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Br1ck

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About Br1ck

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  1. I bought an SM 81 for my home studio, then another I liked them so much. Best mic purchase ever. Rode NT2 is my vocal mic, but it works for acoustic instruments too. SM 57s and 58s are for live. My 57s don't have the detail for acoustic instruments, but if I were going to have only one mic, you really can't go wrong.
  2. Gryphon in Palo Alto was for decades a Gibson dealer. They sold a lot of mandolins, archtops, and banjos, mostly the high end instruments. Must have been fifteen years ago Gibson started telling them they had to sell Epiphones to get the L5s they could sell. The boutique guitar builders were coming on strong, and Collings were building very good mandolins so Gryphon parted ways with them. Fast forward to a year or so ago and there they were, ten or twelve Gibsons. I told Frank I thought I'd never see the day. He said neither did we. Six months later, no more Gibsons, so it didn't last. The so called preferred dealer can't get J 45s or J 45 vintages regularly, but they have to take every special edition that comes along. Can't get a regular J 200 either, but they had the Bob Dylan uber expensive one. And this is a place that can actually sell Les Pauls and Epiphone electrics. Hopefully Gibson will get sold off to someone who cares about their history and wants a partnership with their dealers.
  3. I stand corrected. The guitar in every other Mandolin Orange video I've seen is the one he built with a friend. There's an explanation of that guitar in one of the interviews. I've been a fan for a long time. That vid is a pretty early clip. He's been playing more mandolin lately, and I'm sure as they become more successful, they will indulge their instrument fantasies. He's been buying some nice mandolins recently.
  4. Sorry Gibson lovers, Andrew's guitar was made by he and a friend before Mandolin Orange became well known.
  5. Any of my four guitars with Dazzo pickups sound great. Guitar through a RedEye to board or amp. Why? Each guitar was matched to the correct pickup frequency response. No EQ necessary. If I had to rank them it would be: 65 Epiphone Texan with a 60/70 Dazzo pickup set 70 Guild D35 with a 70/70 set Martin 00 15 custom 12 fret with an 80/70 set Pono OP 30 with a 90 set Pono OP12-30 with a 90/80 set 100=bassiest 70 least bassy The Ponos are parlors so get the hyped bass pickups. I mic my Martin M36 with the Lyric. Horrible pickup in comparison.
  6. If you like the sound coming out of your guitar, you will like the RedEye. If the sound coming out of your guitar sucks, you will not. I use Dazzo pickups in every guitar I have. The pickup frequency response is tailored to each guitar so what comes out just needs clean linear boost and impedance matching. The RedEye does this as good or better than most. It does have a treble control. If you have to EQ the hell out of your pickups to get anything close to a usable tone, you will hate the Redeye. The key, right from the designer's mouth is the linear nature of the pre. Most preamps have crappy gain sections that need lots of EQ. The RedEye excels at matching impedance to smooth out a piezo's harshness. As far as open mics go, no one gets the time to do any EQ tweaking anyway, so you need to like what is coming out of the guitar. If you do, the RedEye is great. If all you get is a quarter inch jack, you can use the effects out to the PA, though the sound won't be as good as using the XLR output. Nifty LED that lights up when you plug in to show you have battery life, and it can be powered by phantom power through the XLR. I don't leave home without mine.
  7. I have no doubt the guitar sent back didn't sound good to the OP. The J45v I played was wonderful, the only new Gibson that has come close to the sound of the old ones. I also would set no store by having a machine validate my ears. I have a friend who continues to rail about the intonation on all his guitars being off since he got a really good tuner. He somehow does not understand how much of a compromise fretted instruments are, and expects every note on every fret to be spot on. Was even more perplexed when I told him how flat I tune every string on my guitar, to varying degrees, as much as 12 cents. I also asked a very good shop where the guitars they sent back go to. His answer was to big box online retailers.
  8. IMHO, the best new Gibson made. The one I played came in a very close second to the 65 Epi Texan I ended up buying.
  9. When I finalized my decision to buy a 60s era Gibson, I found a shop that had 4 different J 45s of that vintage. They decided on weather to replace the adjustable saddle based on each guitar's sound. Two of the four got the saddles replaced. They were the two I thought were not very good sounding guitars. I liked the adj saddles better, and when I spotted my Epi Texan, I liked that the best of the bunch. Makes no logical sense to have all the hardware, but I'm not changing anything.
  10. That is one great sounding guitar. I'm very hesitant to touch the adj bridge on my 65 Epi Texan, but you have me thinking. What difference do you hear?
  11. The deal is, my 65 Texan was an inexpensive alternative to the banner J 45 I really wanted. Fantastic guitars.
  12. Just for fun, try to play some older J 45s. My 65 Epi Texan which has a J 50 body, is much thumpier and dryer than all the newer Gibsons I played when I was on the hunt. You need to find a few because they vary all over the place.
  13. Heck, just get the RedEye. Best box I ever bought.
  14. I went on a Gibson quest after playing a banner. I just preyed I could find a new Gibson with THAT SOUND. Alas, you can't, but the new J 45 vintage was the most vintage sounding new Gibson I tried. All the New Gibsons are very good sounding guitars. Once I was committed to spending $3500, and I was quoted that by a retailer, I went looking for what that would get me in a vintage Gibson. 60s J 45s are bringing $3000-3500 in good guitar shops. I found a shop with four 60s J 45s and a 42 J 35. The J 35 was exactly what I wanted at twice what I could afford. The 60s J 45s ranged from very good to meh. Then across the room, hanging with some Chinese Epiphones was my 65 Texan. It had a good 85% of the banner tone I was looking for. But back to the new J 45 vintage. Easily to me, the best of the new Gibsons. Really good guitars, just not quite as dry and thumpy as old wood, but scary close. The subtle burst is because of the darkened torrified top. Honorable mention goes to a Sheryl Crow I played.
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