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When did you convert?


Izzy

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The older I get the more I like solid state amps, foot pedals can do wonders for them and you don't need a chiropractor every time you lift them.

 

For the places we're "allowed" to play, around here anymore, ALL my other (tube) amps, are too big/loud, at their "sweet spots," so I have to use a pedal, to get any kind of "fuller" tone, anyway.

 

I just can't abide the tone. I know the audience doesn't care/notice, but I do. So I've gone back to my small tube combos. Champ, Princeton, or Deluxe depending on the size of the place. All tube (though I still use pedals) and I get that warm clean tube tone - and they are pretty light to carry too.

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After buying my grand-daughter an acoustic guitar for Christmas 2011, my grandson (younger) decided he wanted an electric guitar for Christmas 2012. At that point I'd only owned Gibson electrics, but wasn't about to lay out that kind of money on a first guitar for a 6 year old. I considered some Epiphone models, along with some other brands. After doing some research, I ended up buying him an Ltd (ESP) Viper 50 (Chinese made SG body style) in silver burst for $149.00 USD after some price matching.

 

I was so impressed with the quality control for such an inexpensive guitar, I looked at Ltd models when I started playing more bass and needed to upgrade my bass rig without breaking the bank. I ended up buying an Ltd B-4E bass (Indonesian made, 4 string, mahogany body, neck thru, ebony top, 24 fret ebony fretboard, satin finish). A very nice, well built bass for the price ($499.99 street price) in 2014.

 

And when I decided to add a 7 string and did my due diligence, I ended up buying an Ltd H-7 2015 40th Anniversary model (Korean made, Super Strat body style, mahogany body, quilted maple top, 24 fret ebony fretboard and satin finish) with the 7 string version of the EMG 57/66 pickups (my first guitar with active pickups. They work very well with the low B string. I won't be selling this one anytime soon. Only 200 made worldwide.

 

And finally in December 2015, I won an Ltd MH-100 QMNT as a prize (street price was $349.00 USD) It's a B-stock with limited flame to the quilted maple top and has some minor finishing flaws on the headstock. But for free, I'm not complaining one bit. I still have it with no desire to sell it.

 

Right now I'm looking at 5 or 6 string basses. While I'm considering some Ltd models, I'm leaning toward some Schecter models. The prices are comparable and Ltd and Schecter use many of the same overseas factories with comparable quality control, but with basses Schecter tends to have better electronics and hardware for the same money.

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I just can't abide the tone. I know the audience doesn't care/notice, but I do. So I've gone back to my small tube combos. Champ, Princeton, or Deluxe depending on the size of the place. All tube (though I still use pedals) and I get that warm clean tube tone - and they are pretty light to carry too.

 

 

I understand! But, when you get yelled at, STILL, using a Blues Jr., for being "Too Friggin' Loud," one has to wonder.

The Blues Jr. is plenty loud, and sweet sounding, but "too Loud" for bars and small clubs???! WTH??? One place, we used

to play, regularly, told us the last time we inquired, that they'd have us play, but it had to be "unplugged" acoustic!

Now, I don't mind "unplugged," but it's really NOT the same. The new owner's logic was, that his patrons wanted to talk

to one another, in a "normal" conversation voice, without raising it, or yelling. I thought to myself, WHY?...they never

talk to one another, these days...they text. And, they can do that, at any volume! He just didn't (really) want any

"Rock & Roll" or even any "Live" music, IMHO. The "unplugged" requirement pretty much guarantees he'll get what he wants.

 

"C'est La Vie!" I'm hearing this a LOT, nowadays, from other musicians, even in the closest city (Wichita). A lot of

really good musicians, especially those my age, or even younger, are "retiring" entirely, from playing "out!" [unsure]

 

CB

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I understand! But, when you get yelled at, STILL, using a Blues Jr., for being "Too Friggin' Loud," one has to wonder. The Blues Jr. is plenty loud, and sweet sounding, but "too Loud" for bars and small clubs???! WTH???

 

Oh, I always use an attenuator with the Deluxe or Princeton. Always. Let's me put the sound of the amp where I want it and adjust the volume to the club (or club owner's) preference.

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I may go the "Plexi" baffle route, first? See if that works? [biggrin]

 

 

CB

 

They help a bit. Pretty easy to make too. I got the plexi sheets, plastic hinges, and glue on Amazon for about $30 to make one that would cost $80 retail already made. However, it just deflects the sound (which has to go somewhere). Works in big rooms where you are far away from the audience, but but not in small rooms. At least that's been my experience. Mine is just sitting in the garage now. Shame it would cost so much to ship or you could just try mine.

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They help a bit. Pretty easy to make too. I got the plexi sheets, plastic hinges, and glue on Amazon for about $30 to make one that would cost $80 retail already made. However, it just deflects the sound (which has to go somewhere). Works in big rooms where you are far away from the audience, but but not in small rooms. At least that's been my experience. Mine is just sitting in the garage now. Shame it would cost so much to ship or you could just try mine.

 

 

Yeah, I think I like the dispersal, they provide, while taking away the direct "in your face" speaker volume at the audience. Which,

in my experience, seems to be what most bar/small club owners complain or hear complaints, from patrons, about. It

doesn't seem to be (necessarily) the overall volume, as much as what comes out, directly, to the patrons. In the

"Good Old Days" we used to turn our "closed back" amps toward the wall, to be able to use the "sweet spot," without

making the ears bleed, for the audience/dancers. It was still "way loud," but not as pointed=ear piercing, as the

speakers directly facing folks. And, in some situation, I can still do that! But, I want to at least try the baffling.

 

Addition: I just saw a segment on gear used, by Tedeschi Trucks band, and Derek's tech was talking

about their faithful use of adjustable voltage regulators, on the road, as specific amps actually

run better as different voltages. Some need 110, other's work better at 115-120, and the venues

all vary, as to actual voltage, compared to what's spec'd...I.E., 110 isn't always 110, and can

vary. So, they always used the adjustable voltage regulators between the venue power source(s),

and their amps.

 

"Always Something!" [biggrin]

 

 

CB

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Addition: I just saw a segment on gear used, by Tedeschi Trucks band, and Derek's tech was talking

about their faithful use of adjustable voltage regulators, on the road, as specific amps actually

run better as different voltages. Some need 110, other's work better at 115-120, and the venues

all vary, as to actual voltage, compared to what's spec'd...I.E., 110 isn't always 110, and can

vary. So, they always used the adjustable voltage regulators between the venue power source(s),

and their amps.

 

"Always Something!" [biggrin]

 

 

CB

 

These are very good if you have an amp that likes a specific voltage - especially valuable vintage amps. A friend of mine always uses a Variac on tour so that he can send his vintage Marshall plexi head exactly 115 volts. Doesn't make much difference to the volume but it can affect the tone if the voltage is less than optimal for sure.

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When did you convert?

 

I look at it more like evolution. Survival of the fittest guitars. Sometimes a few fine guitar species will sacrifice themselves to enable a superior species to emerge....

 

gfj350.jpg

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