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garyelcrrt1281733995

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About garyelcrrt1281733995

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  1. You even beat Heinz! They only had 57 varieties.
  2. I couldn't remember. Thanks for making me sit down and put together the list. I never want to take the time to update it. 4 acoustics Dreadnaught Gypsy Classical Archtop 9 Epiphones Riviera Dot Studio LP Junior (apart for mod's) LP Junior (Lil Christian) LP Standard G-400 Elitist Byrdland Elitist Riviera 12-string EB-0 Bass 4 Gibsons SG, Junior Blueshawk ES-137 Billie Joe Armstrong LP Junior 1 Fender Telecaster 1 Gretsch G5235 Electromatic Corvette 2 Jay Tursers Strat copy Resonator 1 Olympia Electric Papoose 1 Stealth Oscar Signature 1 Jazzmaster copy (under construction) ____ 24 guitars 1 Vox BM-1 w/2x8 Celestions 1 Vox BM-1 w/Eminence 10" Delta Demon 1 Fender Jazzmaster w/1x12 Jensen 1 Fender Pro Junior (Celestion MD Series 12") 1 Fender Frontman 15B 1 Marshall VT65R (Sammi speaker) 1 Epiphone Valve Junior Head w/1x12 Celestion Goldback 1 Blackheart Head w/Genz Benz 1x12 Eminence Private Jack 1 Vox AD120VTH w/2x12 Vox/Celestion Neodog 1 Frenzel 5E1BF w/2x12 Eminence Cannabis Rex/Lady Luck ____ 10 amps 1 Boss SD-1 1 Boss CS-3 1 Boss BD-2 (Keely mod.) 1 Snarling Dogs Blue Doo 1 Digitec RP-50 1 Jamman Looper 1 Vox VS-4 Floor Control ____ 7 pedals
  3. Yeah, CB, I used to get customers at the dealership again and again, complaining of the bad stereo in their new cars. Every single one of them had a blown speaker and had every control maxed. No headroom left for dynamics at all, and the capper is that I would invariably find one of two kinds of music -- thump-thump rap, or thrash. How could anyone expect their gear to deal with the sudden volume changes when its already running as hard as it can? But, to stay on topic... My (modified) Riviera REALLY likes this new boutique amp with the EL34. (I'm still upset the builder could even let me know about production delays, but I gotta tel ya, I like this amp!) I've got it set right now with the neck pickup just barely gritty on clean, middle position, tone rolled back to about 5-7 and it just gets all kind of deliciously crunchy rhythm. When I boost it a touch through a Snarling Dogs Blue Doo, it goes racous, wild and woolly as any fan of '60s boogie could want.
  4. I bought a guitar which I kept under the bed, next to my checkbook, where it would be safe. Every nine or so weeks since then, a new litter of guitars appears, and any noticeable swelling in my checkbook disappears. I knew you couldn't trust banks, but I thought this was carrying a "good thing" just a little to far...
  5. Can you set it up to do a A/B between the 1x12 and the 2x12? If you can (and even if you can't) the difference is bigger than it might seem. Its not really LOUDER, its cleaner, crisper, better transients, less muddy, more articulate... Well, you get my drift! Also, you can mix and match, picking up some of each speakers characteristics. My favorite setup right now is a 2x12 Eminence Cannabis Rex/Lady Luck with a 1x12 extension cab running a Celestion Goldback on top. Smooth, gritty and clean on tap any time I want. BTW, both the Blackheart and the VJH are more than powerful enough to need an attenuator to run at anything at or above 10 o'clock on the volume, but may not be quite enough for a gig (I don't think they will keep up with a 100w Marshall stack, for instance -- but they are easily as loud as any SS amp up to probably 25-30w rating). Have you considered buying the 1x12, and adding an extension cabinet sometime later if you need it?
  6. Write letters to VP, Marketing VP, Customer Relations They don't have anything else to do, and would probably welcome the opportunity to task their staffs with it, anyway. No one on the forum has any info, insider or otherwise, that could be taken as official (unless noted as from the moderators) -- and unless this is a "man in the street" project, your professor would probably prefer you do the legwork and get actual "real" data.
  7. I hope Epiphone (and the rest, for that matter) concentrate on original design. The only part of the market open to "copycats" are the bottom end, or top end. Nothing in between, because Fender owns it. If the Elitist line were expanded in this direction, might do some good.
  8. The Korean Peerless factory is still making them, as well as any other body type they've ever made successfully for anyone else... http://www.peerlessguitars.com/e_shop/shop/index.php?page=view_item&class_id=,2,8,&item_id=24
  9. Play her 12 bars of "Lost Borg Boogie" and tell her resistance is futile!
  10. Everything affects tone. I've been playing this past week with a new head, 3 old heads and half a dozen different speakers, and probably 12 or 13 guitars, doing nothing but listening to changes in tone. Here is what I learned. a. It starts with the hands. b. Pickups establish the basic tone and the range of tones. c. Amps do just that, make things LOUDER - and each amp works better within its own tonal envelope. d. Speakers do the talking. That's all. Relaxed, flowing hands make pleasant music; tight, clenched fists don't. Pickups should fit the music, but you can play Ride of the Valkyries on a pedal steel and it will only sound "country" if that's the way the picker plays it. Same thing as with pickups, this one or that one may have a particular emphasis that I, personally, like; but you'll still recognize the Star Spangled Banner with or without OD. And, finally, if your speaker produces tones that all sound like doggy doo... So, this is all new theory to me, you know. Probably only known by everybody but me; here goes... Assuming a guitarist has sufficient knowledge of where (and when) the fingers go, practice, practice, practice. I was using one little riff of Clapton's over and over and over, changing speakers, tone knobs, volume, etc. etc. trying to both learn a new amp and comparing it to the Blackheart (and I've only had it about 4 months). Anyway, I accidentally duplicated a setting and found my notes showed a completely different finding. Went back and checked, everything physically the same, but the tone was very very different. Finally realized that I was getting upset and my body tension was rising. That caused my hands to clench on the neck and the sound went back to crap. Not subtle at all! The more you can play without thinking about it, the better you play. I found I can get decent jazz, rock and blues tones from any pickup, in any guitar, from any amp - so long as I take requisite care in adjusting the tone for the song. Its much easier with pickups (and amps) with a tonal palette that matches the song, but it can be done. That tells me pickups and amps, important as they are, aren't as important as the hands. I have stock and replacement speakers, in 6/8/10/12 inch sizes, in single and twin enclosures, that range from Vox/Celestion Neodogs (an incredibly accurate speaker, but needs a really reactive amp or they can sound sterile) to Marshall/Celestion MD series, and Eminence speakers of all kinds. Conclusion? Some speakers are just crap, others only sound good with particular amps, and still others make you smile from the first note. Find a speaker that pleases you and work backwards from there. The Great Grin From Within survives; and you'll know when you find it. Hey, that's mojo!
  11. I thought 13's Pinnochio smiley face meant his statement was a deliberate lie, in other words...a joke. He's not ALL bad, TheX. I've noted that he has moved from "being" trying, to just "being". And this shows a sense of humor that absolutely MUST be guided if it's to be subtle, ferocious, understated, overpowering, classy, folksy, pointed, blunt as a 2x4 and yet, above all...funny! Come on, props where due and all that.
  12. You don't need a separate program to rotate in Windows -- use explorer to bring up the file, double click and it goes to a built-in viewer with several options (including rotate) at the bottom.
  13. Welcome (and thanks for the excuse to post a picture of my own Riv-12)
  14. Perhaps 13 is right...The heavy thickness of the paper label is bound to dampen sustain by robbing body vibrations, so naturally sustain will be affected, at the very least, by the position of the label! Move it up and down the neck, like a slide, and see what changes. Alternatively, I doubt that the type or color of ink on the label has any effect on tone...unless it clashes with the finish and upsets the guitar.
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