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<DIV><FONT size=2 face=Arial>Yeh, I'm a polyweb guy too,</FONT></DIV>
<DIV><FONT size=2 face=Arial>I didn't know they were getting scarce, last time I
stocked up big on strings, and it's been a while since I looked for
them.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>Oh well, things always change don't
they?</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> Thursday, September 19, 2013 6:37
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: [RWP] Adrenalinn guitar
pedal's sounds</DIV>
<DIV><BR></DIV>
<DIV><FONT size=2 face=Arial>I prefer poly web, but they are hard to find
these days at the guitar shops...they went out of production for a while, then
came back...but most of the stores just don't stock them since they originally
stop the manufacturing.</FONT></DIV>
<DIV><FONT size=2 face=Arial>So, i've been using the nanoweb's for a couple
years and they're perfectly fine and I don't mind them at all. Just the
poly's are my preference given a choice.</FONT></DIV>
<DIV><FONT size=2 face=Arial>The poly's tend to keep their tone longer and
more consistently over the nano's. The nanoweb strings tend to behave
somewhat like regular strings in that they are initially bright and twangy,
and then soften and warm up a bit after the first couple hours...</FONT></DIV>
<DIV><FONT size=2 face=Arial>Some guys want that bright twang of a new set of
strings, but I prefer the clerity, definition, but warmth of a set that is
just slightly broken in, and that's what the polyweb elixirs give
me.</FONT></DIV>
<DIV><FONT size=2 face=Arial>The cobalts on the other hand maintain that twang
and brightness for a really long time.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>Regards</FONT></DIV>
<DIV><FONT size=2 face=Arial>Colin</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV style="FONT: 10pt Tahoma">
<DIV style="BACKGROUND: #f5f5f5">
<DIV><B>Sent:</B> Thursday, September 19, 2013 12:06 PM</DIV>
<DIV><B>To:</B> <A title=rwp@reaaccess.com
href="mailto:rwp@reaaccess.com">Reapers Without Peepers</A> </DIV>
<DIV><B>Subject:</B> Re: [RWP] Adrenalinn guitar pedal's
sounds</DIV></DIV></DIV>
<DIV><BR></DIV>
<DIV><FONT size=2 face=Arial>Yeh, those elixirs sure help on string squeak
too.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>Which do you like better the nano web or
polyweb?</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> Thursday, September 19, 2013
10:44 AM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: [RWP] Adrenalinn guitar
pedal's sounds</DIV>
<DIV><BR></DIV>
<DIV><FONT size=2 face=Arial>I too typically use elixirs on my
guitars.</FONT></DIV>
<DIV style="FONT: 10pt Tahoma">
<DIV><FONT face=Arial>except the telly so far...I've heard so much about
these cobalts that I had to try them on the telly as soon as I bought
it.</FONT></DIV>
<DIV><FONT face=Arial>They have a kind of sticky tacky feel to them for the
first couple days of playing. When you are used to the smooth silk of
the elixirs, it's hard to play even regular wound guitar strings never mind
the tackier cobalts.</FONT><BR><FONT face=Arial>However, once you've played
them a bit, the tacky feel wears off and they become quite pleasant.
I've had a set on the telly for about 4 months now lol, and they're
still in excellent tonal condition. Granted I don't play it that
often, not everyday, but maybe a couple times a week. They've held up
very very well. It's time to change them now of course, but I'm
impress by the longevity and long lasting tone and feel of the strings when
stacked against elixirs.</FONT></DIV>
<DIV><FONT face=Arial>The tone is defined and full, and not twangy and
clangy like a new set of say dadarios. But perhaps a little bit bolder
than elixirs. They are said to be the loudest guitar strings out there
and the longest lasting for an uncoated design...it does seem to be
true.</FONT></DIV>
<DIV><FONT face=Arial>I haven't put a set on my favorite strat yet to do a
really good comparison though.</FONT></DIV>
<DIV><FONT face=Arial></FONT> </DIV>
<DIV><FONT face=Arial>Tokai made some really really good fender and LP
copies back in the day. They're value is climbing quite well
now. I have seen only a couple locally over the last couple years, and
I should have snapped them up because the owners didn't know their actual
value very well. They are known as the japanese lawsuit guitars
lol.</FONT></DIV>
<DIV><FONT face=Arial></FONT> </DIV>
<DIV><FONT face=Arial>Regards</FONT></DIV>
<DIV><FONT face=Arial>Colin</FONT></DIV>
<DIV style="BACKGROUND: #f5f5f5">
<DIV style="font-color: black"><B>From:</B> <A title=cb1963@sbcglobal.net
href="mailto:cb1963@sbcglobal.net">Chris Belle</A> </DIV>
<DIV><B>Sent:</B> Wednesday, September 18, 2013 6:40 PM</DIV>
<DIV><B>To:</B> <A title=rwp@reaaccess.com
href="mailto:rwp@reaaccess.com">Reapers Without Peepers</A> </DIV>
<DIV><B>Subject:</B> Re: [RWP] Adrenalinn guitar pedal's
sounds</DIV></DIV></DIV>
<DIV><BR></DIV>
<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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