>>>>
plug<BR>>>>>>>>>>>>>>>>>>>
version of Roger Linn's Adrenalinn to run in
Reaper.<BR>>>>>>>>>>>>>>>>>>>
Adrenalinn does pretty things to guitar notes and
chords,<BR>>>>>>>>>>>>>>>>>>>
like<BR>>>>>>>>>>>>>>>>>>>
delays<BR>>>>>>>>>>>>>>>>>>>
that go through 32 step arpeggios that are way
more<BR>>>>>>>>>>>>>>>>>>>
sophisticated<BR>>>>>>>>>>>>>>>>>>>
than<BR>>>>>>>>>>>>>>>>>>>
the usual keyboard
arpeggios.<BR>>>>>>>>>>>>>>>>>>>
You aren't intended to play fast lines; instead you
just<BR>>>>>>>>>>>>>>>>>>>
play<BR>>>>>>>>>>>>>>>>>>>
slowly<BR>>>>>>>>>>>>>>>>>>>
and provide room for Adrenalinn to do its arpeggios
and<BR>>>>>>>>>>>>>>>>>>>
filter<BR>>>>>>>>>>>>>>>>>>>
modulations.<BR>>>>>>>>>>>>>>>>>>>
Meanwhile, if I can get a software pitch-to-midi plug
to<BR>>>>>>>>>>>>>>>>>>>
bring
in<BR>>>>>>>>>>>>>>>>>>>
lush<BR>>>>>>>>>>>>>>>>>>>
midi pads, behind the guitar; the tracks will be
filled<BR>>>>>>>>>>>>>>>>>>>
with<BR>>>>>>>>>>>>>>>>>>>
plenty
of<BR>>>>>>>>>>>>>>>>>>>
beautiful
sounds.<BR>>>>>>>>>>>>>>>>>>>
If I want a quick passage on a midi synth, I'd
be<BR>>>>>>>>>>>>>>>>>>>
inclined
to<BR>>>>>>>>>>>>>>>>>>>
just<BR>>>>>>>>>>>>>>>>>>>
reach for a keyboard and play it there; so
tracking<BR>>>>>>>>>>>>>>>>>>>
from
the<BR>>>>>>>>>>>>>>>>>>>
guitar<BR>>>>>>>>>>>>>>>>>>>
doesn't need to be fast, and doesn't even need to
be<BR>>>>>>>>>>>>>>>>>>>
polyphonic;<BR>>>>>>>>>>>>>>>>>>>
but<BR>>>>>>>>>>>>>>>>>>>
does need to be accurate to trigger midi pads in the
<BR>>>>>>>>>>>>>>>>>>>
right<BR>>>>>>>>>>>>>>>>>>>
key.<BR>>>>>>>>>>>>>>>>>>>
Several of the software pitch-to-midi plugs I've
<BR>>>>>>>>>>>>>>>>>>>
collected<BR>>>>>>>>>>>>>>>>>>>
have
the<BR>>>>>>>>>>>>>>>>>>>
option to restrict the midi output to a fixed scale,
so<BR>>>>>>>>>>>>>>>>>>>
it's<BR>>>>>>>>>>>>>>>>>>>
theoretically impossible to get notes that glitch out
of<BR>>>>>>>>>>>>>>>>>>>
key.<BR>>>>>>>>>>>>>>>>>>>
I've just got to find time to test out the
various<BR>>>>>>>>>>>>>>>>>>>
pitch-to-midi<BR>>>>>
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