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I was really surprised to find that Gibson acoustics more or less always sound better to me than any other major manufacturer. Ill go somewhere and pick up all the guitars and one will sound fantastic and I'll look at the headstock and yup. Gibson
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Jul 24, 2014 22:54
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One of the few Gibsons I've ever thought justified their hype was my uncle James' old 70s Gospel.
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Jul 24, 2014 23:51
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Schlieren posted:I was really surprised to find that Gibson acoustics more or less always sound better to me than any other major manufacturer. Ill go somewhere and pick up all the guitars and one will sound fantastic and I'll look at the headstock and yup. Gibson I'm with you on this. I don't know if it's the shorter scale length on a lot of them that leads to a more warm, compressed sound but there's something about them. I have a J-45 which never fails to make me smile.
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Jul 25, 2014 00:07
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I've been itching to grab a decent acoustic lately. All I've owned is the esteban that my first guitar teacher sold me. Yeah. What a nice guy. Does Gibson have any ones worth looking at under or around 700?
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Jul 25, 2014 07:08
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You might find a J-15 for around a grand in a pawn shop.
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Jul 25, 2014 07:34
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Kilometers Davis posted:I've been itching to grab a decent acoustic lately. All I've owned is the esteban that my first guitar teacher sold me. Yeah. What a nice guy. Does Gibson have any ones worth looking at under or around 700? Yamaha make some nice guitars around that price range, my CPX-700 has served me well for years.
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Jul 25, 2014 11:15
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Kilometers Davis posted:I've been itching to grab a decent acoustic lately. All I've owned is the esteban that my first guitar teacher sold me. Yeah. What a nice guy. Does Gibson have any ones worth looking at under or around 700? Recording King makes some really great copies of Gibson Style acoustics. I was thinking about buying one, but decided that if I was gonna buy an acoustic, it was gonna be one I keep forever.
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Jul 25, 2014 13:48
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Kilometers Davis posted:I've been itching to grab a decent acoustic lately. All I've owned is the esteban that my first guitar teacher sold me. Yeah. What a nice guy. Does Gibson have any ones worth looking at under or around 700? Takamine has some beautiful instruments in that price range. I absolutely love mine, a G-Series Electric/Acoustic.
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Jul 25, 2014 16:02
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I have a Gibson L130 (Spruce top, mahogany neck, rosewood fretboard, bubinga back and sides) and it's one of my favorite acoustics ever. Projects very well and the bubinga gives it a somewhat unique tone that can get deliciously crunchy if you hit it hard enough. It's also the smaller L-style body which is definitely comfortable. I've seen used ones go for around $1100, which I think is a great price for the quality.
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Jul 25, 2014 16:11
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Gibson acoustics seem to run pretty much counter to Gibson electrics in bang-to-buck ratio. Most Gibson acoustics are fairly affordable and the QC seems to be pretty spot on. When I picked out my J-35 every guitar I picked out played nearly identically and none had any flaws in the finish.
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Jul 25, 2014 16:18
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They're made in Bozeman instead of Nashville or Memphis, which probably has a lot do do with it. No Henry Juszkiewicz nearby to screw with the daily operations.
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Jul 25, 2014 16:29
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HollisBrown posted:Recording King makes some really great copies of Gibson Style acoustics. I was thinking about buying one, but decided that if I was gonna buy an acoustic, it was gonna be one I keep forever. Or you can go with Loar, which is basically a company that specifically makes vintage Gibson knockoffs. Whoever Loar is named after designed Gibson archtops and acoustics back in the day.
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Jul 25, 2014 16:37
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Epi Lepi posted:Takamine has some beautiful instruments in that price range. I absolutely love mine, a G-Series Electric/Acoustic. I'm going to second this. I absolutely adore the Takamines that I've played. Also seconding the G-series.
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Jul 25, 2014 18:43
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I got a really nice Taylor 314 off of Craigslist for 700. No pickups, sadly, but still it's a fantastic guitar.
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Jul 25, 2014 21:51
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Just got my first bass. Managed to talk the guy at the pawn shop down to $180 on this Squier Standard P-Bass Special in Satin Pewter. It's got PJ pickups and a Jazz neck. Fired up Rocksmith for a few hours after getting it today and my fretting fingers hurt so good. 
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Jul 26, 2014 02:12
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Zonekeeper posted:Just got my first bass. Managed to talk the guy at the pawn shop down to $180 on this Squier Standard P-Bass Special in Satin Pewter. It's got PJ pickups and a Jazz neck.  Those colors are niiiiiiiiiiice!
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Jul 26, 2014 02:16
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7 months into the Dingwall wait.  Someone on Talkbass just got a bass that's very similar to the one I have on order, too: I'm not the biggest fan of the chrome look on this bass, so I called up my dealer and got them to switch the order to black hardware. The other differences are that mine will have an all wenge neck and reverse P pickup.
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Jul 26, 2014 05:10
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I got this hardtail Jackson Dinky Pro for a steal on eBay - I'm extremely happy. It's got a 59/JB SD pickup combo and a 5-way selector, and the upper fret access is great. You can player wonderful jazz yadda yadda SLAYER! 
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Jul 26, 2014 10:32
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Juaguocio posted:7 months into the Dingwall wait. I don't even play bass and I want a dingwall really badly
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Jul 26, 2014 16:09
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I got an equalizer today for $10 as-is. Needed a new power fuse and off it goes.
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Jul 26, 2014 22:28
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Got my 1st Marshall on Saturday, stoked. I have read some people have changed the stock driver to V30 and so on. My question is, v30's are 60 watt and so is the amp output. I don't imagine i will really run this thing anywhere above 3/4 full power. How likely is this amp to blow the driver if i put a v30 in it? The amp has a selector for 16 and 8 ohms so that shouldnt be a problem and the speaker outputs to a jack. I mean should i be worried if i do this? Although its subjective really, has anyone here owned this amp and put a v30 in it? Did you like the change? anyway: new elixir d string snap second time i used them....  11 people got retrenched from my company on friday, unbelievable how flimsy your job security is in 2014 among them were guys i jam with. I think this area is where the jcm is going to live for a while 
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Jul 27, 2014 13:13
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You're far more likely to damage a speaker from under driving it, you'll be fine, if you want to try a V30, throw it in there and dig it.
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Jul 27, 2014 19:57
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That looks a hell of a lot like my current setup... 
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Jul 27, 2014 21:59
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Well since we're talking acoustics... I got a Blue Baby Bottle microphone the other day. I think it's a great condenser mic. Especially for the money. https://soundcloud.com/ianwiggs/blues-test Here's me loving around on a blues jam that I came up with the other day. Pretty pleased with how it came out.
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Jul 28, 2014 12:21
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El Jebus posted:That looks a hell of a lot like my current setup... Except for your infinitely more swag fireplace setup iostream.h posted:You're far more likely to damage a speaker from under driving it, you'll be fine, if you want to try a V30, throw it in there and dig it. noted, thanks
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Jul 28, 2014 14:46
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High Pockets posted:Except for your infinitely more swag fireplace setup Unfortunately it isn't our house, just a short term rental until we close on a place nearby. This place is nice, much nicer than we can afford.
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Jul 28, 2014 19:20
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iostream.h posted:You're far more likely to damage a speaker from under driving it, you'll be fine, if you want to try a V30, throw it in there and dig it. This isn't true, for a variety of reasons. Bill Fitzmaurice can explain it much better than I can: http://billfitzmaurice.info/forum/viewtopic.php?t=1886 tl;dr: Bill Fitzmaurice posted:...there are only two ways to damage a speaker: Mechanically and Thermally. The only way to do this is by applying too much input power in a given enclosure (mechanically) or too much average power over time (thermally). There is no DC in a clipped signal; the coil does not stand still; air passing over the coil (and thus cooling) is the same regardless of the waveform; and clipping is acceptable provided that the average power over time is lower than the speaker's limits.
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Jul 28, 2014 23:27
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Juaguocio posted:This isn't true, for a variety of reasons. Bill Fitzmaurice can explain it much better than I can: http://billfitzmaurice.info/forum/viewtopic.php?t=1886 Either way, putting a V30 into that 60watt DSL won't be an issue for him and should sound sick as hell.
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Jul 29, 2014 00:03
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Hammer Floyd posted:Well since we're talking acoustics... BLUE makes some of my favorite mikes. I used the Mouse for tons of acoustic stuff and my studio partner had a Dragonfly for similar purposes.
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Jul 29, 2014 05:03
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 "Carlos" six string classical. Sounded great with two strings missing, even better with all in place. $14 with hard case at a thrift store. 
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Jul 29, 2014 20:39
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Juaguocio posted:This isn't true, for a variety of reasons. Bill Fitzmaurice can explain it much better than I can: http://billfitzmaurice.info/forum/viewtopic.php?t=1886 Bill's right, at a high level, but that quote of his has some... misleading stuff in it. Wanna bust any driver mechanically? No enclosure needed at all. Just put enough power to the driver outside of an enclosure and cause it to exceed Xmax. Slap that voice coil against that back plate enough times, or have that voice coil pull against that spider enough to thrash it and/or the surround and booya: mechanical failure. You can achieve this at far lower power levels than thermal capacity, especially on higher power drivers. Free-air drivers (of which most guitar drivers are) are normally built to handle the thrashing at about the same time thermal failure is approaching, so it should happen less often, but it still can. On the flip side you can get some rather stellar mechanical failures that are actually caused by the enclosure itself. Certain high-power horn loads, especially of subwoofers can create atmospheres of air pressure at the throat of the horn that would crush your lungs. In not-well-thought-out designs said crushing atmospheres can be caused to exist at the surface of the cone. Get it under power and watch the voice coil launch itself out and leave the cone behind, 'cause magnets... they just don't give a gently caress ("The bass sounded good before we cranked it. What happ...." BANG. SLAM. SILENCE. SMOKE.). As for thermal... it doesn't HAVE to just be an average over time. Go hook a properly crossed over 40 watt tweet to a 500 watt power source. You'll smoke that coil quicker than snot. Anyway, that nitpicking aside, I'm with him. I have no clue what propagated this "clipping kills speakers" business, and I remember getting headaches from listening to car audio nuts spouting this to people to "educate" them as far back as 25 years ago. You can play a square wave through any driver as long as you do it at a power level that does not exceed Xmax or the thermal capacity of the voice coil. It doesn't get much more clippy than that.
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Jul 29, 2014 23:27
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So along the lines of damaging speakers, I'm tired and bad at electronics to the point where I can't figure this out logically: What's the difference in the signal of a bass guitar (which one is always told not to put through a guitar amp) and a guitar run through an effects box so it goes one octave down (which, presumably is put through a guitar amp without issue, otherwise people would be detonating cones left and right with whammy pedals)?
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Jul 30, 2014 07:49
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Allen Wren posted:So along the lines of damaging speakers, I'm tired and bad at electronics to the point where I can't figure this out logically: What's the difference in the signal of a bass guitar (which one is always told not to put through a guitar amp) and a guitar run through an effects box so it goes one octave down (which, presumably is put through a guitar amp without issue, otherwise people would be detonating cones left and right with whammy pedals)? As far as I know it's not that different. The reality is that you're probably not using the octave effect at full gig volume for multiple songs. If you use a deep octave pedal for hours at full blast every day I'm sure eventually the amp with have a problem. The punchy, thick attack of tense bass strings makes using a bass through a guitar amp even worse. Hopefully someone comes through with a better more detailed explanation! Kilometers Davis fucked around with this message at 12:42 on Jul 30, 2014 |
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Jul 30, 2014 12:40
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You are not going to damage the amp, just the speakers (but blowing speakers may in turn damage the amp). Loud, low tones require a lot of power, especially when you use guitar speakers which are not as efficient at low frequencies. You can end up consuming more power in your speakers than they are rated for, the coils get hot and they burn out. In this respect there is no difference between a bass and and a guitar dropped an octave. You can play like this all you want if you don't crank the volume or if you have speakers that can produce lots of bass without consuming as much power (ie a bass cab). If you are worried you should monitor the temperature of your speakers. Don't do things that get them really hot. the wizards beard fucked around with this message at 15:16 on Jul 30, 2014 |
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Jul 30, 2014 15:10
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Does that effect get worse the lower you go? Should I be really worried if I got something like a MXR blue box that drops two octaves?
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Jul 30, 2014 15:27
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Yes, but are you actually likely to be cranking the bass and volume on your amp to try and get the two-octave-down tones really, really loud?
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Jul 30, 2014 15:35
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You'll be fine, bass signal is a bit different from guitar in how it pushes the speaker, enough that dropping down like that isn't a big deal unless your speaker is already right on the edge of exploding
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Jul 30, 2014 15:38
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Two octaves below E2 (standard low E on guitar) is E0, 20.60hz I believe? Most guitar speakers won't even get that low, prob not many bass cabs either. I use 8 strings through guitar amps where my lowest note is the same note as the E on a four-string bass and I can generally get it loud and clear - but that has a lot to do with EQing out the super low end. I don't need the fundamentals to come through since the bass takes care of that, even though we're playing the same notes in the same octaves. As an aside, octave pedals have a hell of a time retaining any kind of clarity two octaves down. I'm sure you can EQ around it, but I haven't gotten a good tone out of that.
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Jul 30, 2014 15:39
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I'm going to speak in a general sense with basic end-user audio in the examples for a bit, but it'll communicate applicable ideas. My apologies, but wall of text ahoy: Any given driver (read as: the actual Speaker in a speaker) has an effective passband (read as: range of frequencies at which it will efficiently play). That "efficiently" thing is the important part. You can send any frequency you can generate through any driver, it just may or may not be efficient enough at that given frequency to represent that as audible sound. This is called rolloff, and it happens on the low side and the high side of a given passband. This is why, for the most part, single-driver audio solutions don't exist for end-user listening. Extended range solutions exist, normally useful in headphones, and some more esoteric single-point "full range" (read as: extended range, but we may want to add a super-tweet... oh and maybe a subwoofer...) designs. This is why your tweeters tweet and your woofers woof. It's what they're good at, speaker designers know this, and they build crossover networks, constructs of coils, capacitors, et al... to sit on the amplified circuit in front of all the drivers as a traffic cop to say "highs, go through the tweeter... lows, go through the woofer". Now, just as an example, say we had a nice two-way bookshelf speaker with a tweet and a woofer and we cracked it open, took the highpass (tweeter info) and lowpass (woofer info) and swapped them. You would hear the tweeter information coming from the woofer, but it would sound very muddy, very muffled. This is because we're asking it to represent the signal outside of its effective passband and high-frequency rolloff is happening. It probably sounds like an AM radio. Not harmful, just sounds like butt. On the other side, we're now sending lowpass to the tweet. If we do it at low enough power, we will not damage the tweeter. It will try and try to represent the information, but it too is rolling off on the low frequencies. Chances are... you won't hear a thing. Maybe if you got your ear right up on it. What happens if you start turning the power up? The tweet will continue to try to represent the information, and as has been said before... lower frequencies have a LOT more energy than higher frequencies. Get it too loud (and this will be a short walk for sure) and you will either melt the voice coil (thermal failure) or you'll shred all of the structure (mechanical failure). So... what about guitar speakers? If you were to take your guitar amp, and hook up a pc to it, and play a wav file or use some utility to be able to generate a frequency sweep from high to low (my software of choice back in the day was winisd), and start sweeping from 1khz up, you would hear the natural louder/softer ebb and flow of the speaker's frequency response, and eventual rolloff of high frequencies (it'll get quieter and fade to nothing as you approach or pass 20 khz). If you went back to 1khz and swept downward, you'd hear another louder/softer ebb and flow of the speaker's lower frequency response... and at some point below the HUGE BALLPARK ESTIMATE OF 80hz, it would fade to quiet again. There's the lower rolloff. Now, low E on a standard-tune guitar sits ~82.5 hz for its fundamental (read as: the lowest natural frequency in the stack of frequencies called timbre that makes a guitar sound like a guitar and a xylophone sound like a xylophone and a trumpet sound like... you get the idea). Say your given guitar speaker started rolling off below that HUGE BALLPARK ESTIMATE of 80hz. You throw down a big nasty open E chord in first position, the Earth quakes, you're a Rock God for about 6 seconds or so and all is good. Booya. Now you get out your shiny new octave pedal. You've spent the last 20 mins or so doing Jack White screeches on the high octaves, but now you wanna rumble. Hells yeah. So you dial it in one octave down. In the maths of the universe, an octave below a given frequency is half of that given frequency, and an octave up is a double of that given frequency. Since we want to add in an octave down, we're now asking our guitar speaker to play ~40.25hz as a fundamental. Now, think back to our tweeter example from before, and the same deal applies. The Speaker in your speaker may actually be able to play this frequency at low power without hurting itself, but chances are it's going to be so rolled-off that you'll have a hard time hearing it. No diming of the bass knob is going to change this significantly, and if you start boosting the bass knob and cranking the amp, eventually you may hurt your speaker. Two octaves down? ~20.13 hz. Chances are your guitar speaker has rolled off ages ago. Chances are most bass cabinets are already in process of rolling off at this frequency. There are a multitude of home audio subwoofers that would explode if they tried to play down here with any authority. This is the gateway to the land of pedal tones on pipe organs, big-rear end concert bass drums, and actual seismic events. There are lots of adults that can no longer even ear this information anymore (but at volume you'll sure as hell feel it). If you really want that 2 octaves down to stay timbre-true, you'll probably want to push it through a bass cabinet, otherwise your fundamental is going to be so rolled-off that it'll just sound like the balls were cut off of your lower strings relative to say the D on up. Also, to apply this to what Muike said: Bass strings have a LOT more mass than guitar strings and are a LOT more fundamental-heavy in their timbre footprint (the expanded scale of basses adds to this). Technically a D-fret2 "E" on a bass is the same core pitch as open low E on a guitar, but there's so much more fundamental and low partial harmonic information there that a bass can flat-out destroy a guitar speaker at volume. This is why you see the trend "detuned" leading to "baritone" guitars of longer scale. They're trying to stay timbre-true to the guitar sound they're going for, and just detuning is making things sound weak and floppy.
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Jul 30, 2014 18:07
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Whelp, I'm never going to buy Ernie Ball's again. I just bought a set of .08's Cobalts; and after I got all of the strings on and was tuning up to pitch a string broke. An E string broke. A loving low E string broke. Not even at the ball-end, it was at the goddamn tuner, well before proper pitch. The cherry on top is that the only shop in town that sells .08's is on the other side of town. gently caress.
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Jul 30, 2014 19:54
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