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cruisinon2

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Posts posted by cruisinon2

  1. 25 minutes ago, cubbini said:

    Can anyone tell me the JTV 69 Heel and Neck Pocket Dimensions, in inches and/ mm?    And the Variax 700 as well? Depth, width, and length....

     

    Thanks!

     

    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...

  2.  

    1 hour ago, silverhead said:

    I’ve always wondered why people put a VOL block at the beginning of the signal chain. Like you I think it’s unnecessary,  but maybe I’m missing something. Anyone care to explain it to me? Seriously - this is not a setup for me to argue against it. I’d like to understand how it may be better than using the guitar’s Vol knob.

     

    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...

     

    • Upvote 1
  3. 21 hours ago, kingroyal said:

    Yeah, about the first quote, I misrepresented that. I actually meant switching from preset to preset within a live context. In the early days of amp switching, it didn't take long to figure out how loud your clean and overdrive levels should be, then you just adjusted the master as the band got louder. But on a modeler (new to me) there's ample opportunities to switch between four different cleans, if you want that. Try dialing that in as your working from one to the next... it takes a while just to get one close to what you heard 15 minutes ago on a different preset.

     

    Yes it does take a while... but there really is no other option. On the bright side, you only have to do it once.

     

    Quote

    Dialing the level in for a specific purpose is a little vague to me

     

    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.

     

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    It's obvious that when my fellow guitarist switches to a random preset that sounded great at home practicing now lacks something live. (Just an example here)

     

    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.

     

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    I do believe that in ears is a little easier because all you need to worry about is your own sound.

     

    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.

     

    Quote

    I'm setting this up at home and don't need to be tweaking every single preset at practice...

     

    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. ;)

     

  4. 2 hours ago, kingroyal said:

    The thing is though, in my experience, is that these preset levels within the band context is tricky. What might sound decent at home or practice might become underwhelming or overwhelming live.

     

    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.

     

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    I see that with my fellow guitarist who turns to his amp adjusting amp loudness for compensation. That's what I'd like to avoid.

     

    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...

     

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    I imagine with in ear monitoring this would be a whole lot easier but I'm not there yet.

     

    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.

     

    Quote

    For now, I guess doing it by ear is the only answer...

     

    And next week, next month, and next year,  too... some things don't have a shortcut. 

  5. 15 hours ago, kingroyal said:

    I'm pretty good with my ear, but going back and forth on each of my many presets gets a little old.

     

    suggestions?

     

    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.

  6. 41 minutes ago, Axxxeman said:

    What's missing now, is, to make it sound really good. That's, where Fletcher Munson comes in. I have always thought, that the meaning of FRFR would be, that you could simply ignore Fletcher Munson, because the FRFR speaker will sound the same at different volumes. I see now, that I was completely wrong on this.

     

    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...

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  7. 1 hour ago, VmusicV said:

    YES - I want to go bowling with golf balls. There's no reason you shouldn't be able to, if you see things differently.

     

    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.

     

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    I want a personal flying machine. I want my guitar to make whale sounds.

     

    I want a sandwich.

     

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    So did Thomas Edison, Wilbur Wright and Nikola Tesla. They wouldn't settle for the same old guitar sound......

     

    Those guys were guitar players? When did they find the time?

     

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    I will NOT be antiquated and mediocre in my thinking. I found this same restrictive, backward thinking on the Fractal Audio forum.  Just give me another amp or cab....   it's a sickness.

     

    Fear not...I understand that Pfizer is working on a pill for that.

     

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    But I will NOT be constrained to the status quo. I AM creative, inventive. I AM a visionary, a pioneer and a seer. 

     

     

     

    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!

    • Haha 1
  8. 1 hour ago, Steverakow said:

    Lol.   What I’m asking is when setting up a pre set. Do you have to go choose 4 cable method in templates every time?  Also on inputs and outputs do you need to choose which every time.   

     

    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?

    • Haha 1
  9. On 1/20/2022 at 9:56 PM, Steverakow said:

    Where do you guys set the columns at. 

     

    210 Main St

    French Lick, IN 47432

     

    And don't forget the secret knock, otherwise... well, you know what happens.

  10. 44 minutes ago, VmusicV said:

    Of course there will be fx blocks you've never heard of, or not heard before, like the new Space Silence. It's perfect empty space with no knobs or settings to worry about.

     

    Wherever he is, John Cage is wishing he'd thought of this first...;)

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    • Haha 1
  11. 2 hours ago, theElevators said:

    Time to introduce the concept of an open source guitar processor box, where you can run a VM with Helix, Kemper, Fractal, Zoom, whatever firmware... Wouldn't that be wild?

     

    Now THIS, I'd pay for...

  12. 2 hours ago, HonestOpinion said:

    Please, no soldering, down that road lies madness.

     

    Lmao... I'm putting this on a t-shirt.

     

    Truer words have never been spoken...;)

  13. On 1/20/2022 at 4:51 AM, HonestOpinion said:

    It is interesting that in the modeling world we readily accept and embrace the idea that the unit we purchase today may/will receive firmware/software updates to increase its functionality and performance but the notion of a modeler that allows hardware upgrades still for the most part is rejected as heresy.

     

     

     

    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? ;)

  14. 7 hours ago, RickFior said:

    Unfortunately there are no new products on the horizon. L6 has decided, after a rigorous employee debate, to rest on their amazing accomplishments and all vacation in a top secret location. Their advice is to just gig with what you have, you are on your own. Sorry to be the bearer of such terrible news.

     

    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"...;)

    • Haha 4
  15. 21 minutes ago, themetallikid said:

    I"ve done this.  lol....    It was a 97yd par 3.  Elevated tee do a postage stamp sized green.  Overhanging tree covered part of the green if you hit a lob wedge to drop it straight down yardage wise.  I jokingly grabbed my putter, it skipped the downhill portion of the tee box and actually rolled up on the green.  Had about a 25 ft putt, but it was a fun unconventional par.  lol

     

    Lol... well any port in a storm, I suppose... one time I watched a guy play 9 holes entirely with a wooden shillelagh which looked like he had carved himself with a Buck knife. He beat everybody else in our foursome... "A" for effort, but I still like the path of least resistance. ;)

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    • Upvote 1
  16. 18 minutes ago, PierM said:

    ...this place definitely needs a full set of emoticons... :P

     

    On a site that's still sporting a cutting edge late-90's design? ;)

    • Haha 4
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