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Handen posted:I got excited so I put together a diagram of the sort of live rig I'm putting together: That's loving awesome. I can't wait to hear what you end up doing with all of that. The concept sounds like it will make for a pretty good visual live show for the type of music you're wanting to do.
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Jan 9, 2009 12:04
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Cool, nice guitar. That pickguard is NOT an upgrade, though.
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Jan 9, 2009 17:27
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Carbohydrates posted:Cool, nice guitar. That pickguard is NOT an upgrade, though. Agreed. Pearloid is hideous and I have no idea why it shows up on guitars. I've noticed that electric guitarists collectively seem to have pretty much the worst aesthetic taste in the world. Blue and yellow? Sign me the gently caress up!
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Jan 9, 2009 17:59
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Mugendai posted:That's loving awesome. I can't wait to hear what you end up doing with all of that. The concept sounds like it will make for a pretty good visual live show for the type of music you're wanting to do. Heh since the pickup is housed in clear acrylic resin I was thinking about the possibility of having a MIDI controlled LED array under the pickguard to make it all flashy but I'm not a rocket scientist sooo...  But yeah, another idea I had was to use the MIDI guitar to control a light show. "What's that guitarist doing?! I don't hear any sound..." "He's operating the stage lights." "  "
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Jan 9, 2009 18:03
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Handen posted:Heh since the pickup is housed in clear acrylic resin I was thinking about the possibility of having a MIDI controlled LED array under the pickguard to make it all flashy but I'm not a rocket scientist sooo... No reason you couldn't use the midi to operate the lights and actually generate a signal. That would be pretty sweet if you could set it up well.
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Jan 9, 2009 18:17
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ZombiePeanut posted:No reason you couldn't use the midi to operate the lights and actually generate a signal. That would be pretty sweet if you could set it up well. Can I patent this idea or not??? All of this stuff combined and nobody would need drugs like acid anymore, and the continued abuse of such substances at a show wherein all of these ideas are presented as a whole might cause brain hemorrhaging to someone under the influence. That'd be rad. XYZAB fucked around with this message at 18:33 on Jan 9, 2009 |
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Jan 9, 2009 18:31
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ZombiePeanut posted:No reason you couldn't use the midi to operate the lights and actually generate a signal. That would be pretty sweet if you could set it up well. Ok, that idea is loving cool as hell. Why hasn't anyone done that yet? Handen posted:Can I patent this idea or not??? All of this stuff combined and nobody would need drugs like acid anymore, and the continued abuse of such substances at a show wherein all of these ideas are presented as a whole might cause brain hemorrhaging to someone under the influence. That'd be rad. I'm actually reading up on patent law right now so I might be able to help with that. You can patent it provided it isn't anticipated by prior art (in other words, it has to be genuinely novel) and non-obvious. In this case, it seems like you'd have to go with a "New Use" patent since you're not actually inventing anything material or mechanical, just coming up with a new (and quite exciting) way to do things with existing technology. Assuming that it isn't anticipated by prior art, the problem is going to be the question of non-obviousness. You'll need to do enough research to pretty exhaustively show that no one has thought of it before. It will really help if you can reduce the idea to practice (in other words, construct the goddamned thing and get it all rolling). Now that you've posted it here, and it's been witnessed (I'll volunteer that I have witnessed the conception of this idea on Friday, January 09, 2009) you have staked something of a claim to it, but you won't necessarily get a patent unless you see it (and the patent process) through. Since patents are expensive, I'd advise you to file a small entity provisional patent application, which will allow you to claim "Patent Pending" or "Patent Applied For" for a 12-month period following the provisional patent application. It does not have the stringent requirements of a full patent, but it also doesn't guarantee a full patent will be granted. What it does is it allows you to protect your rights, should you have any, for a 12-month period without the expense of getting a full patent; and, when you choose to file for a full patent (provided it still seems like a good idea) within that 12-month period, you can claim the date of the provisional patent application as your filing date for the full patent application. The advantage of that is that it can protect you in the case that someone else tries to patent the idea out from under you - you've thus got a chance to challenge it legitimately in a patent dispute, provided the idea is legitimately patent-worthy to begin with. Note that I am not a lawyer or anything like that, this is just info that I've gathered because some relatives have invented something pretty exciting and they've turned to me for help since I'm the smart guy in the family. Agreed fucked around with this message at 18:43 on Jan 9, 2009 |
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Jan 9, 2009 18:35
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I'm looking to switch from a Line6 Flextone combo to a tube head and 2x12 setup plus a few pedals. I want to do mid-heavy stoner rock/doom distortion that can be pushed to high-gain with an overdrive. I'm pretty broke right now, but I've seen a used Peavey Windsor head for about €200. Agreed, I know you had one of these, what did you think? This looks it would be fun just as a mod platform at that price.
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Jan 9, 2009 19:05
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Handen posted:Cons: Not a lot of drummers that I know are into drum'n'bass, breakbeats or electronic music in general and might hate the steady *kick-snare-kick-snare* aspect. But I'd really like some Orange Goblin-esque breakdowns so I'm leaning towards an actual drummer. I don't mean to come off as overzealous but I could be this drummer for you - I'm just not fast enough (yet) to play some D&B but I love the stuff and love making it, and endlessly tweaking synths in Reason (i've also got some Ableton experience), and playing drums to it amongst other 'electronica' that I shouldn't be playing drums to. You also seem in a bit of a lovely bind (the work/school thing) which is a shame; I could get behind this idea 100% if we were in the same area. In conclusion: Unless you hate Ontario, move to London, come to Fanshawe and we'll make rockin' tunes together. In any case, I wish you the best of luck because your ideas are entirely awesome and I hope you post lots of youtube videos when it's all set up.
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Jan 9, 2009 19:12
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Agreed posted:Ok, that idea is loving cool as hell. Why hasn't anyone done that yet? I don't know. Presumably getting the lights to do something interesting in an automated way would require a good bit of programming know-how as well as musical ability. Doesn't seem like it'd be outlandishly hard, though (and I'm speaking from an informed opinion; I work as a software engineer).
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Jan 9, 2009 19:23
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MIDI is used to trigger lights all the time. (First example I could find on Google: http://tech.yostengineering.com/midiFolder ) I think you should get a bunch of those big LED light panels and set them up around the stage, triggered by MIDI. Last time I saw Dillinger Escape Plan they had four on stage, programmed with the music. They were very crazy and very bright.
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Jan 9, 2009 19:27
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warwick5s posted:MIDI is used to trigger lights all the time. Yeah, midi is used to trigger lights all the time, it's pretty much the default way to do so. And lights are programmed to correspond to musical performance. He isn't inventing something new, he's thought of a new way to do something - rather than being pre-programmed to correspond to parts of the performance or being triggered by sound, he has the idea to actually control the lights directly with his guitar through midi, which would have an altogether different result than having midi triggered lights with a stage hand doing it for you. Provided it is a legitimately new idea, which I am certainly not claiming and which he would have to find out for himself likely at a significant expense, it might be patentable as a novel method, though the real problem (IF it isn't already defeated prima facie by a prior patent or prior art) is going to be whether it is genuinely non-obvious since stage lighting is already midi controllable and since midi guitars aren't anything new. That's all on him to find out. I just answered his question on whether he could patent it (or, more precisely, on whether it is a patentable thing in principle, not whether he might or would definitely be able to patent it - and I think that at least in principle it could be patented, providing the criteria for a legitimate patent are met), and gave him a little bit of advice if he wants to try to commercialize the idea without going to the expense of a full patent. There isn't any guarantee at all that it is a patent-worthy idea, and it would take a considerable amount of research to establish whether it is potentially patent-worthy or not - I'm just trying to help him go from the stage of "so I have this idea..." to understanding a little bit more about the actual process of patenting. Agreed fucked around with this message at 20:13 on Jan 9, 2009 |
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Jan 9, 2009 20:10
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Holy crap this just blew my mind.  I have zero experience as a software engineer or anything MIDI related so while I thank you for the patent advice Agreed, it might be too sort of counter-intuitive for me to try and patent something I have no formal training about or experience with. I just mentioned the thought of patents because someone I talked to about the Guitar -> Ableton w/ Hot-Hand & Axon to control samples told me I should look into patenting that, but I blew it off as a dumb notion because I thought you could only patent objects or inventions of new things, not ideas relating to pre-existing products. Cut Like Knives posted:I don't mean to come off as overzealous but I could be this drummer for you - I'm just not fast enough (yet) to play some D&B but I love the stuff and love making it, and endlessly tweaking synths in Reason (i've also got some Ableton experience), and playing drums to it amongst other 'electronica' that I shouldn't be playing drums to. You also seem in a bit of a lovely bind (the work/school thing) which is a shame; I could get behind this idea 100% if we were in the same area. In conclusion: Unless you hate Ontario, move to London, come to Fanshawe and we'll make rockin' tunes together. In any case, I wish you the best of luck because your ideas are entirely awesome and I hope you post lots of youtube videos when it's all set up. I will get back to you as soon as I'm set up and maybe we could do some cross-province collaboration. Probably 3 or 4 more weeks. 
XYZAB fucked around with this message at 20:37 on Jan 9, 2009 |
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Jan 9, 2009 20:33
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Carbohydrates posted:Cool, nice guitar. That pickguard is NOT an upgrade, though. I usually hate the pearl guards, but it sort of works for this guitar. If I switched guards I think Id go with off-white/ivory or whatever it is called. I dont feel like changing it right now. Eventually I want to see if it is routed for double-spaced humbuckers at the bridge...could expand possibilities. Also, any strat players, do you guys lock down your trems, or leave them floating. This one is floating, but dont know if I want to go through the process of setting the guitar up since it is playing great right now.
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Jan 9, 2009 22:16
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Awesome 2 tone burst. I love that so much more than the tobacco bursts. I'm not really a fan of black pup covers on a strat (unless it's a black on black strat). You should get a mint green 'guard, dip your knobs and covers in hot coffee for an hour. Killer look.
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Jan 9, 2009 22:23
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7 Bowls of Wrath posted:I usually hate the pearl guards, but it sort of works for this guitar. If I switched guards I think Id go with off-white/ivory or whatever it is called. I dont feel like changing it right now. Eventually I want to see if it is routed for double-spaced humbuckers at the bridge...could expand possibilities. I have mine, which is a Mexican vintage-style 6-screw version on which I still haven't upgraded the trem block, "floating" in the sense that it isn't Tremel-no or Trem-lok'd or anything. I can't shake the idea that part of the strat's unique sound comes from the metal and springs on the other side of the strings, so I've put 5 stiff springs on it and screwed the claw back all the way into the body as far as it'll go. You can still use the trem if you really, really want to, but it still throws the damned thing all out of whack and frankly I never do. But I think it's important to the sound to have all the springs back there able to vibrate freely.
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Jan 9, 2009 23:57
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7 Bowls of Wrath posted:Also, any strat players, do you guys lock down your trems, or leave them floating. This one is floating, but dont know if I want to go through the process of setting the guitar up since it is playing great right now. I pretty much plaster my love of Callaham bridge upgrades all over ML so...well that's what I use. I run mine with a good 1.5 mm float, 3 springs in "arrow" formation pointing up the neck. I never have tuning problems, even when dive bombing or fluttering on the float. Most tuning problems are because of string slippage, basically, when you loosen the string by dipping (or pull the string tight by yanking) the strings don't equilibrate to the same place they were before. Floyd's deal with this by making the termination points of the vibration locked and therefore really hard to cause to slip. There are quite a few ways to deal with this in the scheme of a fender style synchronized trem. You have a two point trem, by default, these are more tuning stable, but you will want to make sure that your points are well lubed from time to time (edit: the tradeoff is, with a 6 point trem there is more contact with the body, so therefore a bit more sustain with "vintage" style trems). Saddle and nut lubrication is good, too. I use pencil lead but I hear graphitall is really good, and some people use lip balm which I imagine may kill some of the higher harmonics a bit, albeit you are applying it at the termination points so dampening will be minimal. Stretch out your strings before tuning, every time you pick up your guitar to play. There are different things that happen to your strings between each time you pick it up to play, effects of slippage from transport, thermal expansion/contraction, and frictional effects that make it so that your strings aren't going to behave as well when you first start playing as they could after a good stretch, also stretching will assure that they are seated correctly in the nut/saddles. Also, running higher string tension definitely helps with tuning, as there will be a greater force forcing the strings into the correct equilibrium point. Edit: If you are going to use the trem at all, I'd think a float would be much more stable than the springs as tight as possible method because with the latter method there is no equilibrium point you're just assuming that flush against the body is equilibrium, even though it's not, there are effects such as paint give, body give, the fulcrum points could shift, etc. That might be causing your tuning problems Agreed. I agree though, the springs and cavity are what make the strat sound, I think that apart from being basically a partially hollowbodied guitar there may be some small hysteresis effects from the transfer of tone from the strings to the block from the block to the the springs and from the reverberation of the springs into the pickups. (the vibrations of the springs are picked up by the pickups, especially if you run strong pickups) GrAviTy84 fucked around with this message at 00:27 on Jan 10, 2009 |
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Jan 10, 2009 00:16
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I'm going to invest in a roller nut and roller bridge saddles, and probably do a two-point trem conversion to my mexi-strat too. I'm sick of not being able to use the trem for anything. I don't know what else I could do - I regularly lubricate everything on my guitar, I have a new nut made for it every time I change string gauges, I use locking tuners and don't over- or under-wrap... It just doesn't want to stay in tune with the vibrato tailpiece in use. I am hoping that roller saddles and a roller nut, plus a two-point trem upgrade (and at the same time installing a full-sized trem block) will do the trick. If it doesn't, I'm going to be pissed, though. Edit: No, I don't use the trem at all. I'm not dumb. I have it locked down with stiff springs because I like how it makes it sound, not because I am assuming that's the equilibrium point. It comes down to some hardware quirks with my particular guitar, because I have set up friends' strats for truly floating operation with up- and down-bend capability and they stay in tune just fine. Agreed fucked around with this message at 00:31 on Jan 10, 2009 |
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Jan 10, 2009 00:26
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Picked one of these up second hand for $300. Its an Avatar 412 Cabinet with 4 Celestion G12T-100s in it. I just need a head so I can hear how it sounds!
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Jan 10, 2009 00:27
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More pictures, damnit! Today, it arrived from the UK:  and yesterday this was delivered to me at work:  The latter is an early sample-based synthesizer that can combine basic waveforms (square, saw) with short sampled attacks. The samples can't be filtered (digital filters were too much for the CPU, apparently) but the basic waveforms can. It sounds surprisingly nice and has its own reverb, which is not even that crap. It also blends nicely with my other Roland analogs.
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Jan 10, 2009 00:39
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 some joe barden HB two/tones for my guitar Next on the shopping list: http://www.warmoth.com/showcase/sc_...ontour_filter=9 http://www.graphtech.com/products.html?CategoryID=2 http://accessories.musiciansfriend.com/product/Fender-Schaller-Locking-Tuners?sku=361333 http://www.sweetwater.com/store/detail/AX50/ 
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Jan 10, 2009 01:08
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I just bought the neck from warmoth for that telecaster I'm building. 10 weeks. 
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Jan 10, 2009 01:09
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ZombiePeanut posted:I just bought the neck from warmoth for that telecaster I'm building. Why does it take THAT long to make a neck? Do they need to grow the tree first? They must be too cheap to hire more people with turn-around times that long.What kinda tele?
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Jan 10, 2009 02:17
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scuz posted:gently caress Frankentele. I like telecasters but hate fender necks, so I got a highway one body, lace pickups and various hardware and I ordered a neck with the "warmoth" (read: PRS) headstock and the gibson scale length/nut width and the '59 roundback neck profile.
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Jan 10, 2009 02:28
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ZombiePeanut posted:Frankentele. I like telecasters but hate fender necks, so I got a highway one body, lace pickups and various hardware and I ordered a neck with the "warmoth" (read: PRS) headstock and the gibson scale length/nut width and the '59 roundback neck profile. We don't REALLY need to request pictures upon completion, do we? 
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Jan 10, 2009 03:23
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 Those are some mockups I made when I was trying to decide on details. The middle one will mostly be how it looks. Except the pickguard is all-black and the knobs are black (everything else is still chrome) and the bridge is a 3-saddle compensated one.
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Jan 10, 2009 04:09
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I'm getting dangerously close to buying a new guitar to replace my Al-2500, but I'm stuck between 2 choices. :/ Ibanez RGA121 or Schecter Blackjack ATX, can't decide. I just got a new camera though, so whenever I make up my mind I'll have good quality photos this time!
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Jan 10, 2009 07:18
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Pirateparty posted:I'm getting dangerously close to buying a new guitar to replace my Al-2500, but I'm stuck between 2 choices. :/ I have a prestige Ibanez (RG1570 MIJ), and a lower end Schecter (Omen 6), and the main difference is going to be the neck. The wizard neck of the Ibanez is really, reeeeeally thin and flat. You should definitely go out and play on at least one guitar with the same neck (any Ibanez prestige should have one I think), because a lot of people hate it. Also, the Schecter has active pickups, which sound a little different than the passives in the Ibanez. I can tell you that the V8 bridge pickup in the Ibanez is a little lackluster, and you'll probably want to swap it out. Basically, you picked the most opposite shred guitars possible except for the body wood. Long story short, go to a store and play guitars with differnt neck thicknesses and active vs. passive pickups. Or just get the Ibanez because it looks way cooler and active pickups suck.
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Jan 10, 2009 07:34
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The Mystery Date posted:Long story short, go to a store and play guitars with differnt neck thicknesses and active vs. passive pickups. Agree. quote:Or just get the Ibanez because it looks way cooler and active pickups suck. Disagree. They are both great guitars, so definitely play them both if possible before making a decision.
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Jan 10, 2009 08:11
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I got this thing yesterday after lusting forever. I need to learn about the thing now. I debated between an H2 and H4, but in the end, why do I need two more inputs?
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Jan 10, 2009 13:58
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Pirateparty posted:I'm getting dangerously close to buying a new guitar to replace my Al-2500, but I'm stuck between 2 choices. :/ I had a similar decision to make. I had it boiled down to an RG or a Hellraiser. Luckily I was able to play both and I absolutely fell in love with the Schecter. I wasn't able to play an ATX, but I bet they're the same but with the SD Blackouts instead of EMG-81/89s. The Schecter also felt better in my hands, but obviously it's all personal preference. Like everyone said, just play them and go with what you like. You really can't go wrong between the two.
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Jan 10, 2009 16:55
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Just picked up this Mesa Roadster 2x12, and selling a Stiletto 2x12 that I never really clicked with. I'm loving everything about it so far from the clean channels to the really high-gain stuff, except the loud pop it makes when I switch to Ch3. From everything I read it's par for the course with this amp though, and I think I can deal with it. 
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Jan 10, 2009 19:09
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magnificent7 posted:I got this thing yesterday after lusting forever. I need to learn about the thing now. I debated between an H2 and H4, but in the end, why do I need two more inputs? (Of course first make sure that thing can support SDHC cards since the SD format is such a gong show)
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Jan 10, 2009 21:48
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 Hello MIDI Heaven. I don't even have to look at my computer to control Reason. More controls than you know what to do with.
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Jan 10, 2009 21:56
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Bonefish posted:
Is the automap on this thing as good as it sounds? I had an Axiom for a little while and could never figure out how to get it to do anything interesting.
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Jan 10, 2009 22:12
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magnificent7 posted:I got this thing yesterday after lusting forever. I need to learn about the thing now. I debated between an H2 and H4, but in the end, why do I need two more inputs? Yeah, it is amazingly handy and pretty simple to use (so says my dad, he has one). He uses it for like, everything. He records himself practicing, rips vinyls to MP3, records live shows/jam sessions. It sounds pretty drat good too for just plopping it down in the middle of a room.
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Jan 10, 2009 23:46
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Work in progress...
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Jan 11, 2009 00:08
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Well I decided that it was probably time to get a real set of monitors so I went in to GC today and sat down in front of a number of monitors. I ended up whittling the field down to just the KRK VXT 6, KRK VXT 8, and Dynaudio BM5A monitors... I decided the KRK VXT 6 sound more neutral (and better, actually, more definition in the midbass and midrange; the VXT 6 are able to keep everything together extraordinarily well when there's a lot of complex low end going on, it's like they've got three woofers each handling just one instrument or something) than the VXT 8 while performing almost identically except in terms of rated power, absolute bass extension and top end SPL. Since I use a sub and cross the monitors over at 80hz, the bass extension wasn't an issue at all (though I should say that the VXT 6 could easily be used without a sub, as they have a great deal of low end punch to them without ever muddying up the midbass or midrange). I then spent the next hour and a half using my critical listening evaluation CD to try to figure out whether I wanted to bring home a pair of the Dynaudio BM5A or the KRK VXT 6. I ended up going with...  (or, for far less perfection of lighting and camera quality, here's my lovely cameraphone picture with night mode on in the day time because it wasn't coming out clearly!)  The Dynaudio BM5A are fantastic monitors, nothing to dislike about them. They have great stereo imaging if you place them correctly, a wide sweet spot, superb bass extension and really no big flaws in their sonic presentation. Tons of treble detail - I was able to hear little touches on the tracks, nuances that I normally can't hear without my Sennheiser HD-650s on. What kept me from choosing them? The KRK VXT 6 (generation 2) keep their poo poo hard in the midbass and midrange. No matter how congested the recording is, everything can be heard easily apart from the rest (and I brought in some extremely congested tracks to see how my options would perform). The treble is also very clear, without distortion even when they're pushing 105+ SPL program. I was a little worried about that going on - the KRK VXT 6 G2 have 60W/30W biamplification LF and HF, while the Dynaudio BM5a has a better spec'd 50W/50W. However, there isn't any problem at all, and the big loss actually seems to go to the Dynaudio BM5A, which sacrifices the clarity in the midrange and midbass that the KRKs exhibit. When things get really congested, the BM5A start to mush a little bit in the midbass. It could be due to their port design (a dual-flared circular port, I tend to prefer slotted ports for transient accuracy), driver itself. I don't know. Ultimately, the sacrifice in the midbass and midrange (and bass punch, as opposed to absolute extension) wasn't worth it for me to go with the BM5A. However, I have to give them extreme props for treble detail. When people say things like "I heard things I've never heard before!," that's an experience you can have going from a mediocre monitoring rig to the definitely pro-quality BM5As. There is a lot to like about them, but they weren't the overall winner compared to the VXT 6 G2, at least to my ears. I brought the VXTs home and hooked them up to my setup, with my sub, crossed over at 80hz. They're going to need some break-in time before they sound as good as the demo units, but they already blow away my previous monitoring setup. Of course, before walking out the door $870 lighter with the VXT 6 G2s in hand, I made sure that the head live sound dude modified the ticket to negate the 15% restocking fee if my ears change their mind over the next 15 days.  The BM5A are great sounding monitors and I want to be sure that I have the option should I find these impress less in the home than in the store. All signs now are pointing otherwise, though - these are fantastic monitors.I don't think I will mix on large-woofer monitors anymore. There's something in the crossover and the size of it, something funny going on with the phase or something. I don't know what it is, but it seems every 6-7" woofer monitor I've heard walks on its 8-10" counterpart, especially for use with a sub. Anyone else have an opinion there? Agreed fucked around with this message at 20:53 on Jan 11, 2009 |
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Jan 11, 2009 02:12
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Alot of replies...GrAviTy84 posted:Awesome 2 tone burst. Yeah, the 2 tone burst is the way to go, I think it just looks cleaner. The ash woodgrain looks great with the burst too. I think this one is a "hard ash" tone wood, because it is heavy as hell, almost feels as heavy as a les paul, but not too bad when its strapped up. Not sure about the knobs in coffee (what color do they turn?), but im curious about the mint green guards...is that "off white"? Im having trouble finding some pictures online of a comparison between the mint and the white or whatever. Maybe there are guards for sale at guitarcenter for me to see in person. GrAviTy84 & Agreed posted:Trem into Thanks for all the trem info. Yeah, mine is floating proper, but I have not had any tuning issues, and I havent used the trem that much. If I do, I expect to use it as a vibrato type effect less than some serious bending. Someone I know suggested getting graphite nuts as well to try to prevent this tuning stability effect. Getting the Calaham bridge, do you notice a real difference? Such as in the resonance or what-have-you? If I were to do that replacement, Im assuming I would need to do a re-setup too. And I don't have a good tuner to do the intonation with.
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Jan 12, 2009 06:12
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My new Rockbass was waiting for me when I got home today color is...not what I was expecting when buying a BLACK guitar, but it could just be the lighting. still great to play and nice and comfy compared to my mofo-sized t-bird. My Brother also has a heap of gear he just bought that Im sure someone here can appreciate.    
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Jan 12, 2009 08:01
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