velorush

Maybe my "collection," but with what I've seen of yours, agree to disagree. 🙂

Observations: I am having difficulty just coming to terms with what I've scrolled through and parsing that with the very nonchalant quote in the related thread, "I'll be exhibiting about 15 to 20 guitars at the Orlando Show this year," - like anything else done in a typical day: "I'm having my tires rotated," or "I'll be having a sandwich foie gras." And these are the culls? 😲

Maybe there is a reason the "60's unit" was rare... The praise coming out of their mouths does not match the involuntary facial expressions. ETA: £199 is $267.13 this morning...

That's insane! Full report, please! "Xanadu" is a must.

"Practice cures most tone issues." - John Suhr ETA: ... but in practice I find I'd much rather buy stuff than practice!

IMO, it will make a significant difference. The Tone control works by shunting treble to ground. The value of the capacitor determines the frequency at which treble frequencies are shunted. The higher the value the lower the frequency where the shunting takes place - the practical result is, the higher the capacitor value the more treble you'll perceive going away as the Tone control rolls to zero. I like 0.022µF for Humbuckers (and really, most Strat single coils). Hamer's convention was to use a 0.015µF - that always led me to normally run a Hamer Tone control on around 5 and adjust up or down from there. It was actually more useful in most situations. Caps are cheap, so experimentation is an inexpensive means to getting what you want. I personally don't buy into the snake oil and don't spend huge money on the boutique capacitors, but everyone needs a hobby...

Quick question for those of you who own the Character Series: is everyone getting a good bit of noise if the pedal is set anywhere above unity gain? The first time I tried it out I was hooked into the board at church playing my Strat and had a good bit of 60/120 hz hum/buzz. I attributed the noise to the (normally pretty quiet) single coils. Trying it out a few more times at home using the Out into a clean amp I was getting the same issue, Strat or humbuckers. Then I noticed I had it set with a significant jump in volume going from bypass to either channel. When I reduced the output to unity gain the noise seemed to disappear (or fade into the normal presence of the amp). Is that just how these are to be run? Thanks.

I remember watching Andy demo those BITD, so I went looking online for discussion. Apparently SolidGoldFX bought / started manufacturing Diamond Pedals (2023 and later) and the consensus was the SGFX pedals are inferior to the original versions. Then I ran across discussion of a V1 and a V2 of the original pedals (somewhere around serial number 600) and how V2 has this and that whereas V1 does not. That's when my eyes just glazed over and...

Kudos to the seller! He is providing both 1st / 12th neck measurements and weight.

I loved everything about the DD-20 except the size and the footswitches. I cabled in a Boss FS-6 for tap tempo, but all that made for quite a footprint. I have seen where some are offering rehoused DD-20's but the rehousing costs more than the DD-20.

After years of discussion, kicking cans and general directionless what-iffing it appears we are, in a manner of speaking, getting the band back together. With that, and with the sell-off that took place some years back, I find myself in need of an all-purpose delay pedal. My favorite BITD was the Boss DD-20, which I of course sold and 'upgraded' to the TC Novadelay which I used until we stopped gigging (P&W music). Sometime in there I bought the TC Flashback and found the 'Analog Dry Through' to be more than just marketing - I could hear tremendous difference in the unaffected signal between the two TC delays. That led me to sell the Novadelay and so I am left with the Flashback. The Flashback sounds great, but the tap tempo configuration won't work for me in a live situation. I've been looking over the ridiculous number of choices and am now focused on the Boss DD-200. What I like is no menu diving (since there are no menus) and each function has a knob. About the only thing I see missing is the Modulation Rate is fixed (not a deal killer). Sweetwater has them marked down to $259.50 (regularly $274.99). I filtered the choices on Sweetwater to the $200 to $500 price range and didn't see anything I thought would work better for me (tap tempo and ability to save a couple of presets). All that to say, anyone have any experience with the DD-200?

"Play it, Steve!"

I'd not only second this but absolutely recommend using the cardboard template. You'll forego burning the guitar, especially if you're, as it seems, not too experienced at this. An easy way of creating the template is to tape a piece of paper to the control area of the guitar and use a pencil to lightly darken the paper. The holes will appear as darker shapes on the paper. Cut out the holes, then flip the paper upside down (the control cavity is a mirror image since the controls mount from the other side). ETA: template for a semi-hollow - required since the harness has to be completed prior squeezing in through the bridge pickup route. ETAA: I wasn't being anal retentive or even artistic including the F-hole or the outer rim of the body because in this case I didn't want the wiring to show through the F-hole and wanted enough slack so the wires ran out of sight, along the outer rim. If that's your intent (Volume, Volume, Tone, no switch), you're looking for a Jazz Bass wiring diagram: Be aware, however, that the hole for the switch is likely a good bit larger than the holes for Volume and Tone. If that's the case you'll need some sort of sleeve to make up the difference.

At pitch, I think you're right: only the mild tension force of the strings pushing down on the nut. I would think the only tension on the screws would come with lowering pitch. At that point, the strings on the tuner side of the nut would remain the same (tension along the strings tuned to pitch) while the tension on the guitar side of the nut would move toward zero, creating a headstock-ward tension vector along the clamped string. Seems to me that would be pretty significant.

Love my Black Tchula! I think that is the exact scenario for which it was created wasn't it - into a clean amp?

That's about as non-invasive as I can imagine. Seems like a lot of tension being held by three tiny truss rod cover screws (not to mention I don't think I'd go for three truss rod cover screws rather than two). Whether it works or not is anyone's guess, but I admire the effort.

Absolutely no time wasted! Phenomenal execution. Congratulations.

We had a guy in a couple of years ago playing these live - sounded like real drums to me and micing was simple! He was exactly loud enough with no shields. He (the drummer) said they take a little getting used to but feel pretty much the same as conventional heads and cymbals.

From memory, a Boss GE-7 could be a big help, too (good grief, was that really 40 years ago?).

Everything I'm reading online cites Trumpet Valve Oil as being made from mineral oil. I've got an old compressor pedal that was found years ago. I was planning to clean the incredibly scratchy pots with Deoxit. If that doesn't work completely, I'll try some mineral oil. It was found in an old rental house, so if it ruins the pedal I'm out nothing.

I just remember being maybe six and begging mom for Grape Nuts at Kroger. She finally gave in. I was really put out, "Hey! There are no grapes in here! This is gross!"

I think the metal inserts were probably for the rocket launcher. I'm no expert, but I found this cool site the day after he died: Ace Frehley Les Paul - Solos, Smokers & Shooters

EMG uses the same method (stereo output jack) to turn the preamp on/off. This might be helpful: Artboard 1 (PDF). Battery negative to Ring, Pickup output to Tip and Sleeve (as normal).

Easily rectified:

Agree to disagree... 😉🤣