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A chinese sorta ES-335: Distributor's details: http://www.switchmusic.com/fusionblues_popup.aspx?pid=108 Accurate online review (not mine): http://reviews.harmony-central.com/reviews/Guitar/product/Fusion+Blues/FB+200/10/1 Already had an ES-175, LP, and SG, yet still lusted after one of these. Had a '90s Epiphone Riviera a few years ago, but even after replacing its pick-ups (Kent Armstrong PAF clones) and tailpiece (regular trapeze instead of the Frequensator) it remained a 335 Lite, whereas the FB-200 delivers on all points; thick tone (the meaty neck helps), transparent sound, records very well, good workmanship, and quality materials. You can pick these up for a few hundred bucks in the US, I see. Highly recommended.
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Apr 12, 2008 19:09
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Schatten posted:Well, the ebay auction I lost came back to me. I had previously talked with the seller on another forum one day after he posted it to ebay. He sold it on ebay, but the winning bidder couldn't afford it nor could he work with his no-paypal terms. He responded to me, told me the scoop and offered it to me. Being a flexible and sometimes a little too trusting guy, I worked out a deal. It should be here by the end of next week. You won't regret this. I have an old 4001 that's been dropped, submerged, and frozen (while in its case) without going more than a semi-tone out of tune. With a bit of fiddling you can get just about any sound you need for 'classic' rock/pop/etc, up to the point where you don't even pick up your other basses anymore. It's also very easy-going from an ergonomic POV; play for hours without feeling like a packmule. Just one thing: some people have problems with the bridge being pulled up as far as a quarter inch by certain sets of strings. The official Rickenbacker forum has info on what to look for and how to remedy it.
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Oct 21, 2009 10:21
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That Gretsch is an early to mid '90s reissue from when the youngest Fred G. reclaimed the name and started to assemble in Japan from US-made parts for cost reasons. I had several of them with identical labels as seen through the f-hole. These guitars are wonderful. So much so that Brian Setzer was often seen playing the custom instrument (made from stock parts, though) they gave him, instead of his old box. I've had old Gretsches too, but I'd take one of those '90s reissues over an 'original' anytime. ---- edit: the only thing that puzzles me is the Bigsby - the '90s reissues said Gretsch on the base plate. Underflow fucked around with this message at 11:58 on Nov 13, 2009 |
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Nov 13, 2009 11:54
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who cares posted:Since this is where all the gear nerds hang out, I'll ask this here. Buy him the best computer speakers you can find for $100 - look for a model with at least 2 speakers per casing. Anything more will not make the music he listens to sound better. Also: actual monitors need more power than the computer outlet can drive into them, so that's a waste; you'd need an extra amplifier. In fact, the best solution would be to hook up the computer's line-out to his stereo system. Or even better: a pair of decent closed headphones...
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Nov 17, 2009 13:13
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The Stygian posted:Uh. Ok - what the gently caress. Sorry, I thought she meant real monitors, i.e. reference speakers. You're talking powered speakers, right? Anyway, for the quality of the recordings the guy is listening to, decenty 2-way passive speakers should be enough; and a closed pair of headphones is often preferred in classical circles if there's a chance of having regular ambient noise around. Tastes vary though, as you know.
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Nov 17, 2009 15:23
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h_double posted:Undertow I'm not sure that you "get" monitors. Active monitors (i.e. self-amplified) are extremely common as reference speakers. Well, it may be a cultural thing, too. Wen I first started in professional studio recording we had Tannoys, B&W, flush JBLs, that sort of stuff. Those were our monitors. Little Sony consumer audio 2- and 3- way speakers were reference tools, used to check on the mix's viability in a low-fi environment. I moved to Spirit Absolute 2 for my own studio later, with an old pair of Monitor Audio Ltd and another pair of B&Ws for reference speakers (never liked the NS-10s). This after trying the first generation of Mackie's powered monitors, as somehow the passive Spirits through an Alesis or Crown gives me better result in my environment. Where computers are concerned, I'd never think of any speaker hooked up to a Soundblaster or equivalent as a Monitor. A pair of Roland MA-7 are powered speakers to me, and would probably be ideal for someone who likes to listen to old classical recordings through a soundcard, or even directly through the CD player's output. I suggested hooking up the rig to a stereo as the best solution as it probably will be, keeping in mind the limited budget. If however you are nudging me to the fact that listening to classical music on a bogstandard computer instead of popping the disc in a proper player connected to even a moderate home system is madness to begin with, then I fully agree with you. The rest, I think, is a misunderstanding of terms under cultural circumstances. Or perhaps certain terms have taken on a different meaning over the years. It happens in all disciplines.
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Nov 17, 2009 19:24
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scuz posted:What?! You NEED Yamaha NS-10s! The reason they were so widely implemented was to simulate what the average, lovely boombox sounds like so that you know what the record will sound like on your average, lovely boombox/CD clock radio/car stereo. I'm being serious. Well, that's where a lot of people's opinions differ. You're perfectly right as for their intended use, but some people just refuse to use them and go for something milder instead. The NS-10s are awfully harsh and tend to drag your 'ideal' mix down too far, in my (and many others') opinion. I remember when everybody started to use them and they were considered a godsend, but I see them a lot less these days. Some people even have a pair of Blaupunkts some 20" apart on the meter array now for car stereo comparison. Matter of taste, of course. Anecdote: Somewhere in '85 they'd installed NS-10s in Conny Plank's Hansa Haus studio; he listened for a minute, then threw them down the stairs... scuz posted:Active monitors = monitors with a power cable (no power amp required). Yes, obviously. scuz posted:Also "computer speakers", to my ears, have always sounded inferior in one way or another to the receiver+floor speakers setup, but I sure as hell wouldn't use either of them to mix stuff. Exactly. For the girl(?) with her speaker problem, though, she'll still have to decide how much money she can save on a set-up that will mostly play back scratchy mono classical stuff from the '40s and '50s. So perhaps a long extension lead from the soundcard's line-out to a regular domestic stereo?
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Nov 18, 2009 13:51
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Nelsocracy posted:She's almost done! That's one gorgeous guitar like the '70s(?) Gibson L-5S or L-6S. How much would that cost, finished?
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Nov 18, 2009 13:54
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scuz posted:Okay guys I need another opinion. I'm going to be covering my bass cab in seafoam green tolex and I'm torn between two colors of grill cloth. I'm leaning towards the black and tan, but the oxblood looks good too Gotta be this one, it's lovely.
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Nov 18, 2009 20:48
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Computer Jones posted:Pity it doesn't have MIDI. Or a whammy bar. ---- edit: Catastrophe, please keep that Jr. They get better with time.
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Nov 25, 2009 20:28
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MrLonghair posted:$49. Don't forget a Keytar strap. It's to hang shawls from.
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Nov 26, 2009 15:39
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Kawaii Five-O posted:Been sleeping on a Rickenbacker 330 for about 2 years now. Finally bit the bullet just now when someone put one up for an even $1,000. I hate you. I have a 620, but it just doesn't compare.
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Nov 28, 2009 00:07
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Every Italian worth his pasta plays a Fratelli Crosio; but will, with gritted teeth, downgrade to a Hohner. Galanti is more like Harmony or Stella. Hth.
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Nov 28, 2009 14:59
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Thumposaurus posted:So basically a student model. I'm ok with that having never touched an accordion before. It's not necessarily bad, and could still be worth quite a penny if old enough, but all top quality accordions made in Italy come from Castelfidardo, just like most German luthier work will be from the Mittenwald region. Musicians are snobs, and always try 'The Best', whether they can do it justice or not. Have fun with your thing.
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Nov 29, 2009 16:59
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Horse Divorce posted:I see I'm not the only one to run my SB7 into distortion. You just set it up like that, or are you going for the screamy sound like I do? I've got an old Boss SYB-3, which is perfect for those of you who like Da Funk and have little money. You see 'em everywhere as trades. They do Bootsy (not so hot), but all the right BO-WOM-BOMP stuff too. Recommended.
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Dec 1, 2009 04:19
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Gripen5 posted:I just got One of these as well. $160 used. Might throw some pictures of it up tonight. You won't need more than the old Boss Blues pedal. It's input-sensitive, I think.
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Dec 2, 2009 01:16
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Carbohydrates posted:Consider yourself lucky that the guy you traded it to didn't trade it on already! Now never let it go again or you'll hate yourself. Yeah, that's a feat all right. And a lovely, lovely guitar.
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Dec 2, 2009 14:13
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Carbohydrates posted:Consider yourself lucky that the guy you traded it to didn't trade it on already! Now never let it go again or you'll hate yourself. Sorry, early morning post. Is that a Yamaha SG2000? Underflow fucked around with this message at 14:17 on Dec 2, 2009 |
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Dec 2, 2009 14:13
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pennywisdom posted:'71 Gibson SG, with some...body modifications. Wow, looks really thick and the horns seem filled some too, no? I knew someone with a Walnut '72 that was chunky, but nowhere near that. You could still use it for rabbit hunting.
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Dec 2, 2009 23:14
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Bobby_Wokkerfella posted:Yeah, thats generally the kinda tone I go for, but I'm still pretty new to effects so I mix them around a fair bit. Lovely.
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Dec 4, 2009 23:34
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Kawaii Five-O posted:New Ric finally showed up today. Wanted a Rickenbacker since I started playing guitar and I think it's somehow exceeded my expectations. Still wish it was a 325, if only I had $2,000 more... No, this one's has more oomph. Enjoy it.
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Dec 4, 2009 23:37
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Side Effects posted:So I've been working on an SG Junior for the better part of four months and now she's ready to be shown: drat, I wish I had that kind of skill. Looks very good indeed.
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May 25, 2011 12:02
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snorch posted:Help goons! I am stuck between choosing whether my next purchase should be: The synth, man. Only so much you can do on a banjo unless you go full throttle on Ye Olde Musicke. And you can probably pick one up anytime in a pawnshop, no? I have an old Roland JX3P which although pretty limited compared to modern gear can still make me piss away hours on sound exploration. Can't imagine that happening on a banjo or mandolin however much I like the tone.
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May 30, 2011 13:37
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Schatten posted:Still haven't gotten around to taking pictures of any new gear in the past few months, especially the zebrawood guitar. Would love to hear soundclips if possible. I've been wondering about those models and would love to replace my lost '64 SG Special. If you do have the time to record something, I'd be most interested in hearing the neck PU and neck/bridge combo through a clean amp or modeller (in which case an AC30 or Twin would be great).
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Jun 20, 2011 16:22
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Deelon posted:Well man, I've got a 50's tribute in Honeyburst. A little different, mainly the pickups being P90s, but I'll have to say it is a KICKASS guitar. Tone to the bone, and I don't know if I got lucky or what, but the sustain is better than any topnotch Les Paul I've ever played. Also loud as hell unplugged. Like he said though, it didn't stay in tune very well until it was setup properly. Then it was golden. Get one. Side Effects posted:I have a 50's tribute in black and everything this man says is true. I pre-ordered it when they were first announced and I am still extremely happy with it, it has to be one of the best LP's I've ever laid my hands on. The only thing I don't like was that Gibson decided to lightly relic the line, but that's just a cosmetic issue. Thanks; I'd better go see if the local shops have picked up on this yet then. My 1964 SG Special had a neck like a club, so I really hope I can find something similar among the Les Paul '50s relics. Don't like slim necks. Already have an equally bat-necked early '00s Special (but with covered humbuckers) that still has the old bridge support anchoring, and my '70s LP Custom with P-90s is a Frankensteined mess - shoddy neck replacement - it doesn't even look like a Gibson anymore. So it's Les Paul time again. They don't do that stupid chipping or rubbing of the finish like Fender's 'roadworns', do they? Just a fade or even no finish is fine by me, but if it comes pre-hosed up I'll just strip off the finish and seal it with clear varnish.
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Jun 22, 2011 09:42
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Side Effects posted:If you are looking for a '50s tribute model with P90's be prepared to pay a little markup. Since they were a limited run they've already seen a 10% increase to resale value; more if you want the Goldtop. Thanks; that settles it then. I'd really like the '50s Goldtop with P-90s and minimal fake wear. Do you know if the feel of the neck is consistent across the line, or should I compare at least half a dozen like it used to be with Gibsons? There's no mega-musicshop in my general area, so choice will be limited - if they have them at all. I usually order gear from the States; much, much better service and often 10x faster than a European mailer who's only a few hundred miles away.
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Jun 22, 2011 10:30
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Side Effects posted:Anecdotally, mine played perfectly right out of the box and only required a little bit of saddle tweaking for better intonation. However, I'd say to try and find one in a store if you can. I've read that the 50s tributes had really good quality control, but it would be best to test drive one anyway just to be sure. I meant neck meatiness. Do you know if that's consistent across the board (for the '50s replicas)? I trust Gibson for a decent basic setup. Have to raise the bridge, lower the pick-ups, and tighten the trussrod anyway, 'cause I like heavy strings and clean output.
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Jun 22, 2011 12:19
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Side Effects posted:Necks are totally consistent from what I've read. Every 50's tribute guitar has the same profile with the same thin matte nitro finish (aside from color, obviously), and I haven't read any reports of someone with a messed up neck on arrival. The 60's tributes on the other hand are a different beast. My friend ordered a 60's tribute SG and it arrived with a fretboard that wasn't wide enough for the neck. Sucked to be him for a week. Great, thanks a lot. Means I can safely bypass Euro channels with their shameful markup and VAT. I'll have it delivered to a small, rich country where I know they don't care about import tax (or the VAT you didn't pay), then shipped here. Had 6 guitars come in from George Gruhn in Nashville that way; never paid a penny extra. Really jonesing for that thing now. Thanks again.
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Jun 22, 2011 14:28
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quote:I guess I was expecting a little much out of a Japanese Fender. Zuhzuhzombie!! posted:Oh, no. You definitely should. In my experience, they have been amazing instruments. Would you tell me what kind of issues you had with it? Thinking of grabbing one for my wife. The Japanese Fenders (all Teles) I've played were impeccable. I still kick myself for the extraordinarily light Telecaster "Custom" - not the '70s model, but the sharp-edged, bound body in sunburst - and the lovely Thinline I sold in a frenzy of Fender hate. I even had the old ashtray bridgecovers for them, as well as the big knobs for the PU switch. Do have one of the first generation of Squiers 'cause I needed something with a trem in a hurry. Replaced the pick-ups with Seymour Duncan (I think) '57 remakes, which gave it a more chunky sound. Lots of bass on the neck PU, and a very workable middle PU for once. Is aging very well too. Maple necks don't get as clammy after hours of playing in my experience. And it's easier to see what you're doing on a dim stage 
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Jun 22, 2011 22:42
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mastur posted:I got a new Daisy Rock off of Amazon for 130 shipped. It was the last one at that price, sorry. Hey, that's as if someone glued a Tele and an SG together. Always wanted a thin hollowbody with the headstock split up like that - half Gibson, half Fender; and a Gretsch Country Gentleman single cutaway body.
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Jun 23, 2011 12:12
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Warcabbit posted:That Fierenze T-90 is effing beautiful. Only 700ish, too. Got a link to him playing it? How's it play? Their Chicagoan with P-90s looks gorgeous too; wish they'd had soundclips for it.
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Jul 8, 2011 10:45
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Caddrel posted:This is from several pages back, but is it possible to fit a bridge guard like that onto an ordinary strat? Yes, it's a simple clip-on. I have one on a '57 sorta clonem because I want the strings to ring out. But they can be used to hold down a mute - or as an emergency ashtray of course. That's what everybody used the old Tele bridge covers for. e: hang on, I don't know if it will fit the American Standard bridge; only ever used it on traditional models
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Jul 13, 2011 16:25
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ethan posted:
Prepare for lifelong ear damage Those things are l o u d.
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Jul 18, 2011 10:50
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Ortazel posted:
That's a lovely instrument and you got drat lucky to find one intact (no hammers missing). Now do yourself a favour and get a 1970's Fender Bassman 100 with the 2x12 cabinet, cause then you're in perfect Rhodes territory for those just about to break up sounds.
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Aug 12, 2011 11:51
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Crud Bonemeal posted:UPS brought this yesterday. I am in love. If you really like it, never ever sell it. I had to let go of a Tennessee Rose a few years ago, and I still think of it everytime I pick up a semi, which is nearly every day. Where's yours made? The Tennessee Rose was made in Japan in the mid-90s, just like Setzer's guitar, and was perfect in all aspects. Never seen quality like that. I've played early '60s Country Gentlemen (one just like yours from '62 I think) that may have sounded just a tad mellower, but were not even in the same league as the Japanese-made, workmanshipwise.
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Sep 15, 2011 14:55
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Crud Bonemeal posted:It was made in Korea. I'm very sorry for your loss I've been curious about the Korean ones. Please let me know if you think it has the right sound and feel. I can't try them out where I live.
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Sep 15, 2011 15:58
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Manky posted:Crossposting from the Rondo thread, my Agile 3000 came today: I only see people posting these Agile Les Pauls, not other models. Is the LP copy particularly good? My LP Custom is falling apart and I could use a cheap replacement if it sounds the part.
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Sep 27, 2011 13:42
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Manky posted:Back in February I posted my Agile Harm! drat, I had no idea. That should do the job then; thanks for the read.
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Sep 28, 2011 12:44
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Very nice man. I have a regular 620; those things are crazy versatile. Flatwounds work very well for Rick 12-strings btw; better balancing between wound and plain strings, and you'll only have to change them once a year if you keep them clean after playing. And if you want to go super-jangle, stringing a plain G in unisono is gonna cut through absolutely everything. What electric 12 were you playing before?
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Nov 8, 2011 10:47
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Slow Graffiti posted:I’ve been reading really good things on the RickResource forums about the Thomastik Flatwound set that Pick of the Ricks sells. They’re pretty steep at $34.49, but I think I’m going to have to pick up a set and give them a try. Yes, they say the TI's have just the right kind of tension for a Rick, and they're a well respected brand overall. The unisono G sounds best (in my experience) as a double plain .20. I like that 360 of yours too, btw. Is that an older one with the 22 fret neck? I wish they'd still make those for the 330/360. The 24 fret necks somehow look a bit out of proportion.
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Nov 8, 2011 19:40
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