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  1. Past hour
  2. Ok, so full disclosure, when I was younger I was stupid, and didn't really know how to correctly mount speakers in a cabinet (rear mounted), so I just kept cranking own on the bolts until the frame was just about touching the baffle. Yes I know this is not the way. I took out all of those speakers years later and then let them sit unmounted for a month for the gaskets to "recover", however the foam gaskets never really came back that much. They are mounted again and there definitely is about 1mm of space between the frame and the baffle, but I wonder if maybe the gaskets should be replaced or shimmed, and if that is even possible. I can find gaskets everywhere online, but I don't want to screw up my speakers, which are some Eminence Texas Heat 16s that are nice and broken in now.
  3. I've been opening those sdotd emails, some tempting stuff, today it is stupid deal of the hour, which I don't like as much.
  4. interesting that Badger just recently got that Hamer, if you haven't watched the video, he speaks very highly of it. For some reason I was assuming that he has had it forever.
  5. Vai mugs it up for the audience a lot. Satriani sings. Wow! Those boys can play!
  6. The Rick Beato interviews with him are really interesting; one comment from Nuno that really resonated with me was when he was saying that the best drug of all is the high you get from playing live and sharing the energy with the crowd and taking everybody in the crowd on a ride away from their daily grind. I think there's a lot of truth in that. There are a few gigs when my bands were hitting on all cylinders, and the crowd was totally into it. The rush you get from that is amazing. Memo to self: get off your butt and call the guys from the band to see if we can get back to work...
  7. Today
  8. Wow, thanks for this. I was at one of the shows on that tour, at Eastern Illinois University. I'll have to give that a listen. I've told this story a few times before, but here goes again. Part of Cheap Trick's stage setup at that show was a set of two short risers near the back of the stage. Rick had numerous guitars on stands in a row on each riser. He was heavy on the Strats at that point in time but there were other guitar styles used as well. He would sometimes wear 3 or 4 guitars at once, and shed them one by one through a song. Midway through the show, one of his guitar techs was crawling around back there, and a couple of the guitars fell forward off their stands. Rick was none too happy, but the song continued. As the guy tried to rectify the situation, he managed to domino all the guitars face first off their stands. Not missing a beat, Rick laid flat on his back on the stage and continued the song. I wish I remembered the dialogue that ensued, but I was pretty high at that show. I saw Kansas a couple of times in that timeframe, and they were stunning live. The Kinks were excellent as well., and I believe they were touring with the Low Budget songs on that tour.
  9. Yes, and the Talladega. That banner is the perfect tribute to guitar that sunk Hamer and the standoffish twat who designed it. Have you had any one-on-one dealings with him? He has a fance and a demeanor which screams, "You are beneath me and I am just placating you while I wait for the words that you are saying to end." That and, yes, "...watch me pretend to make this guitar"
  10. Serial number indicates it is a '95. Officially, it is a MG122 Artist. I picked it up at a Greensboro-area pawn shop for under $300. It had no case, no bar, a layer of dust and finger funk, and was missing a string. I gave it a couple of hours TLC, and procured a bar. Out of pure blind luck, I scored a NOS OHSC for $50 from local guy who had bought the inventory of an out-of-business music store. The neck is on the smaller end of the spectrum for what was being commonly produced in the mid-'90s, but it feels good. All the hardware is satin chrome. It actually had all the cavity covers. I did change the bridge pickup from the stock Pearly Gates to a JB and swapped the corroded, wonky superswitch for a traditional 3-way blade. The Pearly Gates was a bit too trebly on this guitar--perhaps an effect of the 25.5" scale, maple top, and vibrato bridge. Interestingly, the string spacing at the bridge suggests that trembuckers are a bit wide. If you change pups, just go with traditional Gibson spacing at the bridge.
  11. Why the hate on Jol? He is kinda floating out there in a dream bubble in that banner. "Pssssttt...Hey Kizanski....watch me pretend to make this guitar"
  12. I gig the crap out of mine. It's just a really well rounded, versatile guitar.
  13. Looks like Nuno is FLIPPING OFF the gear page in the still from the video!
  14. What profound (profane?) grain! I’da called that one ol’ hick’ry! Looks like a Louisville slugger. Was it heavy? Also, to the other posters: what’s the weight like on the superstrats?
  15. The last time I played live was at a Bar that had a multi-slip docks. We were set up with our amps and the drum kit against the bar's outer wall, and we faced the seating with the water behind it. That was the best sound I got in years and the drums sounded tight and just a little compressed. The crowd filled in all the space in front making it sound even better. Indoors, on stage, it's tricky to get the right sound if you're not mic'd up through the PA and using a low power amp. Every venue sounds different. And if you're only doing one night there with no time for a good sound check, it's hit or miss.
  16. Wow, that's totally bitchin'. Grover sure knows how to design practical hotrods.
  17. I spent some time getting my pedal board and amp setup really dialed in. Got to where I wanted all the combos of distortion and such to yield one volume. Tweak the volume knob slightly playing rhythm things, hit the final boost for leads. At this point I have come to not worrying about the levels so much as to dig the tones you happen to get, tweak as desired to sound good. Meaning, each night live is different from the rest in terms of room and vibe. Some songs are pretty stock and no issue to get a consistent sound. But any song can hit a certain groove at any time and I enjoy tuning a knob to get the rig in the same groove. I guess that is the magic that makes it fun. Any settings/equipment discussion can follow (guilty). My intent was looking at tone from a different perspective and seeing what other HFCers think about their tone and playing, especially live.
  18. This is what I had up until I sold it about a year ago. Not a superstrat, more of a tele-strat.
  19. Yer kidding me! What are the chances of 3 HFCers having similar Washburns? They didn’t exactly fly off the shelf… Looks like your USA Mercury has, "Designed by Grover Jackson" and, "USA", on the headstock, so that blows a hole in the description in my OP. What year is your MG, Prof?
  20. That was the one thing Jol wouldn't put on the 12-ver that I ordered in 2008.
  21. Yesterday
  22. I have a June 1983 4-digit Standard. Has a large logo, not quite the stadium logo. Headstock does not appear to be repaired/refinished. Sent pics to Jol and he said it as a large logo, bigger than the small logo. The transition to stadium logo was soon to come and he believes it’s original. Any thoughts? Any others out there or is this the only one? The 4-digit numbering system was wrapping up sometime in the near future. (FYI - Locking nut is going bye bye)
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