ginandcigarettes

And what the hell does any band need 10 B3s for? I wonder if the numbers were slightly exaggerated.

Hell, if I could get 10 B3 organs, I would. I wonder if it isn't the model that's misidentified. I know that they were touring with an A100.

A100s run somewhere around $2k to $5k. Hammond M3s, which also have tonewheels and drawbars, run about $200 to $500.

Honestly, just because the guy doenst want a 5 watt amp doesnt make him an asshole. Maybe he's in a band with a loud drummer - 5 watts ain't gonna cut it.

 

Besides, the "dumb" kids all want 100W Mashall solid state stacks. A 10-15 watt tube combo is a pretty wise purchasing decision at any age IMO.

I'm with John. Just about all of us play tube combos in the 15-30 watt range, and very few of us would trade those amps for 5 watt numbers. In fact, BolivarBaLues was just talking in another post about he really loved the sound of a 50 watt amp and was considering trading his 30 watt amp for one.

The truth is, even if we suceeded in browbeating AlistorTheGreat into buying a 5 watt amp, in a few years he'd just want to get a bigger amp with a few more options, more headroom, or something that just sounded better to his ears. Why not just let him get that amp now?

By the way, being born in the 90's doesn't bother me. Being born in the 80's and talking about people being born in the 90's bothers me.

Great job. The Bminsus2 (which you did address in the end) is definitely necessary. But I can't get the picking pattern quite right. I just pull-off hammer-on the D/C# on the second string when it sounds right to me. Thanks again. I only started playing around with a capo recently so figuring out that there was one and what fret it goes on without seeing it played would have taken me forever.

No problem. I'll take a listen to the Bsus2, Bm part and see what I can come up with, but from what I can remember it was a little difficult to transcribe because I had a hard time picking out what was the lick and what was the other guitar behind it. Also, I'm not positive but I think it changes around slightly each time. At that point, laziness took over. Warm, comforting laziness.

Yeah, I played around with the capo in a couple of different positions, 2nd, 5th, 7th, and 5th fret just made everything else easier to play. I could be completely wrong as I've never seen them play this song live, but, at the very least, it sounds okay.

Cheers

I refuse to buy a trans-tube solid-state piece-of-shit.

 

I'll probably end up getting the Pro Jr, as my family really doesn't care now that I think about it.

Hmm... solid state amps tend to get a bad rap and while I mostly agree (seeing as how all of my amps are tube except for a JC-120 for my Rhodes), I don't believe that solid state is that bad. Gang of Four and the Buzzcocks both used solid state amps and I think they sound great (though they sound different from tube amps). Modelling technology has come a long way and Line6 amps made an appearance on Summerteeth (pick out which guitar parts aren't played through a tube amp -- even if you could, would it matter?).

Anyway, most of us will put a whole mess of completely solid state pedals in front of our amps. Our amps might have tube pre- and power-amps, but most usually have a solid state rectifier (including the Peavey Classic 30 and 50 and Fender Pro Junior and Blues Junior) and solid state reverb buffer and effects loop driver. My point is there are a lot of things between the miniature voltage induced at your guitar pickup and the vibration of the speaker that are solid state. Whether any of these things make a difference is completely up to your ear.

Anything over 20-25 watts is simply too loud for the music I like to play. Besides, I could not turn a 40 watt amp up enough to open up the tubes, without my family killing me. Thank you for the help, though

The truth is, even with a small amp, you're going to have to turn it up way too much for bedroom practice before you start to get power tube breakup. It'll breakup sooner (at lower volumes than larger amps) but I've never turned my pro-junior up loud enough to have it breakup and still not rattle the walls of the apartment building next to me.

Beyond the way they sound you probably won't notice a difference in loudness between a 20 watt and a 50 watt amp. This is because you have to increase wattage 10 fold before you get a doubling in perceived volume. So the 8 watt pro-junior is only half as loud as an 80 watt amp, ceteris paribus. Also, this means that a 22 watt deluxe reverb is only marginally louder than the pro junior (though a lot heavier and better tone, I think).

guitarnuts.com

BolivarBaLues is right that you have a lot of options for your price range if you include used equipment. If you're just looking for something to practice with, you could look at something like the Line6's POD and a set of headphones. I use something like this for home practice and a deluxe reverb reissue for gigs.

If you're looking for an amp to gig with and not something just for home practice, something in the 20 to 50 watt range would serve you best. All of which have a volume control that goes to 1.

Thanks, Froggie and John. I got nice and smashed the night it happened and the room didn't stop spinning completely until 4:00 or so the next day. You know, they tell you alcohol numbs the pain but you don't fully believe it until you're lying on the floor because you're not sure if your legs are still attached to your body.

House was a rerun last night and my girlfriend dumped me, so I had a bit of time to take a stab at this one. You know, before I got drunk and fell down. Here's my go for the intro:

1..+.....+.....+.....+.....2..+.....+.....+.....+......

e--------------------0-----|--0--------------0--------|

B-----2--------------2-----|--3--------3-p2-----------|

G--------2-----4-----------|--------4-----------2-----|

D--------------------------|--------------------------|

A--------------------------|--------------------------|

E--------------------------|--------------------------|

3..+.....+.....+.....+.....4..+.....+.....+.....+......

e--2--------2-----------2--|-----------2--------------|

B--3--------------3--------|-----3--------------------|

G--4-----4-----------4-----|--------2--------2--------|

D--------------------------|--4-----------------4-----|

A--------------------------|--------------------------|

E--------------------------|--------------------------|

This is, of course, guitar tab as I don't know how to play banjo (though I've played a banjitar before) I'm sure those of us adept with the banjo can transfer this over.

I got the drunkest I've gotten since college last night on a Manhattan, and a couple of er... vodka and root beers (this story, while decidedly not cool, would be marginally cooler if I had been drinking something more adult).

The night before, rum and cokes and then some pinot noir.

Indeed it does. Thanks!

No problem. Cheers!

It sounds like this is an accepted way of wiring up Les Pauls, but it can be easily changed to how you like it. In other words, your tech didn't screw up, but you can probably get him or her to switch it around for free:

From the Stew-Mac website:

Les Paul wiring diagram

This wiring setup is considered the standard for Gibson-style instruments. It utilizes a separate volume and tone control for each pickup. The "middle" position of the pickup selector switch doesn't allow you to individually control the two pickups' volumes. If you have turned down the neck pickup's volume to "5" and then go to the middle position, both pickups will be at "5".

 

You can alter this or any other dual volume control instrument to allow you to separately control volume when both pickups are active. Simply reverse the input and output wires on the volume pots. Then, the volume control of one pickup won't affect the other.

 

It is not possible to make the tone controls work independently in the middle position. Since the tone controls work by bleeding part of the signal to ground, and ground is shared, they cannot be isolated.

 

When wiring the long runs (i.e. from the volume to the jack), use shielded or coaxial wire. Coaxial cable is like the cable used between the guitar and an amp. The outer braid is ground and it shields the inner "hot" wire. In the Les Paul diagram below, the thick wires represent coax wire. Use non-shielded wire for connections between pots and other small jumpers. Generally, the white wire is used for "hot" connections and the black is for "ground" wires.

 

I hope this helps!

Had to dig through the archives for this one...

 

 

 

Awesome tab, btw.

Hahahahahaha that's awesome.

Thanks!

It sounds like Jeff

Zach says the pedal HAS to go first in your signal chain.

I dunno. I mean, I'm sure he says that, but I don't know how much you have to listen to that. My Vexter doesn't seem to care where it goes in the chain (though it sounds different after different things as we would expect any pedal to do), unlike my Fulltone '70 which really misbehaves (mostly unholy screeching) when it is placed after something (though this isn't a problem so much now that I power everything with a Voodoo Labs Pedal Power 2+, hmmm...). Anyway, it doesn't seem like Nels puts his Fuzz Factory first. Though, it's not immediately clear to me what exactly does come first.

Anyhoo, it's worth a shot if you haven't tried it out already.

Other things worth a shot:

(1) New adapter (though, I wouldn't worry about the 2 or 3 mm of exposed barrel)

(2) Verify adapter voltage, amperage, and polarity are right for your pedal

(3) Try it with nothing in the chain (guitar -> Fuzz Factory -> amp)

(4) Prayer

(5) Wish it into the corn field

(6) Declare it an evil-doer, bomb it, realize that it still doesn't work, declare that it is working.

If you still have the battery clip and insist on an adapter, you can try the One-Spot or Godlyke power supplies with the 9v battery clip thingee.

Hey man, I can see now that this was all just a misunderstanding. I just wasn't sure how to react, but now I see. Thanks for responding when most would've probably re-flamed. Anyway, good work on the tab, I'm going to try it later today, but from the looks of it I think it's a lot better now.

Hey, thanks, buddy. Yeah, the sarcasm can get pretty thick around here. Thanks for keeping me honest (I was a little kind to myself when I claimed 67% accuracy). I would have probably never corrected my mistakes without your push, so thanks for that. Anyway, try out the tab, see if it agrees with you. If it doesn't, post a correction or say what sounds wrong -- we'll get the whole thing tabbed right eventually.

Cheers

I'm with Groo. How the heck can I play it??

Here we go:

Well, I took another look and listen last night and came to the conclusion that I was about 67% right. (1) The tuning was, in my estimation, right -- Open Bb (low to high Bb F Bb F Bb D) -- I tried a bunch of other tunings and this one seemed to match up the best. (2) The chord names were right (ignoring whether to write chords as they sound or as they function). (3) The voicings were not correct. I think I was fooled by just how fricking loud Jay Bennett

I think we should both just spend our time positively and figure the song out, not ways to try and attack one another. I'm sorry if I upset you.

Apparently, you're not used to my sense of humor, which is to say you are part of 99.999% of humanity (add more 9's at your leisure). No offense was taken, nor was any meant. My letter was a long exercise in entertaining myself in public as I am wont to do, while simultaneously avoiding real work, also as I am wont to do (much as I am doing right now).

I may be in the wrong by saying this, but I think you're taking some of this a little too seriously

This might be the funniest thing I have ever heard (at least today... you know, not uttered by me... ). As far as taking things too seriously, you have stumbled onto my middle name (phrase?), but again, I'm just having fun (I choose to ignore the distinction between seriousness and fun much as I ignore the distinction between entertainment and intellectual masturbation). I generally take everything too seriously, starting with myself and ending somewhere in the debate between spaceship Voltron and lion Voltron.

The desired reaction to my post is general head-shaking along with a chuckle and the utterance of the phrase "ginandcigarettes, stop being such a f#ckwad." But I'll settle for an exasperated sigh and the omission of anthrax being mailed to my home. No worries, we can have a beer later?

The point is, we both knew what we were talking about

I rarely know what I'm talking about.

My head is spinning.

You're experiencing what is known as the "ginandcigarettes effect," wherein massive amounts of information obscure the dawning realization that I have absolutely no idea what the hell I'm talking about.

Oh, I'm pissy all of the time.

Anyhoo, I'm perfectly open to being quite wrong about this as I spent all of 15 minutes doing the most rudimentary transcription possible (most of this time was spent tuning my guitar to open C and then to open Bb when I realized that it was not in open C despite what Jeff Tweedy said in the director's commentary).

WARNING: Long, painful, boring post to follow. Skip to the last paragraph for the point.

Still, to be perfectly clear

Yeah, that's weird. I have a ZVex Vexter Fuzz Factory (supposedly, it's the same internally as the non-Vexter version but it has an adapter jack and a status LED and has a silk screened paint job and not the hand painted job). Anyway, I don't really have a problem where I put it (sometimes before my overdrive sometimes after -- and always after a buffered effect, i.e. my tuner).

I will point out that the Fuzz Factory is designed to produce all kinds of buzzes and noises, self occilations and other things that most folks will not think are musical (hence, factory). Try turning the gate up and the fuzz, volume, and compression down.

If it's still a problem, and you don't think it's the natural noise of multiple high-gain devices (seriously, fuzz, fuzz, overdriven amp = noise), I'd guess it's the adapter mod.

look what you made me do

 

Bwahahahahaha

If I had been drinking milk it would be coming out my nose right now. They all look like who they are supposed to look like, but Pat is earily similar. I think it's the hair. Or that he really is just a real life cartoon character. You should post that on another topic that, you know, is seen by more people than you and me.

And, by the way, I didn't make you do anything that you didn't already want to do.

I was thinking of buying a tubescreamer to satisfy my OD needs. Perhaps I should reconsider? or is this like comparing apples to oranges?

I dunno, do you have an AC30? Overdrives react differently to different amps at (this is important) different gain settings (some can sound great at bedroom volumes, but dime the amp and they sound horrible, or at least different). I find my Deluxe Reverb Reissue is finnicky when it comes to overdrives. Others are more forgiving.

Also, it depends on the style you're playing and what you're using the overdrive for. Single notes might sound cool with certain overdrives but chords sound like mud. Of course, you might like this. Be clear on what you're looking for, you might think you want overdrive but the sound you might really want distortion or fuzz (they're each different).

The best thing to do is try a bunch of overdrives with your amp and your #1 guitar at various gain levels and see what you like (unless you're just into buying gear -- I think I had a post earlier about how I got into massive amounts of debt). It might be that you dig stuff that no one recommends and you hate the boutique stuff that some people love.

That said, lots of people dig the Hotcake/AC30 combo. It's a good place to start.

Downside: the Privia is great with the famous caveat FOR THE MONEY. It only has a single layer (the soft sound is the same as the loud sound only, um, softer)

I've now found out that this is incorrect. It turns out that the PX 110 and PX 310 both have triple strikes (three separate samples -- soft, medium, and loud) for their piano sounds) and the PX 100, PX 300, PX 400R, and, well, the other Privia-esque ones, I suppose, have a dual strike. Whether this adds up to a noticibly better performance, I dunno, as I only have played on the 400 (to my ear, in a noisy music store I could not discern a second sample but this shows you what I know). I should probably stop guessing what the right answer is and start checking my facts. I blame the liberal media.

Cheers

(PS - did you make that avatar yourself? That's pretty good)

Nah, I used this.

I thought he used custom made hollowbodies form Languadoc?

Yeah, but I use a Tele Custom (and apparently look a lot like Trey when done in South Park caricature).

This might be a more fitting avatar for me:

BTW, why is Trey playing a LP Gold Top w/ P90s?

Because they didn't have sunburst Tele Customs with Bigsbys? (That makes me a sad panda.)