In a little rowboat

welcome sir...shake the haters, street team away... in regards to members' albums on this board, please see me sig j

i might be getting old, but I seem to remember a thread on this subject sometime in the past...ill look... regardless, to convert a tele to 12 is impractical at best...near impossible...for example, youd need a custom saddle assembly for proper intonation, a new neck and headstock to accommodate the nut width and extra tuners required, as well as considering tension for the extra strings...you could use the existing pickups and string-thru ferrules, but it would be a tight fit and the action would likely suck...your better off having one custom made...id also consider a treble cut (capacito

not an expert in this field...if portability and flexible programability are what you need, I use the MircoKorg XL, which I can highly recommend... http://www.korg.com/product.aspx?pd=545 In regard to amps, do you mean for a keyboard? If so, you want clean headroom with some stereo/DI apps, but my advice would be to focus on the keyboard choice first, as you can always go direct in to the board with keys and sound good...

dont be silly, man....you are a fucking genius!!

I have seen it work...as well as the 'pay what you want' model...but I am a firm believer in that idea of assigning a value to your work. Psychologically, the purchaser is less likely to discard or ignore the download after obtaining it...you deserve that for your labors, if not the money, then at least their respectful mind-set... I live in a town where there are musicians in every car on the road, and the idea of 'donating' to the artist unfortunately has negative connotations (musicians are treated like beggars all too often)... while on the subject, and example... record review a

Filter caps and diodes will do this as well...but if you have a DRRI, then yes, its likely tubes...there also could be problems with the tube sockets if you gig a lot and the thing gets bumped around....

Congrats...please shelf your implied apologies in favor of a vigorous defense of what it takes to play your recorded efforts in a live setting...looks like a triumphant production! Good job. We are 2 weeks from attempting a live debut ourselves, wish us luck! j

add to that: 'tru-tone'

That version tweedy has--looks like the pickups are the Kay Barney Kessel signature 'kleenex' style, which were only made '63-'67, so i guess that dates the guitar...i just did a restoration on a similar guitar (kay galaxy) that someone had pulled a hendrix on with some light fluid and a match, sad...good sounding guitars...

Oops the price of those things just jumped a bit... dude from stone temple pilots was a big kay fan for a while, too...

this was from last year...bad pic i know this years collection the 12 string is a breedlove with a small j style body, i love it too...

ive had a Martin SWOMGT which was wonderful, an 00-21, and a Gibson b-25...the best small one ive owned so far was, believe it or not, a '65 Gibson LGO...love those things, all mahogany. Sound and look incredible, although theyre build much like elementary school desks... i almost picked up an F-25 not too long ago--pretty cool...

heya...a pic would help...i hvent found any

holy crap that ending was cool

NICE!

.aiff is the mac version of .wav is this thing audio only tonight?

haha i agree that close is the best you can get... I think the baggs retails for $160 and you can get the K&K pwm with its pure preamp for $200...vintage jacks are less than C-note...fraps arent made anymore, but the trace audio acoustic lens us the same thing, that product is way expensive

Follow ups accepted: Basically active means 'powered' which means an amplified circuit of some kind...in this case by a watch-type battery. However, this isnt always an efficient way of boosting the signal, depends on the circuit. Passive works without a gain stage, so output is weak, but relative to the pickup...so, a single coil on a strat for example, is a passive circuit. Active lessens the need for other pre-amplification. Id recommend the active version of the Baggs between the two, because it has a small volume wheel on it, which i always seen to hit by accident. Well, a DI is a n

Im happy to run on this one...as I have a lot of experience, and play mostly acoustic live, as well as install pickups...amplifying acoustics is always a compromise... 1) DI box serves a few purposes. To match impedance, to balance the signal in order to avoid signal loss over long cables (like stage to mixer), and to ensure a continuity in the signal. Many DI boxes, like the baggs PADI, offer eq and gain stages, as well as phantom power...but bear in mind a DI box and a preamp are 2 different things. So, a DI is a luxury for the soundguy more than the guitarist. Active pickups still be

Well, my friend, first let me break it to you gently, you fell for the marketing there...there is nothing special about the 'anti-latency' tone direct whatever they call it...because you are monitoring from headphone jack on the unit. Laughable in a way, you just dont hear your latency...latency comes from monitoring the files on the computer BEFORE the mix goes back to the unit, which means you are hearing the mix milliseconds after the computer processes and sends the mix back to the pod. Nothing wrong with this technique, which will be fine until you have a mix to complex for that to wor

Dont take this as an insult, Im not a huge fan of the POD, but Im sure it suits your needs. Keep on mind, noise comes from the weakest part of the chain, so if the noisy part is the POD's gain, youre in trouble regardless of your frontend gear. it is a shame that the preamp market goes from budget to expensive with no middle...two bits of advice i can give here are that 1) any lower end 'tube' preamp that supposedly adds 'warmth' in essence adds distortion, and is really a marketing tool designed to cover for cheap components. 2) many mics (not the 57 really) need a lot of clean headroom t

well, I dont know what your hardware is, so ill be grasping a bit...but one thing to remember is that if the hiss is in the original recording, compression will only bring it out. You can roll off some high end with eq and there are some plug ins to get rid of noise, but the the best recipe is to not get it if at all possible. the best way to avoid such noise is to use high end preamps and mics, not everyone's option...but I find getting the right signal level is key, make sure your gains arent higher than you need to get the recording you want. Not everything needs to be recorded loud, et

Practice doesnt always have to be practice... I can only vouch for what worked for me...play alot, and play alot with others...i always have a guitar or something within arms reach, while watching tv, studying, whatever, theres always an instrument nearby.

it really depends on your needs...are you playing out...with a band or solo...recording as well?? that said, its a cross to bear by lefties that youll end up paying more... without answers to the above, takamine is a very good option in your price range, lot of pros us them, they are durable, and the electronics are time tested...seagulls are nice and well built solid wood guitars....electronics in them i am not that familiar with, but after market pickups are usually the way to go anyways...

in my sig! We start touring in March, SE and Midwest US...we are in talks with Chris Taylor's label Terrible about distributing thru them...