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Posts posted by tomteriffic

  1. On 4/3/2020 at 12:54 PM, bubs_42 said:

    and my Princeton and searching out a well loved Custom Shop SG.

    I've been getting it too, but then I remembered that all my anticipated gig income for March and April went byebye (and who knows after that).  So I've scratched the itch by putting some better operating (but original era) tuners on my "other end of the SG spectrum" SG Junior.  A Junior and a Princeton Reverb were my original rig back in 1965.  So, Bubs, you're halfway there,  Oh Oh livin' on a  **slap**

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  2. When he did those little Flamenco-style raps on the top, the owners likely had conniption fits.

    There have been arguments for just about ever over what makes the Strads uniquely awesome.  Finish minutae, wood minutae, ets.  The best one is the unique microorganisms in the river water where the wood was being soaked.


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  3. Sorry, HFC was a casualty of an OS upgrade, took me a while to get it back.  I hope it's not too late.  The AF Museum is now pretty much under one roof.  It has gotten better and better over the years.

    Hauer Music has moved to the south 'burbs, and I haven't been there (nort' side kid here) since.  I'm told it's right across the street from Centerville Music and pretty cool store in its own right.

    Don's Pawn shop on 3rd street downtown (3rd near Jefferson) is still the best choice for gear grubbing. I did a crawl recently along further east on 3rd and a couple of others and came up pretty disappointed otherwise.


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  4. I remember the Ibanez version of this.  Incredibly cool.  There was this and a double humbucker version on the wall at Mel Bay music.  One of those two had checkerboard binding, which just put therm over the top.

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  5. Let me think on this.  I have to think through what the labeling on the plug and play says/does versus what's really going on.  On the plate jacks, it says 8 ohms stereo.  As you describe, what will really be happening (pairs of 8" and pairs of 6") in stereo will be 16 ohms on one side (8's) and 8 ohms on the other (6's).  The 4 ohm mono jack will actually be driving all 4 at a load of 5.33 ohms as discussed above.  The 16 ohm mono jack will be looking at 24 ohms mono.  Meaning if you're driving all 4 from the same amp, use the "4 ohm mono" jack.  Running in stereo, the jacks will be looking at the impedances noted above (16 and 8 ohms).  the 16 ohm mono would have all 4 speakers in series and result in a useless and/or difficult to drive load that might even be dangerous to the amp(s).

    Helpful?  I'm running a caffeine deficit today.

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  6. I was rifling through some old stuff and stumbled on this gig poster.  I had no idea that it still existed.  Most Esteemed Redhead was on her game.  This was from July of 2014.


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  7. The Plug And Play jack setup is pretty snifty.  I have one on a 2 x 10 cab.  Yeah, it takes a little extra jigsaw work, but now I can run 4 ohm, 16 ohm, single 8 or stereo 8 out of one cabinet.  It makes impedance matching to a given amp tons easier.


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  8. 54 minutes ago, gorch said:

    Yep, for the sake of stupidness, ideally, separate the wiring to give each amp its own speaker. Otherwise, it’s not only about common ground since the output signal of one amp would equally abut to the power amp out of the other amp. Whatever effects that could have when the other amp is either switched on or off.

    Which is why amp switcher boxes use break-before-make switches. 

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  9. Just for safety's sake, use two jacks and plugs.  Otherwise you've got a common ground going to both amps.  If those amps have different ground potentials to the power source, the two may try to make up the difference via your guitar.  That's only one reason I can think of right off the bat.


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  10. 10 hours ago, jginsj said:

    Actually, I think Tomteriffic was asking about the Vintage Club 30 (VC3112 for the combo), so V1 will impact both the clean and dirty channel since they both pass through it, V2 and V3 should be your additional gain stages for the dirty channel, from memory anyways....I think I would get a tube in V1 that makes the clean channel exactly the way you want it, and then swap out V2 and V3 to get the dirty channel the way you want it.

    John, you are correct in that assumption.  I haven't cracked it open in decades so I wasn't sure what I'd find.

    BTW, the guy who designed the Vintage Clubs was a student of mine back when guitar amps were hand cranked.  Later, he tipped me to the real goodies being in the clean channel.  Also, these amps happened when Sovtek and Mesa tubes were pretty much all you could find. He said he designed it around those realities.  As I mentioned I haven't had it open in decades and have only retubed it once, just on general principles, not because there was a problem.  IIRC it's all Sovteks in there and other than the hair metal oriented dirt channel, have never had a problem with it.

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  11. I've had a cream VC30 since they first came out.  It was my gig amp for years.  Tough, reliable and heavy as hell.  My tone recipe always involved the clean channel.  Dime it (or close to it) to get the power tubes happy, '94 Special FM on the neck pickup (bridge only occasionally) and clean to dirty was right in your volume control.

    Looking back, it was a very good recipe but I shied away from the dirty channel for the reasons mentioned above.  I've got a bunch of AT7 and AU7's  What position would these go in to tame the buzz channel and leave the clean channel un messed with?

    I've met a couple of VC 20's and they're terrific amps, great grab and go's.  GLWTS, sorry for the derail.

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  12. I used a Duotone Custom for years in my dippy little folk 'n' roll outfit.  The last I saw, Geoff was handing it off to a friend of his. In my rig, the piezo side was treated separately until it wound up at a little mixer on the pedalboard, where it was mixed to the mag side.  Each had its own preamps and effects, etc. When a smidge of neck pickup was rolled in with the piezo, a pretty decent tone could be achieved, certainly better than your average off the shelf piezo system.  The Three Little Jimmy Jammies in the back are kind of a cut and try proposition, foozle with them until the guitar sounds good in your rig.  (Foozle with your Jimmy Jammies?  You'd do that for me?)

    Strings: D'Addario XL110 W with the wound third is the ticket on strings.

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  13. 23 hours ago, Dutchman said:

    This just happened Wednesday night. Throw together band no rehearsal just winging it. The vocalist/acoustic guitar player capo’d almost every song and would use the “normal” name uncapo’d for the song structure. The bass player and I did a lot of signaling back and forth as to what key he was playing in!! I couldn’t see him but the bass player could. Quite a challenge, but turned out ok, crowd didn’t notice and his voice was awesome!! But for those whom capo it’s really helpful to know what key the resulting capo position puts the song in. Lol!!

    I used to back up a fellow, always off the cuff, who would do the exact same thing.  Fortunately I could see his left hand (usually).  However, to him, "in tune" meant that his guitar was in tune with itself, not necessarily in tune with anything else.  I started bringing a fretless bass to those deals.

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  14. 2 hours ago, it's me HHB said:

    As a theater music director you find many many people fall into the flat keys as their natural vocal range. E A are uncommon compared to Ab Db Eb and F. I often wonder if this is why its so hard to find a wailing male rock singer

    This oftentimes happens with my wife.  I bought an Ovation longneck that has a longer scale and is intended to be tuned to D.  Solved a lot of problems for us.

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