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cruisinon2

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Everything posted by cruisinon2

  1. Try the new Oxidation Degrossifier from Turtle Wax...;) www.stuffthatdoesntexist.com
  2. It's not likely a software problem, so resetting, and/ or reflashing the firmware probably won't help. You can try cleaning around/underneath each individual bridge saddle... the ground connection for the piezo saddles relies on solid contact with the bridge itself. If there's a bunch of accumulated dust and crud under there, then that connection can be interrupted. If that doesn't help, then that individual piezo is dead and will need to be replaced, and it's time for a service ticket.
  3. Scroll up a bit... this guy is loooooooooooong gone, 6+ years ago.
  4. Can't give you numbers off the top of my head...but for the 69, the neck pocket dimensions are identical to a Strat... any Strat neck in the universe is a drop-in replacement. Done it myself. If you're still hell bent on finding the actual numbers, I'm sure Google can direct you to any of a thousand places online, as Fender hasn't changed them in 70 years, lol. The 700 is anybody's guess...
  5. It's not that it's any better or worse, it just depends on what you want to accomplish, and how you like to get there. Depending on what you're doing, an expression pedal will sometimes be easier to manipulate than constantly going to the volume knob with your pinky... on some guitars the volume knob isn't in such a great spot for volume swells, or controlling noise between phrases. etc. I use a volume pedal for the latter all the time when recording leads, especially with any guitar that has single coils. Anytime I pause between phrases, I roll off with the pedal to shut the noise up, and back to 100% again as soon a I start the next phrase. It largely eliminates the need for a noise gate and all the unpleasant tone/sustain killing that goes along with their use. It takes some practice, but after a while it's second nature, and you won't think about it at all. Boils down to how you like to do things, and what you find easier. If your volume knob is "set it and forget it", and you never touch it again until you're packing it in for the night, then you probably won't find a volume pedal of much use. Different strokes...
  6. Is there anything unusual about the jack or jack plate on the PRS? The transmitter has a small detent that must be fully depressed in order for it to "turn on". A sufficiently recessed or concave jack plate might not make enough contact to press it down far enough.... that's the only thing I can think of.
  7. It's the Fetzer valve... you'll also need a set of 30 weight ball bearings and a quart of Pennzoil to replace it. ;)
  8. I ordered a sandwich from the local deli yesterday, and I didn't like it... caveat emptor! ;)
  9. Yes it does take a while... but there really is no other option. On the bright side, you only have to do it once. Live straight to the PA is one purpose. Playing at home through studio monitors or headphones is another, etc etc. Different scenarios, different volumes, different monitoring equipment. You can't expect a patch that's dialed in one way to translate to another situation with 1:1 tonal continuity when other variables, independent of the patch itself, keep changing. You'll save yourself a ton of grief if you keep different sets of patches for their intended use. Yes, it's more tedious grunt work up front... but as I said before, you only have to do it once. Yes... that's always the case, and is due mostly to the large volume discrepancy between the two scenarios... unless you're trying to rattle the windows at home and pi$$ off the neighbors. That's not how it works at all... at least not if it's done properly. You should have the full mix from the board in your IEM's... the whole point of using in-ears is to have controlled, individual mixes tailored to everybody's needs so you can all hear exactly what you want to hear...and a lower, if not completely absent stage volume because everybody's running direct. My band has been doing the "silent stage" thing for 3 or 4 years, now... it's so much easier. No amps or monitors on stage at all, no more whining that you can't hear yourself or anybody else, and less hearing damage because there's no volume creep as the night goes on. We even have one recurring gig in a small restaurant/bar where we can't crank it that loud, so my drummer brings an electric kit... if we didn't have him in the IEM's, everyone would be lost because the stage volume is totally non-existent, save for the dull thud of rubber drum pads. Anyway, the point is you still have to dial in a tone that sits well in a mix, because that's what you're getting in your ears. You can bump your own guitar's volume up to whatever level suits you if you like... most probably do... but you still have to hear the rest of the band or it'll be a train wreck. Most IEM's isolate pretty well. If you're only piping yourself in there, you won't be able to hear a damn thing that anybody else is doing... trust me, it won't end well. Unfortunately, that's how you'll get into trouble. Any patch played at low volume at home, through different monitors, outside of a mix, will never sound the same when cranked to stage volume with a full band. The perception of loudness of different frequencies varies tremendously with volume. It's a limitation of human hearing that we all suffer from (see Fletcher-Munson curve if you really want to go down the rabbit hole). So unless you're playing at stage volume in the living room, when you take a patch that sounded spectacular at home and crank it to stage volume, 9 times out of 10 it's gonna be a complete mess...so tell your cranky band members to bear with you one night while you get your levels set, and after that you don't have to think about it anymore. ;)
  10. Yes... and that will always be the case. Large differences in volume, and evaluating any given tone in a mix vs hearing it solo will always present a problem... but that's true no matter what you're playing through. You could go 100% old school and play bone dry into a Marshall head and 4x12, and you'll still have the same sonic issues to deal with. The bottom line is this: you need to dial in sounds for a specific purpose, and at (or reasonably close) to the volume at which you intend to use them. Live is live, and jamming on the couch is jamming on the couch... a patch that works for the former will almost always be utterly useless for the latter...and unless you plan for both and create patches specifically for their intended use, you'll constantly be tweaking back and forth, and you'll end up spending more time fiddling with knobs than with your hands on the strings. You'll never escape this entirely... it's impossible, because you are not the only variable in a live situation. Sooner or later you'll have to turn your master volume up or down, or tweak a little EQ. That's why there's a global EQ - fine tuning for the room you're standing in at the time... with special emphasis on "fine". Don't dial in your patches with the global EQ on, or you'll torpedo all the work you've done on every other patch you've already created without it. The best you can hope for is to have all your patches leveled well enough that a slight volume bump or cut won't send everything straight to hell... it's not hard to do, just time consuming and boring as f*ck... It's often assumed that certain monitoring methods have some sort of baked-in magic that'll automatically compensate for all the variables discussed herein, and somehow make everything sound exactly the same all the time, independent of volume or context (live vs home, etc etc)... but that simply isn't the case. A mix is a mix... the same variables are always at play, doesn't matter how you're hearing it. Adjustments are inevitable... that's what sound check is for. And next week, next month, and next year, too... some things don't have a shortcut.
  11. There is but one suggestion: Level everything once, and be done with it... and your ears are the only reliable option. Yes, it's tedious and nobody else wants to do it, either... but you have precious few options if you want everything to sound as it should. You can wave meters around all day long if you like, but in the end it's the perception of loudness that matters. All other things being equal, a high gain tone at 90 dB will always seem louder than a clean tone at 90dB... likewise for the mid-heavy lead patch vs. the scooped rhythm tone... making the number a meter spits out of little to no utility. If two patches sound even in volume, then they are... don't care if some gadget is telling me otherwise.
  12. Yup...FRFR just provides a blank canvas for a modeler. But as you've seen, it's not immune to the effects of volume because the Fletcher-Munson curve really has nothing to do with speakers... it's a limitation of our ability to perceive the volume of different frequencies accurately... a permanent EQ filter that's inside your head, if you will. You can't get rid of it no matter what you're playing through...
  13. I can think of a reason... physics. But nevermind, I get it...an artiste such as yourself can't be thwarted by such mundane things as the immutable laws of the universe. You march right on down to the Bowlerama with your Titlest Pro V1's, and let 'er rip. When the guys with the white coats and butterfly nets come for you, just tell them you're "creating", and can't be disturbed. I want a sandwich. Those guys were guitar players? When did they find the time? Fear not...I understand that Pfizer is working on a pill for that. And modest... don't forget modest. You gotta play to your strengths, so don't leave out your defining characteristic. Sell yourself, man! Music is marketing....see ya at the Grammys!
  14. This is the translation of "Where do you guys set the columns at"?!?!?! Of course... how silly of us not to arrive at such an obvious conclusion. Dogs barking can't fly without umbrella... Brussel sprouts. Candle power. Foot. Thursday?
  15. I will forever be mystified by this type of demand...it's like buying a box of golf balls, and then getting all pi$$y and indignant because you can't use them to go bowling.
  16. 210 Main St French Lick, IN 47432 And don't forget the secret knock, otherwise... well, you know what happens.
  17. Wherever he is, John Cage is wishing he'd thought of this first...;)
  18. Now THIS, I'd pay for...
  19. Lmao... I'm putting this on a t-shirt. Truer words have never been spoken...;)
  20. I wouldn't call it heresy... but it would almost certainly be a logistical nightmare. Who would actually be doing these hardware upgrades, and at what cost?... surely not the end user. Hell, there's a sizeable contingent for whom successfully navigating a completely non-invasive firmware update is a bridge too far, because on a good day they can't find their own a$$ with both hands and a hunting dog.... and now we're handing them a Phillips head and a soldering iron? What could go wrong? ;)
  21. Yup...I have it on good authority (from some very reliable gossip) that the company-wide memo they sent out explaining the decision was titled "Ahh, f*ck it"...;)
  22. Yeah?!?!? Well my dad can beat up your dad, and I've got double-secret quad core processors...I mean, they're just sitting here not doing anything, but they're awesome.
  23. Oh thank God! It's been at least 17 minutes since this burning question was last addressed...if I don't get a heaping dose of wild speculation to base all my decisions on every 45 minutes or so, I get the shakes.
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