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Post by lunaalta on Dec 26, 2014 10:14:19 GMT -5
Yup, that's probably easier than what I first thought of! Sawing the end of the body flat................
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Post by lunaalta on Dec 26, 2014 10:10:31 GMT -5
One more 'Old Fart', checking in with salutations and compliments of the season.......... Nice tree, GD.......! Did you know you have a faulty lamp in there? I'll let you figure out which one......
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Post by lunaalta on Dec 6, 2014 9:24:10 GMT -5
I would certainly ask Ibanez, Athens, if they considered the guitar to be up to their normal quality standards and, if not, ask if they would be prepared to deal with the problem, on your behalf. They would make a very good ally. I'm pretty sure that Eu regulations stipulate that warranties must 'at least' comply with EU regulations and be 'fair'. The days of sellers writing their own rules are over.... LOL. A product must be fit for it's purpose when it is sold. I think that contacting Ibanez would be a good idea. Since Thomann are acting as Ibanez agents/representatives by selling their products. They have the right to stop supplying their agents, if they are not happy with their behaviour, regarding handling Ibanez product and reputation. I'm sure they will not be too satisfied with Thomann's way of handling this problem. Although, it might depend on the size of their orders........ Contacting Ibanez should also clear up any possibilities of a 'second quality' product being sold (now, that could open a can of worms). I don't see removing the scratch plate as a breach of any warranty, unless access is restricted (painted screw seal) or clearly indicated as a breach, by way of a sticker or warning tag, etc. I always loosen scratch plates (and sometimes remove the neck) when I'm giving an axe a 'serious' clean, along with knobs, etc.
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Post by lunaalta on Nov 20, 2014 17:27:43 GMT -5
Was never much into Focus, but I love the Vogues vid. Nice........... Well, the dancing is a bit suspect, but the music is fabulous.
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Post by lunaalta on Nov 17, 2014 14:12:01 GMT -5
I use all 5 positions on my old 73 Strat........... standard (quieted) wiring. N for rhythm, m for lead and maybe rhythm, B for leads. Sometimes N+M for rhythm and M+B for lead........... sometimes. Again, sometimes, I dish the tone controls, to cut highs............. I don't, normally, try to get other player's sounds dialed in, consciously......... I play mostly for recording my own songs, now. A bit of all styles of music. So, I use whatever is needed for the track, really.
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Post by lunaalta on Nov 8, 2014 16:56:44 GMT -5
I was just about to suggest that you try aluminium foil..... LOL
I used it on my acoustic, before the nut was changed. I chose foil because it would be more solid than card/paper, and, hopefully, lose less mechanical energy.
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Post by lunaalta on Sept 10, 2014 10:54:53 GMT -5
How is it that accordion players always bring the best hooch?
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Post by lunaalta on Aug 31, 2014 3:44:37 GMT -5
Sorry to harp (no pun intended) on about this, but I guess your referenced orchestras must be the exception, since most other orchestras use an oboe. I learned this at school and have had the information reinforced by composer friends, amongst others. Yeah, Wikipedia has it's faults, don't we all, Sumgai? That the comment needs citation is not evidence that the information is incorrect, which is the case in this instance. The many ways an oboe might fail at reproducing a correct pitch are not as many as a violin! That's why it is preferred. Here's another reference, this time from historical sources..... www.oboeclassics.com/Burgess.htmGeoffrey Burgess is a highly respected oboe player, with over 30 years experience worldwide. But, perhaps not with your Seattle Opera House, or the Benaroya Performance Hall. It's not hard to find much more information regarding using an oboe as the principle tuning source for orchestras. My apologies, guilty as charged, sorry for the diversion........
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Post by lunaalta on Aug 30, 2014 8:42:47 GMT -5
Ah, but the oboe may be an exception..... en.wikipedia.org/wiki/OboeWhen I asked to learn guitar, in school in the early 60s, I was given an oboe...... The first lesson made me physically sick from the exertion........... That was also my last lesson.... LOL
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Post by lunaalta on Aug 28, 2014 4:59:15 GMT -5
That looks interesting............
But, both of the example guitars you cited appear to have flat rear bodies. Your projected design might tend to 'dig in', since it has a concave rear body. A flat, or sculptured rear body might well be more comfortable.
Which leads me to thinking....... change the joint angle and shave off the back, or have straight joints and shave off the front.....
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Post by lunaalta on Aug 7, 2014 11:41:12 GMT -5
Wooooooowwwwwwwww............ I'd have bought one in the 60s............ Love the thread title, haydukej, nice............
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Post by lunaalta on Aug 6, 2014 14:22:00 GMT -5
Maybe it's because everyone finally got the mods/tones they wanted.............. You are joking, of course.........?
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Post by lunaalta on Jul 5, 2014 5:39:52 GMT -5
I tested resistance, as you suggested, JohnH, and got 0 in all positions........ For some reason, I've been thinking this is a problem shared across all PU positions, equally, so it must be someplace else...... or at least something that is common to both PUs... Then, and I feel stupid for not trying it earlier, I tried the 2nd amplifier input, which has 1/2 the sensitivity (according to the manual), the amp connection being the first part of the chain and common to all settings. Bingo! No more hum, in any position............ Now, I know this isn't record breaking science, but I did learn a big lesson (So, please don't laugh too loud ). Always, but ALWAYS check everything in the chain, from start to finish......... then do it again..... LOL. The ticking/clicking is still there, but, so far in my recording exploits, it is negligible. So, thanks again for the help! I learned something, and I'm pleased about that..... hope I didn't waste anybodies time.......
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Post by lunaalta on Jul 1, 2014 14:49:30 GMT -5
Thanks for the reply, sumgai, much appreciated! OK. Well, I eventually turned the Strat up loud, in the same set up, and the ticking sound appeared......... so, I'll check it at the owner's house. I live in a small village, kinda in the backwoods, with old Spanish wiring, and I have a radio station set up a couple of doors away..... I'll check it out elsewhere, as you suggest. I have pretty good quality cables that are not so old, but they are looked after. I must have spent a fortune in cables, over the last 45 years or so..... LOL. Thanks again, for the look see, I'll let you know what I find..........
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Post by lunaalta on Jul 1, 2014 6:38:41 GMT -5
Ok, so I've been cleaning up a friends '72 LP Deluxe and I noticed that there is a constant 'repeating click'. This is present with all control positions, volume up or down.... It's not so loud as to be noticed at conservative levels but if liberal gain is given to the amp it becomes very apparent (apologies for the political terms.... LOL). Also, when 1 PU is selected and the volume off a hum appears, for either PU. When both PUs are selected the hum appears when both volume pots are off. There is no hum if one pot is left up. I noticed this when plugged into my Fender (s/s) Sidekick Reverb 25, wwhich I recorded, by taking the line output from the amp. When the LP is plugged direct to my computer the hum is almost unheard but the clicking persists. I have attached a pick of the wiring cavity and a sound file of the noises with the Fender amp in the equation. In the sound file I dished the volume of each PU separately to indicate the hum. If I touch both a PU and the strings all noises disappear. These noises do not appear when I have my '73 Fender Strat connected. [a href="http://s112.photobucket.com/user/whitestrat73/media/72_lp_deluxe_wiring_cavity_zps6d3c4723.png.html?filters[user]=140712028&filters[recent]=1&sort=1&o=0"]pic of wiring cavity[/a] (sorry, you'll have to cut and paste the image address... ) mp3 of hum and noise 72 LP deluxeI wonder if anyone here can help me to find and fix this. Apart from the hum/clicks the guitar is awesome!
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Post by lunaalta on Mar 31, 2014 10:59:26 GMT -5
Well played, Alucardo.......... Oh, and welcome to the Nutz House!
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Post by lunaalta on Feb 28, 2014 13:57:20 GMT -5
Sorry, I didn't explain that very well, did I........... (well, I understood it...LOL)? By core, I mean the wire threads inside the pvc covering. You don't want to be using a shielded cable for your speakers. At home, for example, I use a cable with 79 strands (actually, it's Absolute sound cable, expensive, but I got it free. It is spaced, 79 strand cable). So, a power cable with many strands inside, will work better, in theory (which I forget now, many years later) than bell wire, with half a dozen strands. I read, years ago, of a test, done in an anechoic chamber, running speaker cables through with a strong signal. 'Apparently', you could hear the smaller cable's signal! Which equated with a loss of energy, while the 'fatter' cable was silent. The test wasn't associated with any brand of wire. The Fender article is right on the button, by the way! With more strands in your speaker cable, you are less likely to be heating up the wire and losing signal, than with a thinner cable. While on the subject, yes, there is a lot of feldergarb surrounding speaker cables. It has made several companies a lot of money....... I tried many of the high profile 'monsters' out there, as part of my job, and found no improvements in sound with any, other than the simple, multi-strand, cables. Monster Cable had just entered the UK hi-fi market, in the early 80s, I wasn't impressed with the results. Also, I was told that the 'interwoven' types, which were heavily advertised, were detrimental to the signal, and could damage your amp! Something to do with capacitance, but I ain't much of a tech, so I can't expand on that.... Anyway, I'm sure some others are better versed than I am to talk tech on this subject. This is just my take on it......... Good luck! Ted Yup! Ashcatlt, should work fine!
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Post by lunaalta on Feb 28, 2014 9:53:09 GMT -5
From my experience, a good, thick core, multi-strand, mains chord works well. If it's 3 core, just use 2, snip the earth back, well out of the way, so it doesn't do any harm. I often used to re-wire loudspeakers with good cable, when I sold high quality/power hi-fi systems, in London. Clients spent money to have decent speaker cables and inside their loudspeakers, the speaker units were wired with crappy bell wire.
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Post by lunaalta on Feb 22, 2014 17:06:17 GMT -5
I get about 30 m/sec latency on my music computer, using a Tapco Link firewire interface, into Sonar 8 Pro. The computer is using XP/Pentium 4,CPU 3 Ghz, 3 GB RAM. Certainly not the latest, but good enough for recording/doing what I want to do. Not good enough to listen to live sound running through effects, in the way you describe....... In the past, I used ASIO4ALL with Audacity and other programs, including Krystal. Worked fine, but still latency. If that helps......
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Post by lunaalta on Feb 20, 2014 20:10:36 GMT -5
I'm sorry, I refuse to discuss the, very personal, relationship, of some 40 years, that I have with my beautiful, almost standard, white Strat.
I will say that, for me, there has been no other, and I doubt there ever will be. I have been dallying with a very attractive Tele, of late, but I know this is just a passing thing, since when I get my Strat in my arms again, well......... What can I say, I hear heavenly angels singing and the earth moves for me............
So guys, dream on. Have your harems, and enjoy them.
I enjoy my Strat as much as you enjoy your collections, but all concentrated on the one.
Yes, it's true, it's the guitar of my life.
Now then, where are my meds?
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Post by lunaalta on Feb 13, 2014 6:40:30 GMT -5
I was gonna post a pic of my 'old' knobs ('73 Strat) to show the yellowing, but, after looking at them, I decided not to. They would probably send Ux off to the hospital, just looking at the pix...... Sorry.......... They are in a mild soap solution, soaking, right now. The tooth brush is at the ready...... mustn't remove the gold paint...... Do you guys remember the rag that was for sale on Ebay, some years ago? It was found inside the case of a 60s LP, I believe. The seller claimed it held 50+ years worth of kudos, or something..... yuck!
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Post by lunaalta on Feb 4, 2014 5:59:10 GMT -5
LOL, fat, sexy fingers, please! ....oh, and a touch of senility, just for spice. I use MIDI when I'm putting drum tracks together, at home, 'cos I don't have drums and wouldn't do a very good job of playing them, if I tried (believe me, I have). On occasions, I might put some MIDI brass on a track, or..... well, as a substitute, when the real, live thing is not available. Although, I always export MIDI to a wave file, for the mix. Just so I can bring it 'into the sound', so to speak. Actually, a young percussion student (20 yo) is coming over on Thursday, with his 'Cajón'. He's on his last 2 years, of 5, doing jazz percussion. Unlike many of the students I have heard, here in Spain, he has a real talent and lots of feeling. I've jammed with him on drums, and he's right behind ya, all the time. He's interested in helping me put an R+B band together. That should be interesting....LOL. Just gonna triple check this for typos, before I post it, LOL!
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Post by lunaalta on Feb 3, 2014 17:27:07 GMT -5
Not sure I understand where you are going with this (or coming from, for that matter), S, but 'this all happened' autumn 2013..... I'm using Sonar 8 Producer, having worked my way up from 4..... I'd say I have a reasonable grip on it. No SoundCloud problems at this end.....¿ Win 7/Opera 12.16 Like you, not seen a malware/anything in at least that long. Yup, Heinlein, my favourite SF author....... No problem here with work, just trying to keep it down to what is needed to get the job done. Which entails understanding the tools we have to work with....
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Post by lunaalta on Feb 3, 2014 9:06:49 GMT -5
Oh dear! Different knobs for volume and treble! But, how will I remember which is which?
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Post by lunaalta on Feb 3, 2014 5:13:38 GMT -5
Oh yeah, yeah, yeah.... it's all 'overcome-able', just that it can cause a little extra work. Or a lot.......... Click tracks obviously help, though I usually put a rough drum track together, to use instead, to include the 'swing/groove' of the tune. Much easier to play to, than that awful plack, tick, tick, tick..... When sending tracks, a count in beat is advisable, plus the bpm info. That's where extra work is involved..... When the two collaborators have different time sync, you can end up several beats out of time, if not bars, by the end of the track. Not a problem if you are tracking live, to themusic, but it's a different story if you are constructing a MIDI drum track. Yes, you could play to the music and ignore the sync timing, but that removes some very useful tools in your DAW. In Sonar, 'AudioSnap' (audio) and 'Quantize' (MIDI), among others. The first I rarely use, the second, on occasions when creating tracks. If your needing to write, as opposed to play, a MIDI track (I'm no keyboard player or drummer) it gets close to impossibly difficult, if you have no timing grid to work to. You can over come this, of course, but then you are gonna return a track which won't line up in your collaborators machine....and so it goes on. LOL. Although, I rarely get serious problems from this, since we're all using good enough gear for it not to be a noticeable problem. I guess a separate click track can be distributed to each contributer to work with, but then the above will still apply. The guide beat, at the beginning of a track, is useful, so long as the music can be 'close enough' at the end of the track, as well. I guess I'm saying, it's so much easier, when you have 10, 15 or more tracks to line up, all from different sources, to have a reference grid to work from. Another facility that will not work so well is effect syncronisation. So, you want to have your delay pulsing along with the music, or multiples of it...... it can't read your click track. Nor can your modulators, phaser, chorus, flanger, etc.... Been there, done that, got the scars tee shirt. On one occasion, our Country player put scratch drums and bass together and added several voice/haromny tracks, but used an old drum machine to sync it all. Well, it was so far out it wasn't funny, when we tried to put new drums and bass. Poor guy had to start all over..... Having said all that, I must say, it's great fun putting music together, something I've been involved with since I was a teenager. And, it's a lot easier now with digital tools to work with.
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Post by lunaalta on Feb 2, 2014 12:46:13 GMT -5
FLAC is also a good format, half the size and lossless compression........ I believe.
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Post by lunaalta on Feb 2, 2014 7:21:22 GMT -5
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Post by lunaalta on Feb 2, 2014 7:16:49 GMT -5
Why, thank you, Sir! Kind of you to say so. Actually, I'm English, but with a Polish father, born in London (great place to be a teenager in the 60s). But, I have lived in Spain for the past 23 years. I'm told my Spanish accent is pretty good, when I speak Spanish. But, of course, I maintain my South London accent when speaking English. Since the lyric writer has a nice, round US accent, the lyrics and phrasing, kind of, pushed me a little in that direction when I read/sang them. There ya go!
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Post by lunaalta on Feb 2, 2014 4:36:10 GMT -5
Thanks GD! No, that's me, GD. Actually, it's the first take from when I got the lyrics, meant as a guide. I did mean to replace it, but never got around to it.... Our Canadian buddy put down the backing vocals. Yeah, we had to do a couple things, on the technical side, before we started, the first being to accept that tracks won't be coming back within an hour....LOL. But, more on that below. We also established a 'tuning' standard. I discovered that my little KORG GA-30 tuner was flat! The DTR-1000 rack mount is perfect, as is the Sonar internal tuner. Then came timimg and beat measurement. For a previous piece, a country song, we found that the drum machine used by another Canadian friend was waaaay out. This is what he used to put the basic, scratch track down with, so we all ended up working at, perhaps 128.639 bpm, mostly (since it wandered...). Actually, after a lot of searching, I discovered that it is almost impossible to time sync 2 computers that are not connected. Apparently, the internal clocks (seems there are two) aren't as accurate as I always assumed them to be. In most cases this isn't going to be a serious problem, since we rarely need to line up to the nearest usec (microsecond) nor want to. Of the 4 computers we tested, non was in 'perfect sync'. But, generally, a better quality machine will give better results than a cheap rhythm/drum machine. We are lucky, in that we could set up an ftp site (we have several between us), for transferring tracks, etc. So, track movement wasn't too big of an issue. We used .wav tracks, just because..... Then, there is the individual/personal communication thing. At the time we recorded this, through summer/autumn 2003, my machine couldn't use voice chat effectively (this is now 'sorted' with the Win 7 install), so we were relying on our private text chat channel. This helped a lot, but one guy (he's kinda stuck in 'Country', but slowly expanding) got kinda upset when his harmony tracks didn't rock. He has a great voice, but just couldn't grab this groove/meter. Explaining feeling and hidden/implied stuff is a bit like trying to explain guitar tone. And, we all know how impossible that is....LOL. Since all involved had been, involved with this kind of rock, at some time in our deep dark (long) pasts, the contributors to this just fell right into the groove, luckily, and whatever we tracked seemed to fit. One thing each of us asked, is to be able to modify our contribution before the final mastering, which meant that we each made small changes as the tune progressed/evolved. A must if you are not actually in the same room playing. Other than that, we each had complete freedom to lay down whatever we thought fitted in. We also had to accept that maybe the others wouldn't agree that your track wouldn't quite work, which didn't ever occur in this tune, as it happens.... Lastly (sorry for the book posting), since I came up with the initial rough musical idea, I was left with the job of collecting the tracks and putting them into the mix for the others to hear, as I felt appropriate, but with other's suggestions being taken on board, where appropriate. I then put a final mix together. It is important to decide who, if anybody, will be making the final decisions, otherwise the ball can bounce back and forth forever....LOL. This one was easy, though. Everything fell right into place, as if it was pre-ordained.... Apart from the Canadian Country incident, it was as if we all knew where this was going. And we have put together several country songs since, so that problem was worked out, too. As to the video, the creator of the idea has give us a completed script, with camera directions, which looks like fun, he is very much into putting videos together, being a game creator, among other things. But, for the moment, it seems this side of the project is on hold. So, I decided to put the tune out there anyway........ I just wish we had gotten together in the late 60s/early 70s..........
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Post by lunaalta on Feb 1, 2014 19:44:16 GMT -5
I hope this is the right place for this..... Been away a week or so, sorting out a new Win 7 install. All good, so far......... so....... This is a track that I put together with some friends, using the Internet to pass files around (I live in Spain).... I quite like it, 'cos it seems to rock. This is my first 'Internet ' collaboration and I must say, it was thoroughly enjoyable, but needed much patience, due to time zone differences. I wouldn't mind your comments, good and bad. It started off with a forum post about the desire to put a rock video together. All the poster had was the title, 'You Can't Stop Rock And Roll'. Well, that set balls rolling amongst my grey matter and I offered up a rough track, guitar, bass, drums and a vocal meter track. This seemed to fit the original poster's fancy (he's in Montana, I believe, in the backwoods), so he came up with some lyrics. No sooner had I put the full vocal track up, when a bass player, in California, piped up, asking for a bassless version, for him to play about with. And so, the bass track was born. As soon as, a little blue man appeared (also in North US), asking for a drumless track! You just can't keep these people away..... LOL. Thus came the drum track into existence. Well, I mixed a little, tweaking, here and there, until we were all happy, until our Canadian buddy stepped up and asked if he could add a piano track, backing vox and maybe master it for us. Always happy to shove some of the work in someone else's direction, all said 'AY!' So, here you have the finished sound track. I've linked to my Sound Cloud page, to save bandwidth. You Can't Stop Rock And RollThe story is set in the future, when R+R is banned, but bands, such as ours, continue to play underground, as we would..... A battle between the band and the main 'enforcer' is the theme of the song. The cowbell break is left for inserting the big showdown duel between the guitarist and the enforcer. The guitar I used is my Olympic White '73 Fender American Custom Strat, all pretty much standard, except it was silenced and the neck wore out, so it got changed. I tracked using Sonar 8 Pro, not sure about the others involved, maybe Reason in several cases. Enjoy.........
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