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jonnyg

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jonnyg last won the day on September 13 2010

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  1. That's not an S-Series guitar it's an EM1 Rebel. They were made from the early to late 90s and were quite high quality. Alder body, maple neck with rosewood fingerboard. Unusual switching system with pretty much any combination of humbucker/single coil tones. Quite a rarity to see one.
  2. It's a FAT210 made between 1999 and 2004. They were pretty much the same spec as a similar low to mid range Squier Strat. They were preceeded by the S-210 1996-98 which was exactly the same guitar except for having a single coil in the bridge position. The FAT-210 was just one of a whole range of S-xxx type guitars from the S-200 up to the S-900 made between approx 1986 to 2004. Most had the droopy/pointy headstocks so popular in their day. There was also a T-xxx range which were obviously based on the Telecaster.
  3. Hi

    I am a fragile and tender woman who needs a strong and reliable, SEXsexual partner.

    My photo hеrе https://sex-gibson.tumblr.com

    Kisses Jonnyg

  4. And you do it very well. That tune of yours 'Then You' (is it yours?) has a really great feel to it. It's crying out for a great lyric.
  5. Looks like a mid 60s Crestwood Deluxe with the 'wrong' headstock and a varitone. Does nothing for me, particularly in white. I'm still waiting for the dog ear P90 Coronet that was rumoured to be in the pipeline as long ago as 2008. Given that the body and neck were identical to the '66 Wilshire reissue (a great guitar that I bought immediately) I'm surprised the Coronet never turned up. Epiphone released a picture of one but that was as far as it got.
  6. Not only seen, Jeffery, but actually once owned. The guitar was a MIJ Telecaster with a 'Photo Flame' finish and very good it looked too. Looked good, played good and sounded like ****. Worst Telecaster I ever owned, and I only owned it because a friend needed cash in a hurry. I'm not a wood snob but I think they were made of basswood. I haven't had good experiences with basswood as it seems to be lacking in high end frequency, has little sustain and dents even if you look at it hard. Other opinions are available of course, and I expect there are various qualities of basswood, but I avoid it where possible. But looks wise, stunning and easily repeatable because they only ever have to find one piece of stunning flamed wood to photograph.
  7. Like I said initially, it's just my opinion. What you say is fair comment with the exception that I thought the original idea of neck binding was to cover the end of the frets and eliminate any sharp ends. If people are happy with the way things are done now then it's their choice, their decision and their money. My own preference is for guitars with less time and money spent on decoration and more time and money put into the frets, nut, components and general setup. However, if we all liked the same thing it would be a very boring world.
  8. Just my opinion, but I don't see the point of bound necks the way it's done on low to middle range guitars these days. I could see the point when the binding covered the fret ends like Gibson etc still do, and as my early 80's Riviera and an old Antoria ES175 have, but the way it's done now with the frets over the binding just seems pointless. Other than for decoration I don't see that it serves any purpose.
  9. They're also (currently) available at Andertons in Guildford. From their site they have in stock - 6 natural, 5 sunburst, 5 cherry without trem and 6 cherry with trem. All the non trem models are £599.00 and the trem model is £629.00. No sign of the Sorrento that I'm waiting for unfortunately.
  10. I use the low end Live Intro for some things. I like the quick and easy clips method for making up some drum or bass tracks and it is very stable. However, I did find the mixing process less than satisfactory which is why I switched to Reaper as my main DAW. There's room for both Reaper and Live in my setup though as the strengths of one makes up for the weakness of the other.
  11. I don't know if the OP resolved the hum but part of the reason was probably the total junk electronics fitted. I have the older (almost identical) model that was just called the "Chet Atkins" and I ripped all of the pre amp etc out and replaced it with something that worked. It sounds better and there's no hum. The models with the shoulder mount pots/knobs seem to be the worst of the bunch but they are mostly fitted with passive under saddle pickups which work fine without a pre amp. It's a shame the electrics were so poor because it's a good looking, well playing guitar. As for sizes, mine measures Lower Bout = 14 1/4" Upper Bout = 10 1/4" (across the cutaway) Body Length = 19 3/4"
  12. Hey FredD I started out on a Ferrograph too, although I started in the early 70's with the stereo, Dolby equipped 702D. Great machine, built like a tank compared to a Revox and weighed about as much as a tank too. Cost me 20 full weeks wages but worth every penny. I've still got some old cassette mixdowns from that machine and they sound much livlier than the digital recordings I do now.
  13. BentonC tells you no lie there spacealf. There's so much free stuff out there that you probably couldn't try it all in a lifetime. It's definitely worth trying some of the reverbs, EQ's and compressors. A lot of them are as good or better than the paid for versions. Obviously virtual instruments are going to require some keyboard or MIDI programming skills but FX is just knob twiddling. Then there are the drum plugins. I've yet to hear a standalone drum machine at ten times the price that comes close to the $30.00 (currently) BFD Eco, and there are even ways of getting a comparable, multi-sample/multi-velocity kit for free. I'm still running XP 32Bit and there's no problem at all. If you ever get interested, KVR Audio, although far from the only place, is a good place to start looking > http://www.kvraudio.com/q.php or just Google best free reverb/EQ/compressor vst (whatever you're looking for). It's a slippery slope though, and you do have to keep in mind that you're there to make music not audition plugins.
  14. You shouldn't have any more noise problems with a cardioid pattern condenser than you do with an SM58, especially if you team it up with a noise gate plug-in. Not that there's anything wrong with using the '58. I often prefer to use one if I want a slightly thicker, "shouty" or different lead vocal or for backing vocals etc and some of my friends wouldn't use anything else. Just saying a condenser shouldn't be a problem.
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