seeker

Anyone else try Tracktion? I've been looking into since sk posted. If it's as easy as it seems, I'll probably jump on it. Got used to Pro Audio, but then they switched to a different engine. Have been thru the Pro Audio Lite and Cubase, and both drive me crazy. Since I don't record every week (or even month), have always had to relearn the later two each and every frickin time. Powerful, but just not intuitive. By the time I get the hang of it, the magic is gone. Edited to add: I ended up ordering via phone. For some reason, between the time that specialK posted and today, the -online- price went from 49.99 to 99.99. HOWEVER, if you order by phone, it's still pegged at the 49.99 price!

You're welcome The thing that put the icing on the cake for me is they make -all- their strings in their own facility (Akron, Ohio). Not subject to the random nightmares that seem to come with outsourcing production.

I got hooked on SOSs but couldn't put up with the wait, or potential non-delivery. Was a diehard DR Blues user for a long time, but past couple of years couldn't seem to keep them in tune. Tombo recommended SIT (Stay In Tune) Powerwound strings. Have been using them for a few months now, and love them. Plus they are inexpensive. Powerwound $3.50-ish and pure nickel a little over $4 a set.

+1 on Master Blackmore. I did get to see Muddy Waters at the Cellar Door in DC. Two drink min, 20 feet away.

I gave up on the SOS; if I email and get no reply, it's sayanora time. Love DR blues, except the B string never stays in tune. Tombo, on another SOS thread, suggested SIT (Stay In Tune) Powerwound strings. Got a couple of sets and like them. Sound really good and do indeed stay in tune, The guys that sell them actually make them; not rebranded. Plus they're priced like D'Addarios.

Warmoth uses African Mahogany, which is of the Khaya species. Honduran/South American is Swietenia macrophylla.

Well, they're both wood that come from trees and stuff... I'm no wood expert, but my understanding is that African Mahogany is not the same as African Limba (Korina). And the Mahogany that Hamer uses is from a different continent; Honduran/South American Mahogany.

I second that, mostly; I'd get one either new or made within the last 5 years. Vintage amps are cool, but they potentially have all kinds of issues. That last thing you want is for it to crap out while your guests are playing.

That Jersey Boy, Bruce. I really don't get his songs, but boy can he put on a show. Got dragged to one in the mid-80s at the Cap Center and was blown away. Wolfmother put on a killer show at 9:30 Club that I'd pay to see again and again; they were on their game and had the crowd rockin.

Bittersweet for me. I was the only bidder on one on ebay a few years ago (back when there was quite often only one bidder). An hour before ending, the guy yanked the auction. Seems he didn't want to let it go for 500 bucks.

It is an Archtop GT Custom. I've got a '96 Archtop GT (non-custom) with dots and no binding. Seeker's right, though. Call it a Studio P-90 or nobody will know what the heck it is... I've always wanted a bound and crowned one, but right now my wallet says otherwise Learn something new everyday. No binding? How do they demark the line between painted top/upper side and side wood?

It'sa 93. At the time I believe it was call the Archtop GT (Goldtop). It's now officially called the Studio P-90, but most folks call and sell it as a Studio Goldtop. Since it's bound and crowned, you'd kinda think that the Custom suffix would have made it into the name, but since I've never seen one that was unbound, that's a given.

Clean to Mean

Shucks, with a title like that, was hoping it was a PIF. LOL,

Think Neil affected the score when he got into it too much. Always blame the equipment.

All are chambered? Or the ones you order?

Yes, tis mine. I custom ordered it from Hamer to my specs in 04. It plays like a dream too.

Ah crap. I've been convincing myself not to look into one of those, but now . . .

Congrats! Whew, took all my will power not to snag this one. Have been hankering for a backup, but like Master Mitch, my main one has been rock steady. I too have tried all kinds of other ones, including Korgs latest version, the PX-5, and none can beat the PX-4. Period. Have had mine on, except during power outages, for five years straight. Always has the latest looped chord progression/riff I'm working on in RAM.

Old Fenders are 4 ohms, and Marshalls higher. Wouldn't tha make Marshalls the more fragile of the two? I actually had one of the Two Rock builders tell me to run my Custom 8 ohm tap into a 16 ohm cab; he liked the way it sounded. But all in all, it is best to stay with the plan.

Aren't all Marshalls supposed to be dimed anyway? So what's the prob? LOL.

Congrats Brewman! Amp building can indeed be addictive. Maybe I need to put that one on my build list. What schematic did you go by? (For me, so far, it's been Ken Fischer's creations)

They were already in the 25-28k range -before- Ken died. I think the later ones he made he charged no more than 5k, but that was the last few when his health was bad. I could prattle on about why imho, of ALL the guitars and amps that are obscenely expensive, this one is actually worth it. I'd be interested to find out how it took the course from 5k to 25k. It didn't just jump up, but there was a 10 year period from when his production effectively halted and his death. Understand some folks were still on his wait list until the end, hoping they'd get one eventually.

Now that's a good question. For ampheads, like me, Ken Fischer = Major Deity. For others, it's more word of mouth than anything else. Ken made one for himself named after his grandma, but sent it to Billy Gibbons to demo. La Grange-man refused to send it back cause he just had to have it. Ken eventually relented. Brad Paisley just got a Trainwreck Liverpool. Unlike any other amp he has, if he takes it on tour, it get's it's own bus seat. BTW, he made less than 100 over the years. If I had the spare change, I'd snap it up over any other piece of gear for the same amount. Not that that's gonna happen anytime soon.

A series of duets performed by Ozzy and Gary Numan.