I was having a few cold bad boys, warming up, just running scales, you know, noodling in front of a TV. In another room, my gear was all switched on waiting… Public TV, Ch. KOCE outta L.A. was running a cool doc on the 1960’s. Cool shit. Yup….I can see it; 1967 = 2007 1968 = 2008 etc…. Afterwords, A concert -Cream. They were "together again" in London (modern) playing a shitload of old tunes. I made it through five after really grossing out (bordome level) at two. <CLIKKKKKKKKKKKKKK>. _Conclusion_ : Surviving the death of masters should’ve left Clapton humbled and silent as an artist. Clapton obviously absolutely _knows_ that his estate $$$ is almost as 100% pure lucky as a lottery winning. The guy is a *COMPLETE* study in mediocrity. His income feeds off people who either know no better or absolutely refuse to hear different, based upon the fact that by some accident of the times, a now-dead, or ancient D.J. was FM hawking an EC tune while the poor fugly bastard was getting laid for the first -and probably last- time in his otherwise empty life. I _COMPLETELY_ see now how fat, waddling, dullard AGA typists of *the* most vapid kind, think _that’s_ hot guitar-based music, (-same w/ Zepplin and Kiss). JERK OFF LOOOOOOOOOOOOOOOOOOZAH Central! Here’s to; SRV Joe Bonamassa John Mayer and REAL originals like Chuck Berry I was born in 1957. Anyone hooked on the fact Clapton deserves the $$$ hundred’s of millions of dollars his estate has amassed on playing and songwriting –notable for WHEN it arrived– *not* WHAT has Not just the monster BLUzah’s— metal men, bluesrockahs- AC/DC Cut the scene LOOSE!!!!! Tommy Castro Walter Trout Al Cummings Can i get a STEVE HOWE?! SO FUCKING MANY KNOWN AND UNKNOWN!!! Regards, mvm www.geocities.com/mvm55555
– Hide quoted text — Show quoted text – >I was having a few cold bad boys, warming up, just running scales, you >know, noodling in front of a TV. In another room, my gear was all >switched on waiting… >Public TV, Ch. KOCE outta L.A. was running a cool doc on the 1960’s. >Cool shit. Yup….I can see it; >1967 = 2007 >1968 = 2008 >etc…. >Afterwords, A concert -Cream. They were "together again" in London >(modern) playing a shitload of old tunes. I made it through five after >really grossing out (bordome level) at two. <CLIKKKKKKKKKKKKKK>. >_Conclusion_ : >Surviving the death of masters should’ve left Clapton humbled and silent >as an artist. Clapton obviously absolutely _knows_ that his estate $$$ >is almost as 100% pure lucky as a lottery winning. >The guy is a *COMPLETE* study in mediocrity. His income feeds off people >who either know no better or absolutely refuse to hear different, based >upon the fact that by some accident of the times, a now-dead, or ancient >D.J. was FM hawking an EC tune while the poor fugly bastard was getting >laid for the first -and probably last- time in his otherwise empty life. >I _COMPLETELY_ see now how fat, waddling, dullard AGA typists of *the* >most vapid kind, think _that’s_ hot guitar-based music, (-same w/ >Zepplin and Kiss). >JERK OFF LOOOOOOOOOOOOOOOOOOZAH Central! >Here’s to; >SRV >Joe Bonamassa >John Mayer >and >REAL originals like >Chuck Berry >I was born in 1957. Anyone hooked on the fact Clapton deserves the >$$$ hundred’s of millions of dollars his estate has amassed on >playing and songwriting –notable for WHEN it arrived– *not* WHAT has >Not just the monster BLUzah’s— metal men, bluesrockahs- >AC/DC Cut the scene LOOSE!!!!! >Tommy Castro >Walter Trout >Al Cummings >Can i get a STEVE HOWE?! >SO FUCKING MANY KNOWN AND UNKNOWN!!! >Regards, >mvm >www.geocities.com/mvm55555
When you are in a manic episode everything is boring…go take your meds….
- Hide quoted text — Show quoted text -> I was having a few cold bad boys, warming up, just running scales, you > know, noodling in front of a TV. In another room, my gear was all > switched on waiting… > Public TV, Ch. KOCE outta L.A. was running a cool doc on the 1960’s. > Cool shit. Yup….I can see it; > 1967 = 2007 > 1968 = 2008 > etc…. > Afterwords, A concert -Cream. They were "together again" in London > (modern) playing a shitload of old tunes. I made it through five after > really grossing out (bordome level) at two. <CLIKKKKKKKKKKKKKK>. > _Conclusion_ : > Surviving the death of masters should’ve left Clapton humbled and silent > as an artist. Clapton obviously absolutely _knows_ that his estate $$$ > is almost as 100% pure lucky as a lottery winning. > The guy is a *COMPLETE* study in mediocrity. His income feeds off people > who either know no better or absolutely refuse to hear different, based > upon the fact that by some accident of the times, a now-dead, or ancient > D.J. was FM hawking an EC tune while the poor fugly bastard was getting > laid for the first -and probably last- time in his otherwise empty life. > I _COMPLETELY_ see now how fat, waddling, dullard AGA typists of *the* > most vapid kind, think _that’s_ hot guitar-based music, (-same w/ > Zepplin and Kiss). > JERK OFF LOOOOOOOOOOOOOOOOOOZAH Central! > Here’s to; > SRV > Joe Bonamassa > John Mayer > and > REAL originals like > Chuck Berry > I was born in 1957. Anyone hooked on the fact Clapton deserves the > $$$ hundred’s of millions of dollars his estate has amassed on > playing and songwriting –notable for WHEN it arrived– *not* WHAT has > Not just the monster BLUzah’s— metal men, bluesrockahs- > AC/DC Cut the scene LOOSE!!!!! > Tommy Castro > Walter Trout > Al Cummings > Can i get a STEVE HOWE?! > SO FUCKING MANY KNOWN AND UNKNOWN!!! > Regards, > mvm > www.geocities.com/mvm55555 >everything is boring…
Go take your Clapton 
.
Just a big thanks for all the advice, the original post is at the bottom of this text. I never tried the Fender blues junior or the laney LC15R it was difficult to find a music shop with one in stock, however I did try the laney LC30 II and was blown away with it. I can understand why a lot of you prefer tubes to SS – or perhaps it was me comparing it to the valvetronix AD15VT either way I thought it was the bees knees even at low volumes. I asked the assistant to set it up for me and he showed me the system with no special effects or boxes attached, followed by an effects box attached (not sure of model), again it was really nice. I was within a cats whisker of buying the lot, the heart was saying of course it’ll fit in the bedroom and the brain was saying it’s a bit big. So the brain won (for now) I’ll just have to revise the budget. Thanks John (original post 17/1/05) Hi all, I’m looking to buy an amp for home use (I can never see me using it anywhere else) and after being totally confused by the myriad of brands and what they do hope someone can give me a few pointers. The guitar is American series strat. I like all types of music Rock/blues/ some metal/folk but not jazz. I thought about the valvetronix AD15VT. Would this be suitable. Willing to extend budget for the 30 model but not sure why I should. Any help appreciated. John
Nice one. I loved the LC15R I had (once I’d switched the speaker). It always sounded great through a 2×12 so I imagine the LC30 sounds pretty cool. – Hide quoted text — Show quoted text ->Just a big thanks for all the advice, the original post >is at the bottom of this text. >I never tried the Fender blues junior or the laney LC15R >it was difficult to find a music shop with one in stock, however >I did try the laney LC30 II and was blown away with it. I can >understand why a lot of you prefer tubes to SS – or perhaps >it was me comparing it to the valvetronix AD15VT either way >I thought it was the bees knees even at low volumes. I asked >the assistant to set it up for me and he showed me the system >with no special effects or boxes attached, followed by an effects >box attached (not sure of model), again it was really nice. >I was within a cats whisker of buying the lot, the heart was saying >of course it’ll fit in the bedroom and the brain was saying it’s a bit big. >So the brain won (for now) I’ll just have to revise the budget. >Thanks John >(original post 17/1/05) >Hi all, I’m looking to buy an amp for home use >(I can never see me using it anywhere else) and >after being totally confused by the myriad >of brands and what they do hope someone can >give me a few pointers. The guitar is American >series strat. I like all types of music Rock/blues/ >some metal/folk but not jazz. >I thought about the valvetronix AD15VT. Would >this be suitable. Willing to extend budget for the >30 model but not sure why I should. >Any help appreciated. >John
– Tim Westcott
>> Airport xrays can affect film (especially in your camera) and several > times I have had to get new ATM cards because the damm machines in > Frankfurt rendered my card unusable after I came back from a trip. > Is this true, folks…???
X-rays don’t affect ATM cards but inductive-loop metal detectors might. I last went through Frankfurt a long time ago, but then they supplemented the whole-body loop with a handheld frisbee- sized one they would run over you if they got a bleep first time; this could well have produced a higher local field. Jack Campin: 11 Third St, Newtongrange EH22 4PU, Scotland | tel 0131 660 4760 <http://www.purr.demon.co.uk/jack/> for CD-ROMs and free | fax 0870 0554 975 stuff: Scottish music, food intolerance, & Mac logic fonts | mob 07800 739 557
My current credit cards have been x-rayed in U.S. airport security x-ray machines more than all of yours combined. I repair a specific brand of x-ray machines for a living and was a factory trained engineer for a competing brand. I use my briefcase (with my wallet in it) as a test object. X-rays don’t affect the mag stripes. LH – Hide quoted text — Show quoted text -> Airport xrays can affect film (especially in your camera) and several > times I have had to get new ATM cards because the damm machines in > Frankfurt rendered my card unusable after I came back from a trip. > Is this true, folks…??? > — > Best > Greg > Re: Oliver Stone: "The X-Ray Machine Ate My Movie" > x-no-archive: yes > i thought airport xrays didnt affect film? > or did they make this excuse, as original takes were so poor…?
> the actual cause of magnetic media degradation: large magnets. In a > poorly designed and/or old airport conveyor system, the motors could > have a sufficient magnetic field to induce undesired effects. There are
I think I might’ve been a victim of this. Few times (twic or so, not many, but still seems like a lot to be a coincidence), after I’ve travelled with a hard drive in my carryon, it has had bad sectors in it. Obviously, they did not have them before. But this has never happened when I’ve put the hard drives in the checked luggage. I don’t know what caused thos bad sectors, but considering they were wrapped in anti-static bag and cushioned in the carryon, it seems unlikely that other factors could’ve caused it. — Mikko Peltoniemi Film & Video Editor, Avid Technician at large. http://www.discountcadavers.com
Gregory Morrow says… > Airport xrays can affect film (especially in your camera) and several > times I have had to get new ATM cards because the damm machines in > Frankfurt rendered my card unusable after I came back from a trip. > Is this true, folks…???
I’ve often returned from a trip with all the credit bits wiped right off my cards.
>> > Airport xrays can affect film (especially in your camera) and several > > times I have had to get new ATM cards because the damm machines > > in Frankfurt rendered my card unusable after I came back from a trip. > Is this true, folks…??? > I’ve often returned from a trip with all the credit bits wiped right off > my cards.
X-rays definitely can affect film. However, x-rays cannot affect magnetic media like floppies, VHS tapes, and credit cards. This was verified many years ago in government testing. This urban myth will not die because of the actual cause of magnetic media degradation: large magnets. In a poorly designed and/or old airport conveyor system, the motors could have a sufficient magnetic field to induce undesired effects. There are also unusual sources of degradation like poorly designed access cards. Many years ago I worked at a facility where the security personnel would tell new access cardholders that placing the company access card next to a credit card would result in a wiped credit card. Some bozo is now going to try to impress us with his intelligence and tell us that all conveyor systems were designed so that the magnetic field of the motors does not extend beyond the physical boundaries of the motor housing. This is only true of current designs. Eastern European and other airports may have Soviet and/or old conveyor systems. Casey
> Airport xrays can affect film (especially in your camera) and several > times I have had to get new ATM cards because the damm machines in > Frankfurt rendered my card unusable after I came back from a trip.
Is this true, folks…??? — Best Greg – Hide quoted text — Show quoted text -> Re: Oliver Stone: "The X-Ray Machine Ate My Movie" > x-no-archive: yes > i thought airport xrays didnt affect film? > or did they make this excuse, as original takes were so poor…?
Hi Group, I survived it, and it was not bad at all, I played my songs with feeling, and a major mistake I made was in the middle of a keyboard solo and it ended up sounding real "Jazzy", that was lucky… As I mentioned in another thread, my rig performed great, good stage volume, could hear myself ok. Stupid lack of experience resulted in me standing on the opposite side from where my amp was, but I think I was smart and turned the amp up and my bass down a little as to have a reserve in case I needed it, as well as turning the stack in my direction. I played using my BX3000t and 2×10 cab set. Now for the recording, I asked a while ago for recommendations on replacing my broken MD recorder, after careful consideration, I decided to buy a Sony MZ-NH700 it’s not the top of the line recorder, but it’s the first one to have a mic input. Price was one of the factors that helped me in this decision, plus the fact that I still have dozens of Minidiscs. I’m not going to discuss how Sony crippled this product by not allowing people to freely move the digital content to and from the computer, as I was just interested in recording rehearsals and concerts, and I always will have the sound going through my mixer and maybe some Eq and etc before going in to the computer.. I had previously re-formated a normal MD to HI-MD, that lets you record 28 minutes of uncompressed audio or 2 hours and 20 minutes of audio in 256kbps quality. I was pleased with the quality. Then on the day of the concert, I used the 1Gb Hi-MD disk that came with the recorder, it lets you record 1 hour and 34 minutes of uncompressed audio or *7 hours and 34 minutes* in 256kbps, what means that I pressed rec on the beginning of the concert and forgot about it, four bands later I just retrieved the recorder and "finito". But the biggest improvement over the older MD I had, is that you have many ways to set the input gain, including a "live music"and manual settings. It’s a flimsy machine though, my old MD was metal, this is all plastic. Don’t get me started with this copy protection BS, for me, this MD is just an analog device, they don’t even support Mac’s for the wav converting software. — Chris "If trees could scream, would we be so cavalier about cutting them down? We might, if they screamed all the time, for no good reason." Jack Handey
Visit http://www.1badhabit.com for some straight to MD recordings. I used a cheap Radio Shack stereo lapel condensor mic. The mic elements were separated as far as trhe cables would allow, and taped to the ceiling of the club about 25 feet in front of the mains. Only vocals are in the mains, everything else if from stage. I think we could have used some kick drum in there as well. My recorder was a MDS-JE510 home deck. This uit doesn’t have any extended recording options, so I had to switch discs every set. Next time I try this, I have a Creative Jukebox3 to try. It allows direct to disk uncompressed recordings, plus Firewire to retrieve them (not officially supported on the Mac, but there is a hack). – Hide quoted text — Show quoted text -> Hi Group, > I survived it, and it was not bad at all, I played my songs with > feeling, and a major mistake I made was in the middle of a keyboard solo > and it ended up sounding real "Jazzy", that was lucky… > As I mentioned in another thread, my rig performed great, good stage > volume, could hear myself ok. Stupid lack of experience resulted in me > standing on the opposite side from where my amp was, but I think I was > smart and turned the amp up and my bass down a little as to have a > reserve in case I needed it, as well as turning the stack in my > direction. I played using my BX3000t and 2×10 cab set. > Now for the recording, I asked a while ago for recommendations on > replacing my broken MD recorder, after careful consideration, I decided > to buy a Sony MZ-NH700 it’s not the top of the line recorder, but it’s > the first one to have a mic input. Price was one of the factors that > helped me in this decision, plus the fact that I still have dozens of > Minidiscs. > I’m not going to discuss how Sony crippled this product by not allowing > people to freely move the digital content to and from the computer, as I > was just interested in recording rehearsals and concerts, and I always > will have the sound going through my mixer and maybe some Eq and etc > before going in to the computer.. > I had previously re-formated a normal MD to HI-MD, that lets you record > 28 minutes of uncompressed audio or 2 hours and 20 minutes of audio in > 256kbps quality. I was pleased with the quality. > Then on the day of the concert, I used the 1Gb Hi-MD disk that came > with the recorder, it lets you record 1 hour and 34 minutes of > uncompressed audio or *7 hours and 34 minutes* in 256kbps, what means > that I pressed rec on the beginning of the concert and forgot about it, > four bands later I just retrieved the recorder and "finito". > But the biggest improvement over the older MD I had, is that you have > many ways to set the input gain, including a "live music"and manual > settings. > It’s a flimsy machine though, my old MD was metal, this is all plastic. > Don’t get me started with this copy protection BS, for me, this MD is > just an analog device, they don’t even support Mac’s for the wav > converting software.
7 hours and 34 minutes. Whew. Nice, informative post. At 256kbps, if you had to get it into your computer by going analog back to digital, you would still have some clarity.
> Visit http://www.1badhabit.com for some straight to MD recordings. I > used a cheap Radio Shack stereo lapel condensor mic. The mic elements > were separated as far as trhe cables would allow, and taped to the > ceiling of the club about 25 feet in front of the mains. Only vocals > are in the mains, everything else if from stage. I think we could have > used some kick drum in there as well. > My recorder was a MDS-JE510 home deck. This uit doesn’t have any > extended recording options, so I had to switch discs every set. Next > time I try this, I have a Creative Jukebox3 to try. It allows direct > to disk uncompressed recordings, plus Firewire to retrieve them (not > officially supported on the Mac, but there is a hack).
I steered away from the Hd recorders first because of the price, and second because I would need a mic preamp and I was not able to find a nice battery powered one in such short notice, so the mic input on the MD made the decision for me. Nice recordings on your site, let me know when you get some recordings from the Creative. — Chris "If trees could scream, would we be so cavalier about cutting them down? We might, if they screamed all the time, for no good reason." Jack Handey
> 7 hours and 34 minutes. Whew. > Nice, informative post. > At 256kbps, if you had to get it into your computer by going analog > back to digital, you would still have some clarity.
Since this recording is kind of important, I will do this also as a test to see how this process works, I will connect the MD via USB to a PC notebook, where I will download and convert the files to wav, and then send them over the network to my mac for editing and burning, this way I bypass one DA/AD step. — Chris "If trees could scream, would we be so cavalier about cutting them down? We might, if they screamed all the time, for no good reason." Jack Handey
>> 7 hours and 34 minutes. Whew. > Nice, informative post. > At 256kbps, if you had to get it into your computer by going analog > back to digital, you would still have some clarity. >Since this recording is kind of important, I will do this also as a test >to see how this process works, I will connect the MD via USB to a PC >notebook, where I will download and convert the files to wav, and then >send them over the network to my mac for editing and burning, this way I >bypass one DA/AD step.
Glad it went ok Chris I wouldn’t mind a copy of a track when you have .mp3′d one please ? I bought a Sony portable MD recorder ages ago with the thought to recording my Daughter when she did her recorder concerts (now oboe / guitar / bass as well <g>) and listening to music on the move. I also found an active stereo mic that went with it ok. I even transferred some test recordings to the PC and although it worked ok it was all of a bit of a kerfuffle compared with all this modern digital stuff? All the best .. T i m
- Hide quoted text — Show quoted text ->>7 hours and 34 minutes. Whew. >>Nice, informative post. >>At 256kbps, if you had to get it into your computer by going analog >>back to digital, you would still have some clarity. >Since this recording is kind of important, I will do this also as a test >to see how this process works, I will connect the MD via USB to a PC >notebook, where I will download and convert the files to wav, and then >send them over the network to my mac for editing and burning, this way I >bypass one DA/AD step. > Glad it went ok Chris > I wouldn’t mind a copy of a track when you have .mp3′d one please ? > I bought a Sony portable MD recorder ages ago with the thought to > recording my Daughter when she did her recorder concerts (now oboe / > guitar / bass as well <g>) and listening to music on the move. I also > found an active stereo mic that went with it ok. I even transferred > some test recordings to the PC and although it worked ok it was all of > a bit of a kerfuffle compared with all this modern digital stuff? > All the best .. > T i m
Sure, is your e-mail valid? But what I was doing is basically the same as you can do with your recorder, the only difference is that this new recorder "compresses" the data to give you more rec time, although mostly unnoticeable, this does degrade the quality of the recording, so I can safely say you are ok with your MD recorder, a good mic is part of the deal, but the most important thing is IMHO mic placement. I had two choices on Friday, one was putting the mic on the stage front on the left, the other was putting it in the sound boot, but it was in the end of a narrow room on the ceiling, so I was afraid of getting to much room reverb or rumble up there and decided for the stage. In my other thread about "my bootleg" I mention a certain distance in the recorded sound, I think John S. nailed it in the head by calling this "room rumble", I will try to remove this with a parametric equalizer once the files are in the computer, I usually do this stuff with a behringer parametric eq while I’m saving the files from the phone out of the recorder and in to the computer, but I’m trying to bypass one step of digital to analog conversion in order to keep the quality as high as I can for the main band recording. It will be a nice gift for them, especially after the way me and my wife where treated Friday, they really deserve it, I reckon we are kind of a novelty, being Brazilian and living in Hungary, but even so I never had so many people buying me beers, it was a great hangover on Saturday… ; ) — Chris "If trees could scream, would we be so cavalier about cutting them down? We might, if they screamed all the time, for no good reason." Jack Handey
This is really interesting. I lost 3 tracks from my recording, why? Because I didn’t bother to plug the power in while I was listening to the tracks and marking them. Marking is editing, and under the recorder there is a metal sticker that says: "When making a long recording or editing a Hi-Md use the Ac power supply since this operations consume a lot of power." Lesson learned, but couldn’t the recorder be smart enough as not to allow this operations after the battery goes down to a certain level? The more this things start to resemble a computer in it’s operation the more unreliable they get. Look what the manual says about the error message: "The audio data or disk management file has been damaged" Yesterday I was trying out the process of importing the tracks to my pc notebook and converting them to wav. Didn’t work out, Sony’s software is a joke, wav converter doesn’t display the files and doesn’t let you choose the location they are. I’m not messing with that again, from now on I’m just ignoring the usb port on the recorder. And I’m ordering one of this small battery operated pre-amps in order to be able to buy a Hd recorder that only has line-in should the need arise. — Chris
> | ozzy is impotent, he said it in an interview. > | Thats one more thing he can’t do 
> I didn’t know.. nor did I *really* care about that > little diddy. ;)
Does that ruin them Fantasies of ya getting IT up u’r BITCH ASS?
> > | ozzy is impotent, he said it in an interview. > | Thats one more thing he can’t do > I didn’t know.. nor did I *really* care about that > little diddy. ;) > Does that ruin them Fantasies of ya getting IT up u’r BITCH ASS?
He’s a pussy heheheheeehhhh!!! No wonder he "sings" and sounds like a pig
– Hide quoted text — Show quoted text -> > | ozzy is impotent, he said it in an interview. > > | Thats one more thing he can’t do > > I didn’t know.. nor did I *really* care about that > > little diddy. ;) > Does that ruin them Fantasies of ya getting IT up u’r BITCH ASS? > He’s a pussy heheheheeehhhh!!! > No wonder he "sings" and sounds like a pig
Your jealous hostility toward Ozzy has been noted. I’m not impressed by your futile, absolute asinine, piteous and simplistic attempts to tarnish The Godfather of Heavy Metal. Ozzy has paid his dues in the competitive world of music and his accomplishments are well deserved. His influence, his signature vocals, his experience, his triumphs and his defeats are indelibly chronicled in the history books of rock ‘n roll. Your juvenile and unintelligible comments involve words rather than meaning or substance, which indicates to me a lack of education and sophistication. George:)2005
NOW I KNW THATS NOT TRUE OZZY WILL SAY ANYTHING TO MAKE PEOPEL HAPPY BUT HE CAN MAKE KIDS
.. Pagers byMiMeR ~:-)~DANA~:-)~
*HUGS* TOTAL!givedana more *HUGS* Get hugs of yourown
ozzy is impotent, he said it in an interview. Thats one more thing he can’t do
> ozzy is impotent, he said it in an interview. > Thats one more thing he can’t do
Ozzy has always been an impotent person. He went to see the dentist dressed in a tuxedo. When the media asked, "why the tuxedo Ozzy?" Ozzy responded: Well, if I’m gonna be impotent. I want to look impotent. But seriously I didn’t know he was impotent, but it can mean one of two things; unable to engage in sexual intercourse because of inability to have and maintain an erection; broadly : STERILE, : failing to produce or incapable of producing offspring. There are treatments for the condition, which he can discuss with his doctor. YFISABBATH2005 G:)
| ozzy is impotent, he said it in an interview. | Thats one more thing he can’t do I didn’t know.. nor did I *really* care about that little diddy. ;)
I’m sorry if this topic has been discussed before, but I wanted to find out if anyone else has had the same problems in getting Celestion Vintage 30’s that consistently sound the same? I just recently bought a Mesa Boogie 2X12 Rectifier cab loaded with Vintage 30’s, and I am not happy so far with Celestion’s quality control. One speaker in the cab sounds good, and the other one sounded like it had metal vibrating against the cone. Mesa Boogie was great about getting me a replacement speaker, but to my surprise, the replacement speaker sounded like it had a filter cutting off all low frequencies below a certain point. It also didn’t have the same lively tone as the one on the other side. So I decided to purchase one on my own, and this one has more of a lively tone, but comparing it to the other one that’s in the cab, I find it is lacking in the mid-range area. It sounds more transparent, and doesn’t give me that great tone that I’m use to. I just found out from Lord Valve that Celestion is now making them in China. If this is the case, then it seems that their quality control has gone way down, even though, I just read something from someone at Celestion stating that they’re using the same parts, as well as carefully training the Chinese people who are over-seeing the production. At this point, I feel like I’ve thrown money into a wind storm, and I’d just like to hear some feedback from other users. I’d also like to see if there’s anything on the market that will give me the same quality tone my older Vintage 30’s in my 4X12 cab are giving me. And, if there’s something even better on the market. Any thoughts and/or suggestions would be greatly appreciated. Blessings, Brian
- Hide quoted text — Show quoted text – > I’m sorry if this topic has been discussed before, but I wanted to find out > if anyone else has had the same problems in getting Celestion Vintage 30’s > that consistently sound the same? I just recently bought a Mesa Boogie 2X12 > Rectifier cab loaded with Vintage 30’s, and I am not happy so far with > Celestion’s quality control. One speaker in the cab sounds good, and the > other one sounded like it had metal vibrating against the cone. Mesa Boogie > was great about getting me a replacement speaker, but to my surprise, the > replacement speaker sounded like it had a filter cutting off all low > frequencies below a certain point. It also didn’t have the same lively tone > as the one on the other side. So I decided to purchase one on my own, and > this one has more of a lively tone, but comparing it to the other one that’s > in the cab, I find it is lacking in the mid-range area. It sounds more > transparent, and doesn’t give me that great tone that I’m use to. I just > found out from Lord Valve that Celestion is now making them in China. If > this is the case, then it seems that their quality control has gone way > down, even though, I just read something from someone at Celestion stating > that they’re using the same parts, as well as carefully training the Chinese > people who are over-seeing the production. At this point, I feel like I’ve > thrown money into a wind storm, and I’d just like to hear some feedback from > other users. I’d also like to see if there’s anything on the market that > will give me the same quality tone my older Vintage 30’s in my 4X12 cab are > giving me. And, if there’s something even better on the market. Any > thoughts and/or suggestions would be greatly appreciated. > Blessings, > Brian
www.webervst.com
- Hide quoted text — Show quoted text -> I’m sorry if this topic has been discussed before, but I wanted to > find out > if anyone else has had the same problems in getting Celestion Vintage > 30’s > that consistently sound the same? I just recently bought a Mesa > Boogie 2X12 > Rectifier cab loaded with Vintage 30’s, and I am not happy so far with > Celestion’s quality control. One speaker in the cab sounds good, and the > other one sounded like it had metal vibrating against the cone. Mesa > Boogie > was great about getting me a replacement speaker, but to my surprise, the > replacement speaker sounded like it had a filter cutting off all low > frequencies below a certain point. It also didn’t have the same > lively tone > as the one on the other side. So I decided to purchase one on my own, > and > this one has more of a lively tone, but comparing it to the other one > that’s > in the cab, I find it is lacking in the mid-range area. It sounds more > transparent, and doesn’t give me that great tone that I’m use to. I just > found out from Lord Valve that Celestion is now making them in China. If > this is the case, then it seems that their quality control has gone way > down, even though, I just read something from someone at Celestion > stating > that they’re using the same parts, as well as carefully training the > Chinese > people who are over-seeing the production. At this point, I feel like > I’ve > thrown money into a wind storm, and I’d just like to hear some > feedback from > other users. I’d also like to see if there’s anything on the market that > will give me the same quality tone my older Vintage 30’s in my 4X12 > cab are > giving me. And, if there’s something even better on the market. Any > thoughts and/or suggestions would be greatly appreciated. > Blessings, > Brian > www.webervst.com
look at the ceramic 1230-55
Brian, First, check out the Weber site.. most folks around here like his quality and appreciate his help. V 30s are not for everyone, and Imanufacturers do have some parts or a run of parts that gets by QC. That being said, the rectifier cab is usually very reliable, as I have a couple; the most recent purchased just prior to Christmas. The deeper cab and the closed back should give you a lot of bass accent.The V30s tend to be midrange centric… The combination should give a tonal output that cuts through the mix.. but you need to be away from the cab as no sound escapes the back of the cab. On stage, and depending on your distance the cab may not sound right to you, but trust me, setting up your EQ to what you hear say in sound check, will be pushed forward. If you are on top of your amp, as is the case on most regular venues, you may be getting alot of mid in your ear.. but about 8 to 10 feet away, IMHO, it’s giving you what you dialed in. Another issue is that Celestion 30s tend to have ghost or harmonic notes in a certain area of the playing spectrum.. I know it to be circa the 12th fret for both my PRS and Brian Moore guitars.. strings 2 and 3.. Again some folks like that ! It doesn’t trouble me, but that’s me.. I had read in one of the groups that the 8 ohm V30 was still a British product and the 16s Chineese.. Having wanted a little lighter cab I tried the 2X12 Avatar 16 Ohm, and by golly they sounded as I expected.. For $260 and a 10 day return policy it could be a real good option if you can return the Mesa.. Peace, danny
– Hide quoted text — Show quoted text -> I’m sorry if this topic has been discussed before, but I wanted to find out > if anyone else has had the same problems in getting Celestion Vintage 30’s > that consistently sound the same? I just recently bought a Mesa Boogie 2X12 > Rectifier cab loaded with Vintage 30’s, and I am not happy so far with > Celestion’s quality control. One speaker in the cab sounds good, and the > other one sounded like it had metal vibrating against the cone. Mesa Boogie > was great about getting me a replacement speaker, but to my surprise, the > replacement speaker sounded like it had a filter cutting off all low > frequencies below a certain point. It also didn’t have the same lively tone > as the one on the other side. So I decided to purchase one on my own, and > this one has more of a lively tone, but comparing it to the other one that’s > in the cab, I find it is lacking in the mid-range area. It sounds more > transparent, and doesn’t give me that great tone that I’m use to. I just > found out from Lord Valve that Celestion is now making them in China. If > this is the case, then it seems that their quality control has gone way > down, even though, I just read something from someone at Celestion stating > that they’re using the same parts, as well as carefully training the Chinese > people who are over-seeing the production. At this point, I feel like I’ve > thrown money into a wind storm, and I’d just like to hear some feedback from > other users. I’d also like to see if there’s anything on the market that > will give me the same quality tone my older Vintage 30’s in my 4X12 cab are > giving me. And, if there’s something even better on the market. Any > thoughts and/or suggestions would be greatly appreciated. > Blessings, > Brian
I’ll have to check out the Weber site. I’ve been playing through Vintage 30’s for years, and they’ve always been consistent in tone and quality. This is the first time that I’ve run into a situation where 1 sounds really good, and the other 3, well frankly, just don’t cut it. If a person can get a matched set of 4 in a 4X12, but they can’t now, then my first thought is bad quality control. I even had my sound man scope things out, and he was able to definitely see the differences. Boy you’re right. The MB cab is one heavy cab. <GRIN> I love my Mesa cab, now I’d like to have a matched set of speakers to go in it, instead of 1 really good one, and 1 not so good out of 3. Hey, if the 8-ohm Vintage 30’s were still being made in the UK, then it would be well worth the investment to get a pair. I would hope that their QC at that plant would still be just as good. Blessings, Brian – Hide quoted text — Show quoted text —— Original Message —– Newsgroups: alt.guitar.amps Sent: Monday, January 10, 2005 6:20 PM > Brian, > First, check out the Weber site.. most folks around here like his quality > and appreciate his help. > V 30s are not for everyone, and Imanufacturers do have some parts or a run > of parts that gets by QC. That being said, the rectifier cab is usually > very reliable, as I have a couple; the most recent purchased just prior to > Christmas. > The deeper cab and the closed back should give you a lot of bass accent.The > V30s tend to be midrange centric… The combination should give a tonal > output that cuts through the mix.. but you need to be away from the cab as > no sound escapes the back of the cab. On stage, and depending on your > distance the cab may not sound right to you, but trust me, setting up your > EQ to what you hear say in sound check, will be pushed forward. If you are > on top of your amp, as is the case on most regular venues, you may be > getting alot of mid in your ear.. but about 8 to 10 feet away, IMHO, it’s > giving you what you dialed in. > Another issue is that Celestion 30s tend to have ghost or harmonic notes in > a certain area of the playing spectrum.. I know it to be circa the 12th fret > for both my PRS and Brian Moore guitars.. strings 2 and 3.. Again some > folks like that ! It doesn’t trouble me, but that’s me.. > I had read in one of the groups that the 8 ohm V30 was still a British > product and the 16s Chineese.. Having wanted a little lighter cab I tried > the 2X12 Avatar 16 Ohm, and by golly they sounded as I expected.. For $260 > and a 10 day return policy it could be a real good option if you can return > the Mesa.. > Peace, > danny > I’m sorry if this topic has been discussed before, but I wanted to find > out > if anyone else has had the same problems in getting Celestion Vintage 30’s > that consistently sound the same? I just recently bought a Mesa Boogie > 2X12 > Rectifier cab loaded with Vintage 30’s, and I am not happy so far with > Celestion’s quality control. One speaker in the cab sounds good, and the > other one sounded like it had metal vibrating against the cone. Mesa > Boogie > was great about getting me a replacement speaker, but to my surprise, the > replacement speaker sounded like it had a filter cutting off all low > frequencies below a certain point. It also didn’t have the same lively > tone > as the one on the other side. So I decided to purchase one on my own, and > this one has more of a lively tone, but comparing it to the other one > that’s > in the cab, I find it is lacking in the mid-range area. It sounds more > transparent, and doesn’t give me that great tone that I’m use to. I just > found out from Lord Valve that Celestion is now making them in China. If > this is the case, then it seems that their quality control has gone way > down, even though, I just read something from someone at Celestion stating > that they’re using the same parts, as well as carefully training the > Chinese > people who are over-seeing the production. At this point, I feel like > I’ve > thrown money into a wind storm, and I’d just like to hear some feedback > from > other users. I’d also like to see if there’s anything on the market that > will give me the same quality tone my older Vintage 30’s in my 4X12 cab > are > giving me. And, if there’s something even better on the market. Any > thoughts and/or suggestions would be greatly appreciated. > Blessings, > Brian
I’ve got a V30 in my HRD and I love it. But I bought it several years ago. Are they making them in China now? That would suck.
– Hide quoted text — Show quoted text -> I’m sorry if this topic has been discussed before, but I wanted to find out > if anyone else has had the same problems in getting Celestion Vintage 30’s > that consistently sound the same? I just recently bought a Mesa Boogie 2X12 > Rectifier cab loaded with Vintage 30’s, and I am not happy so far with > Celestion’s quality control. One speaker in the cab sounds good, and the > other one sounded like it had metal vibrating against the cone. Mesa Boogie > was great about getting me a replacement speaker, but to my surprise, the > replacement speaker sounded like it had a filter cutting off all low > frequencies below a certain point. It also didn’t have the same lively tone > as the one on the other side. So I decided to purchase one on my own, and > this one has more of a lively tone, but comparing it to the other one that’s > in the cab, I find it is lacking in the mid-range area. It sounds more > transparent, and doesn’t give me that great tone that I’m use to. I just > found out from Lord Valve that Celestion is now making them in China. If > this is the case, then it seems that their quality control has gone way > down, even though, I just read something from someone at Celestion stating > that they’re using the same parts, as well as carefully training the Chinese > people who are over-seeing the production. At this point, I feel like I’ve > thrown money into a wind storm, and I’d just like to hear some feedback from > other users. I’d also like to see if there’s anything on the market that > will give me the same quality tone my older Vintage 30’s in my 4X12 cab are > giving me. And, if there’s something even better on the market. Any > thoughts and/or suggestions would be greatly appreciated. > Blessings, > Brian
As far as I can tell from everything I’m being told, and reading on the net, the Vintage 30 production is all being done in China. Well I bit the bullet and pulled a pair of my Vintage 30’s that I bought back in 97 out of my Marshall 4X12 cab, and man, what a difference. My Mesa Boogie 2X12 Rectifier really sounds nice, and that’s at low volumes. I can’t wait to get it over to the church this weekend and see how it sounds cranked. Unless something changes, I’m done with the new Vintage 30’s. I’m not about to throw anymore money away on a hit or miss deal. I’m going to look at Weber, or some of these other brands. Blessings, Brian
– Hide quoted text — Show quoted text -> I’ve got a V30 in my HRD and I love it. But I bought it several years ago. > Are they making them in China now? That would suck. > I’m sorry if this topic has been discussed before, but I wanted to find > out > if anyone else has had the same problems in getting Celestion Vintage 30’s > that consistently sound the same? I just recently bought a Mesa Boogie > 2X12 > Rectifier cab loaded with Vintage 30’s, and I am not happy so far with > Celestion’s quality control. One speaker in the cab sounds good, and the > other one sounded like it had metal vibrating against the cone. Mesa > Boogie > was great about getting me a replacement speaker, but to my surprise, the > replacement speaker sounded like it had a filter cutting off all low > frequencies below a certain point. It also didn’t have the same lively > tone > as the one on the other side. So I decided to purchase one on my own, and > this one has more of a lively tone, but comparing it to the other one > that’s > in the cab, I find it is lacking in the mid-range area. It sounds more > transparent, and doesn’t give me that great tone that I’m use to. I just > found out from Lord Valve that Celestion is now making them in China. If > this is the case, then it seems that their quality control has gone way > down, even though, I just read something from someone at Celestion stating > that they’re using the same parts, as well as carefully training the > Chinese > people who are over-seeing the production. At this point, I feel like > I’ve > thrown money into a wind storm, and I’d just like to hear some feedback > from > other users. I’d also like to see if there’s anything on the market that > will give me the same quality tone my older Vintage 30’s in my 4X12 cab > are > giving me. And, if there’s something even better on the market. Any > thoughts and/or suggestions would be greatly appreciated. > Blessings, > Brian
Looked at Randall? – Hide quoted text — Show quoted text – > As far as I can tell from everything I’m being told, and reading on the net, > the Vintage 30 production is all being done in China. > Well I bit the bullet and pulled a pair of my Vintage 30’s that I bought > back in 97 out of my Marshall 4X12 cab, and man, what a difference. My Mesa > Boogie 2X12 Rectifier really sounds nice, and that’s at low volumes. I > can’t wait to get it over to the church this weekend and see how it sounds > cranked. Unless something changes, I’m done with the new Vintage 30’s. I’m > not about to throw anymore money away on a hit or miss deal. I’m going to > look at Weber, or some of these other brands. > Blessings, > Brian >I’ve got a V30 in my HRD and I love it. But I bought it several years ago. >Are they making them in China now? That would suck. >>I’m sorry if this topic has been discussed before, but I wanted to find >out >>if anyone else has had the same problems in getting Celestion Vintage > 30’s >>that consistently sound the same? I just recently bought a Mesa Boogie >2X12 >>Rectifier cab loaded with Vintage 30’s, and I am not happy so far with >>Celestion’s quality control. One speaker in the cab sounds good, and > the >>other one sounded like it had metal vibrating against the cone. Mesa >Boogie >>was great about getting me a replacement speaker, but to my surprise, > the >>replacement speaker sounded like it had a filter cutting off all low >>frequencies below a certain point. It also didn’t have the same lively >tone >>as the one on the other side. So I decided to purchase one on my own, > and >>this one has more of a lively tone, but comparing it to the other one >that’s >>in the cab, I find it is lacking in the mid-range area. It sounds more >>transparent, and doesn’t give me that great tone that I’m use to. I > just >>found out from Lord Valve that Celestion is now making them in China. > If >>this is the case, then it seems that their quality control has gone way >>down, even though, I just read something from someone at Celestion > stating >>that they’re using the same parts, as well as carefully training the >Chinese >>people who are over-seeing the production. At this point, I feel like >I’ve >>thrown money into a wind storm, and I’d just like to hear some feedback >from >>other users. I’d also like to see if there’s anything on the market > that >>will give me the same quality tone my older Vintage 30’s in my 4X12 cab >are >>giving me. And, if there’s something even better on the market. Any >>thoughts and/or suggestions would be greatly appreciated. >>Blessings, >>Brian
Somebody at the harmony central forums recently said that the new Eminence Governor is like the Vintage 30 but that it is slightly warmer and without the V30’s harsh upper frequencies. He even likes 2 of them better than the V30 + G12H30 combo, which he was very happy with prior to trying the Governor. I too have been very happy with the V30 + G12H30 combo in a 2×12, but I think the V30 sounds over compressed and buzzy by itself so I may give the governor a shot in its place. StratMatt
– Hide quoted text — Show quoted text -> I’ve got a V30 in my HRD and I love it. But I bought it several years ago. > Are they making them in China now? That would suck. > I’m sorry if this topic has been discussed before, but I wanted to find > out > if anyone else has had the same problems in getting Celestion Vintage 30’s > that consistently sound the same? I just recently bought a Mesa Boogie > 2X12 > Rectifier cab loaded with Vintage 30’s, and I am not happy so far with > Celestion’s quality control. One speaker in the cab sounds good, and the > other one sounded like it had metal vibrating against the cone. Mesa > Boogie > was great about getting me a replacement speaker, but to my surprise, the > replacement speaker sounded like it had a filter cutting off all low > frequencies below a certain point. It also didn’t have the same lively > tone > as the one on the other side. So I decided to purchase one on my own, and > this one has more of a lively tone, but comparing it to the other one > that’s > in the cab, I find it is lacking in the mid-range area. It sounds more > transparent, and doesn’t give me that great tone that I’m use to. I just > found out from Lord Valve that Celestion is now making them in China. If > this is the case, then it seems that their quality control has gone way > down, even though, I just read something from someone at Celestion stating > that they’re using the same parts, as well as carefully training the > Chinese > people who are over-seeing the production. At this point, I feel like > I’ve > thrown money into a wind storm, and I’d just like to hear some feedback > from > other users. I’d also like to see if there’s anything on the market that > will give me the same quality tone my older Vintage 30’s in my 4X12 cab > are > giving me. And, if there’s something even better on the market. Any > thoughts and/or suggestions would be greatly appreciated. > Blessings, > Brian
Hi, I’ve been a vintage 30 guy for a long time.. and as in any device, feeature preference, style, in music what YOU like to hear from an instrument or cab, is a very personal preference. I like the tone of the 30s.. to me they are not as passive as most stuff out there, and what some may call a howel another calls a growl?? If I were you, and not satisfied with a V30, I would not replace it with something mirroring its design. The Emminance may be an option, but until you hear it in your cab, you will not know, and even then it’ll take a few gigs et al just to be sure. So if you have the wherewithall to experiment, you’re on the right track.. if not, try to find a similar cab with the speakers inplace. As for Chineese quality, Celestion has been around a good long time, and I think they beleive thier products are top notch, so by moving to China, they do cut cost, labor costs. And the machines used in China must meet the tolerances and specifications for Celestion, otherwise V30 guys and Lead guys and thier staple product folks would soon be headed else where.. Chineese resources, as Japan and Korea have proven, are equal to most US an European.. Except for price. And, having recently purchased a new Mesa Recto cab and a 4×12, in addition to the 2×12 I was using, seem right on… if anything, Mesa themselves have reduced the quality of their cabs in the standard Tolex, amp coverings and knobs… also, I am understanding that it’s the 16 Ohm V30 that is made in China.. However, hedgin my bet, that could have changed as well. so, try everything.. call Ted Weber he’s about as good as they come, and play on.. My point: You can only be the judge of what you like.. And everybody else including me are only offering our best opinion. danny
– Hide quoted text — Show quoted text -> Somebody at the harmony central forums recently said that the new Eminence > Governor is like the Vintage 30 but that it is slightly warmer and without > the V30’s harsh upper frequencies. > He even likes 2 of them better than the V30 + G12H30 combo, which he was > very happy with prior to trying the Governor. > I too have been very happy with the V30 + G12H30 combo in a 2×12, but I > think the V30 sounds over compressed and buzzy by itself so I may give the > governor a shot in its place. > StratMatt > I’ve got a V30 in my HRD and I love it. But I bought it several years ago. > Are they making them in China now? That would suck. > > I’m sorry if this topic has been discussed before, but I wanted to find > out > > if anyone else has had the same problems in getting Celestion Vintage > 30’s > > that consistently sound the same? I just recently bought a Mesa Boogie > 2X12 > > Rectifier cab loaded with Vintage 30’s, and I am not happy so far with > > Celestion’s quality control. One speaker in the cab sounds good, and > the > > other one sounded like it had metal vibrating against the cone. Mesa > Boogie > > was great about getting me a replacement speaker, but to my surprise, > the > > replacement speaker sounded like it had a filter cutting off all low > > frequencies below a certain point. It also didn’t have the same lively > tone > > as the one on the other side. So I decided to purchase one on my own, > and > > this one has more of a lively tone, but comparing it to the other one > that’s > > in the cab, I find it is lacking in the mid-range area. It sounds more > > transparent, and doesn’t give me that great tone that I’m use to. I > just > > found out from Lord Valve that Celestion is now making them in China. > If > > this is the case, then it seems that their quality control has gone way > > down, even though, I just read something from someone at Celestion > stating > > that they’re using the same parts, as well as carefully training the > Chinese > > people who are over-seeing the production. At this point, I feel like > I’ve > > thrown money into a wind storm, and I’d just like to hear some feedback > from > > other users. I’d also like to see if there’s anything on the market > that > > will give me the same quality tone my older Vintage 30’s in my 4X12 cab > are > > giving me. And, if there’s something even better on the market. Any > > thoughts and/or suggestions would be greatly appreciated. > > Blessings, > > Brian
It is amazing after I put my older Vintage 30’s from my 4X12 cab into the Boogie cab how much of a difference it really made. Even the one fairly good Vintage 30 didn’t even come close to these older ones. Now the cabinet, in my opinion sounds like it should. I’ve just got to find some replacements to put back into my 4X12 cab. Blessings, Brian
– Hide quoted text — Show quoted text -> Hi, > I’ve been a vintage 30 guy for a long time.. and as in any device, feeature > preference, style, in music what YOU like to hear from an instrument or cab, > is a very personal preference. I like the tone of the 30s.. to me they are > not as passive as most stuff out there, and what some may call a howel > another calls a growl?? > If I were you, and not satisfied with a V30, I would not replace it with > something mirroring its design. The Emminance may be an option, but until > you hear it in your cab, you will not know, and even then it’ll take a few > gigs et al just to be sure. So if you have the wherewithall to experiment, > you’re on the right track.. if not, try to find a similar cab with the > speakers inplace. > As for Chineese quality, Celestion has been around a good long time, and I > think they beleive thier products are top notch, so by moving to China, they > do cut cost, labor costs. And the machines used in China must meet the > tolerances and specifications for Celestion, otherwise V30 guys and Lead > guys and thier staple product folks would soon be headed else where.. > Chineese resources, as Japan and Korea have proven, are equal to most US an > European.. Except for price. > And, having recently purchased a new Mesa Recto cab and a 4×12, in addition > to the 2×12 I was using, seem right on… if anything, Mesa themselves have > reduced the quality of their cabs in the standard Tolex, amp coverings and > knobs… also, I am understanding that it’s the 16 Ohm V30 that is made in > China.. However, hedgin my bet, that could have changed as well. > so, try everything.. call Ted Weber he’s about as good as they come, and > play on.. My point: You can only be the judge of what you like.. And > everybody else including me are only offering our best opinion. > danny > Somebody at the harmony central forums recently said that the new Eminence > Governor is like the Vintage 30 but that it is slightly warmer and without > the V30’s harsh upper frequencies. > He even likes 2 of them better than the V30 + G12H30 combo, which he was > very happy with prior to trying the Governor. > I too have been very happy with the V30 + G12H30 combo in a 2×12, but I > think the V30 sounds over compressed and buzzy by itself so I may give the > governor a shot in its place. > StratMatt > > I’ve got a V30 in my HRD and I love it. But I bought it several years > ago. > > Are they making them in China now? That would suck. > > > I’m sorry if this topic has been discussed before, but I wanted to > find > > out > > > if anyone else has had the same problems in getting Celestion Vintage > 30’s > > > that consistently sound the same? I just recently bought a Mesa > Boogie > > 2X12 > > > Rectifier cab loaded with Vintage 30’s, and I am not happy so far with > > > Celestion’s quality control. One speaker in the cab sounds good, and > the > > > other one sounded like it had metal vibrating against the cone. Mesa > > Boogie > > > was great about getting me a replacement speaker, but to my surprise, > the > > > replacement speaker sounded like it had a filter cutting off all low > > > frequencies below a certain point. It also didn’t have the same > lively > > tone > > > as the one on the other side. So I decided to purchase one on my own, > and > > > this one has more of a lively tone, but comparing it to the other one > > that’s > > > in the cab, I find it is lacking in the mid-range area. It sounds > more > > > transparent, and doesn’t give me that great tone that I’m use to. I > just > > > found out from Lord Valve that Celestion is now making them in China. > If > > > this is the case, then it seems that their quality control has gone > way > > > down, even though, I just read something from someone at Celestion > stating > > > that they’re using the same parts, as well as carefully training the > > Chinese > > > people who are over-seeing the production. At this point, I feel like > > I’ve > > > thrown money into a wind storm, and I’d just like to hear some > feedback > > from > > > other users. I’d also like to see if there’s anything on the market > that > > > will give me the same quality tone my older Vintage 30’s in my 4X12 > cab > > are > > > giving me. And, if there’s something even better on the market. Any > > > thoughts and/or suggestions would be greatly appreciated. > > > Blessings, > > > Brian
Hello everyone, I didn’t post for a while, so some of you might not know me or forget about me in he meantime… Well, life’s like that. Anyway, i just wanted to give you a little update about what’s happening in my life. Last year, i have played, with the country band, about 20 gigs, which were all really great except one. We’re looking forward to some fantastic gigs this year, like the a gig at the Luxemburg’s Honda Goldwing Club Meeting. We’re already booked for 10 gigs, which is until september. I also joined a cover band, we’ve been practicing for a while, and we will be ready in spring for some first concerts, all the musicians are great except the rhythm guitarist. We’ll have to see what we’ll do with him. Gearlike, i’ve done just a few purchases since my last post, which is an american Fender Precision in Sunset Transparent Orange and a maple neck, an Ampeg V4-BH, an Ampeg SVT410HLF and an Ampeg SVT15E… The V4-BH ist a really great head, but it hasn’t got enough power for playnig metal, but it’s perfect for country. The SVT410HLF cab is tremendous. If i had to choose between a SVT410HLF and the SVT810E, i’d go for the smaller one, it’s sounds better and it’s more portable. The bass is on order as well as the SVT15E, which will be used with the V4-BH for country music. I’ll also go to the studio in mid january to record the bass part of "We’re from the country" and "Trail of tears", it’ll be my first time in the studio. BTW, i wish you a happy new year, so i’ll hear from you guys soon.
I was wondering about you the other day. Good to see you’re doing fine. Congrats on everything Phillippe. (hope I spelled that right). — -rob Slidell, LA O> /() ^^
– Hide quoted text — Show quoted text -> Hello everyone, > I didn’t post for a while, so some of you might not know me or forget > about me in he meantime… Well, life’s like that. Anyway, i just wanted > to give you a little update about what’s happening in my life. > Last year, i have played, with the country band, about 20 gigs, which were > all really great except one. We’re looking forward to some fantastic gigs > this year, like the a gig at the Luxemburg’s Honda Goldwing Club Meeting. > We’re already booked for 10 gigs, which is until september. > I also joined a cover band, we’ve been practicing for a while, and we will > be ready in spring for some first concerts, all the musicians are great > except the rhythm guitarist. We’ll have to see what we’ll do with him. > Gearlike, i’ve done just a few purchases since my last post, which is an > american Fender Precision in Sunset Transparent Orange and a maple neck, > an Ampeg V4-BH, an Ampeg SVT410HLF and an Ampeg SVT15E… > The V4-BH ist a really great head, but it hasn’t got enough power for > playnig metal, but it’s perfect for country. The SVT410HLF cab is > tremendous. If i had to choose between a SVT410HLF and the SVT810E, i’d go > for the smaller one, it’s sounds better and it’s more portable. > The bass is on order as well as the SVT15E, which will be used with the > V4-BH for country music. > I’ll also go to the studio in mid january to record the bass part of > "We’re from the country" and "Trail of tears", it’ll be my first time in > the studio. > BTW, i wish you a happy new year, so i’ll hear from you guys soon.
I heard my sons band the other night. The guitarist owns a Randall 100w amp head with 4 x 12" cabinet. It is a transistor amp, I don’t know the model though. They play metal. The thing is, when he engages the gain with the foot pedal, and I think he has it set pretty high, even when not playing there is a white noise coming out of the amp that is so bad he has to hit the foot pedal to turn it off to communicate with the other band members, they cannot even talk above the hiss. They were busy so I didn’t have time to try much to isolate the problem, he is playing an Ibanez guitar, single coil pickups, into a DD-3 (I think it was) boss delay pedal into the amp. I did try the ground lift switch in back but it made no difference. Also it lessened (but was still WAY above anything I have experienced and I have played in bands for many years with many different amps) a little when I got him to try the guitar direct into the amp. It MIGHT be cables…but it sounds like self-noise from the amp. I think this amp must mute when no guitar is plugged in because it is dead quiet when nothing is plugged in, even if the gain is set the same. Any ideas or helpful hints? Thanks, JIm — Check out my original music at http://www.soundclick.com/bands/1/jackermusic.htm "In theory there is no difference between theory and practice, but not in practice."
Sorry about the formatting…I kept hitting "return" not thinking. — Check out my original music at http://www.soundclick.com/bands/1/jackermusic.htm "In theory there is no difference between theory and practice, but not in practice." – Hide quoted text — Show quoted text -> I heard my sons band the other night. The guitarist owns a Randall > 100w amp head with 4 x 12" cabinet. It is a transistor amp, I don’t know > the model though. > They play metal. The thing is, when he engages the gain with the foot pedal, > and I think he has it set pretty high, even when not playing there is a > white noise coming out of the amp that is so bad he has to hit the foot > pedal > to turn it off to communicate with the other band members, they cannot even > talk above the hiss. > They were busy so I didn’t have time to try much to isolate the problem, he > is > playing an Ibanez guitar, single coil pickups, into a DD-3 (I think it was) > boss > delay pedal into the amp. I did try the ground lift switch in back but it > made no > difference. Also it lessened (but was still WAY above anything I have > experienced > and I have played in bands for many years with many different amps) a little > when > I got him to try the guitar direct into the amp. It MIGHT be cables…but it > sounds > like self-noise from the amp. I think this amp must mute when no guitar is > plugged in > because it is dead quiet when nothing is plugged in, even if the gain is set > the same. > Any ideas or helpful hints? > Thanks, > JIm > — > Check out my original music at > http://www.soundclick.com/bands/1/jackermusic.htm > "In theory there is no difference between theory and practice, > but not in practice."
> > 100w amp head with 4 x 12" cabinet. It is a transistor amp, I don’t know > the model though.
even when not playing there is a > white noise coming out of the amp that is so bad they cannot > even talk above the hiss.
I just fixed a Randall recently which had a serious hiss, due to a loose capacitor, cold solder joints if you will, where the cap was still mounted on the board, butt…pushing down on it made the noise go away. Could be something like that. Mass production circuit boards. BTW, if it’s an older Randall, forget about tech support from Washburn Company. Porky
Thanks for the information! Jim — Check out my original music at http://www.soundclick.com/bands/1/jackermusic.htm "In theory there is no difference between theory and practice, but not in practice."
the other night. The guitarist owns a Randall – Hide quoted text — Show quoted text -> > 100w amp head with 4 x 12" cabinet. It is a transistor amp, I don’t know > > the model though. > even when not playing there is a > > white noise coming out of the amp that is so bad they cannot > even talk above the hiss. > I just fixed a Randall recently which had a serious hiss, due to a > loose capacitor, cold solder joints if you will, where the cap was > still mounted on the board, butt…pushing down on it made the noise > go away. Could be something like that. Mass production circuit boards. > BTW, if it’s an older Randall, forget about tech support from Washburn > Company. > Porky
– Hide quoted text — Show quoted text -> The "truss rod in the graphite composite neck thing" is purely to get rid > of > that objection for those that find it just too unbelievable that you don’t > have to adjust the relief in such a neck. It is a feature with a > "perceived" > benefit. > Typical liberal/socialist attitude. "Why should the owners have the freedom > to choose their own neck relief? They need to have their relief dictated to > them, they don’t know better. Bass owners are just deluding themselves that > they might want or need a different amount of relief, we can’t allow them > the freedom to just set their own preferences! They need to have us make > their choices for them!"
ROTLMAO!! Seriously, I am EXTREMELY picky with relief, and setup (just Ask Mike Tobias, Roger Sadowsky). I have never had any issues being "forced" into a relief that is pre-manufactured. It is a "security" thing, and not much more. I doubt those that own a graphite neck with a truss rod every actually use the thing. – Hide quoted text — Show quoted text –
Yes, Derek has it right. Forget the strength issue, it’s the set up. I built Kramer’s for years and the early ones had very expensive aircraft aluminum blanks tha did not bend at all. If you like the way the set up comes through fine, otherwise your dead in the water. I have never played a ZON I liked, the set up doesn’t feel right , with a truss rod I know I could make it feel right. Gerry G.
> ROTLMAO!!
I’m glad that you took that as humor, as intended. > Seriously, I am EXTREMELY picky with relief, and setup (just Ask Mike > Tobias, Roger Sadowsky). I have never had any issues being "forced" into a > relief that is pre-manufactured. It is a "security" thing, and not much > more. I doubt those that own a graphite neck with a truss rod every actually > use the thing.
I think that the vast majority of bass owners never touch their truss rods, there seems to be a superstitious fear of the things. Just the same, having the option to make adjustments is a nice feature. As Rob pointed out, composite necks can be made super-stiff, or they can be made to have some "give" to them. A truss rod would be useless in a super-stiff one, but can be desirable in a softer one. A builder might use differing stiffnesses for the different tones they produce. A flexible composite neck is still a good thing, because it won’t go out of whack on you every time the weather changes. It’s all about freedom of choice, right?
– Hide quoted text — Show quoted text -> > If everyone used the same tension strings, or played the same way, there > > would be no need for truss rod adjustment on a graphite neck. > Tension on a graphite neck has little effect on relief after a certain > point. It’s kind of interesting how you can loosen the strings a whole step > down, and it doesn’t even change the relief much. > I wouldn’t expect it too. > That doesn’t address the issue that people prefer different levels of > relief depending on their playing style, internal belief system and the > tension of the strings – I’m using tension here in relation to the > floppyness of the strings, not to the amount of extra relief they impart > on the neck due to tension. > These issues don’t go away simply because the neck is rock solid. > If someone played with ultra floppy strings, maybe some sort of rubber > cored hybrid, they could easily want more relief than someone who has > near solid metal rods that barely move unless hit by mallets (but what > tone!).
You got me there! LOL!! – Hide quoted text — Show quoted text -> This remains true regardless of the stability of the neck. > — Derek > — > Many Hands – Trans Cultural Music from Aotearoa/New Zealand > http://www.manyhands.co.nz/
> The "truss rod in the graphite composite neck thing" is purely to get rid of > that objection for those that find it just too unbelievable that you don’t > have to adjust the relief in such a neck. It is a feature with a "perceived" > benefit. > If everyone used the same tension strings, or played the same way, there > would be no need for truss rod adjustment on a graphite neck.
Tension on a graphite neck has little effect on relief after a certain point. It’s kind of interesting how you can loosen the strings a whole step down, and it doesn’t even change the relief much. – Hide quoted text — Show quoted text -> Lots of people are completely happy with the setup they get from the > shop – and most of us here know how bad those can be. Lots of people > use pretty similar strings – again they would probably be perfectly > happy with the stock setup of their graphite neck bass. So, yes, most > people will never need to touch the truss rod on their graphite necked > bass – so I’m with you so far. > However, and here is the point at which you argument fails, there are > two strongly held (and in my opinion equally valid) arguments about neck > relief. > 1)There are those who hold that the fingerboard can and should be > perfectly flat – and that relief is for wimps. > 2)There are also those who hold that a certain amount of curve in the > neck is a good thing – and that flat necks are for wimps. > And never the twain shall meet. > If the graphite neck comes from the shop with relief then the flatties > will be unhappy, if it comes flat then the curvies will be unhappy. > Sure, one could order either a flat neck, or a neck with relief, but > that would mean a) that one never changes ones mind and b) the > instrument will never be sold or otherwise inherited by someone of the > opposite persuasion. > It’s a feature with a very real benefit that few people will ever see > the need to make use of. Which is why many manufacturers of graphite > necks choose not to include the truss rod – which adds complexity and > cost to the neck. Others choose to include a truss rod on all their > neck for the small number of people who can make use of that feature. > — Derek > — > Many Hands – Trans Cultural Music from Aotearoa/New Zealand > http://www.manyhands.co.nz/
Uh-Oh… <duck behind screen, waiting for the following rant to fly over> — Henry! Q. Why do some bands even have bass players? A. To translate for the drummer. – Hide quoted text — Show quoted text -> The "truss rod in the graphite composite neck thing" is purely to get rid > of > that objection for those that find it just too unbelievable that you don’t > have to adjust the relief in such a neck. It is a feature with a > "perceived" > benefit. > Typical liberal/socialist attitude. "Why should the owners have the freedom > to choose their own neck relief? They need to have their relief dictated to > them, they don’t know better. Bass owners are just deluding themselves that > they might want or need a different amount of relief, we can’t allow them > the freedom to just set their own preferences! They need to have us make > their choices for them!"
> The "truss rod in the graphite composite neck thing" is purely to get rid of > that objection for those that find it just too unbelievable that you don’t > have to adjust the relief in such a neck. It is a feature with a "perceived" > benefit.
Typical liberal/socialist attitude. "Why should the owners have the freedom to choose their own neck relief? They need to have their relief dictated to them, they don’t know better. Bass owners are just deluding themselves that they might want or need a different amount of relief, we can’t allow them the freedom to just set their own preferences! They need to have us make their choices for them!"
> > If everyone used the same tension strings, or played the same way, there > would be no need for truss rod adjustment on a graphite neck. > Tension on a graphite neck has little effect on relief after a certain > point. It’s kind of interesting how you can loosen the strings a whole step > down, and it doesn’t even change the relief much.
I wouldn’t expect it too. That doesn’t address the issue that people prefer different levels of relief depending on their playing style, internal belief system and the tension of the strings – I’m using tension here in relation to the floppyness of the strings, not to the amount of extra relief they impart on the neck due to tension. These issues don’t go away simply because the neck is rock solid. If someone played with ultra floppy strings, maybe some sort of rubber cored hybrid, they could easily want more relief than someone who has near solid metal rods that barely move unless hit by mallets (but what tone!). This remains true regardless of the stability of the neck. — Derek — Many Hands – Trans Cultural Music from Aotearoa/New Zealand http://www.manyhands.co.nz/
> The "truss rod in the graphite composite neck thing" is purely to get rid of > that objection for those that find it just too unbelievable that you don’t > have to adjust the relief in such a neck. It is a feature with a "perceived" > benefit.
If everyone used the same tension strings, or played the same way, there would be no need for truss rod adjustment on a graphite neck. Lots of people are completely happy with the setup they get from the shop – and most of us here know how bad those can be. Lots of people use pretty similar strings – again they would probably be perfectly happy with the stock setup of their graphite neck bass. So, yes, most people will never need to touch the truss rod on their graphite necked bass – so I’m with you so far. However, and here is the point at which you argument fails, there are two strongly held (and in my opinion equally valid) arguments about neck relief. 1)There are those who hold that the fingerboard can and should be perfectly flat – and that relief is for wimps. 2)There are also those who hold that a certain amount of curve in the neck is a good thing – and that flat necks are for wimps. And never the twain shall meet. If the graphite neck comes from the shop with relief then the flatties will be unhappy, if it comes flat then the curvies will be unhappy. Sure, one could order either a flat neck, or a neck with relief, but that would mean a) that one never changes ones mind and b) the instrument will never be sold or otherwise inherited by someone of the opposite persuasion. It’s a feature with a very real benefit that few people will ever see the need to make use of. Which is why many manufacturers of graphite necks choose not to include the truss rod – which adds complexity and cost to the neck. Others choose to include a truss rod on all their neck for the small number of people who can make use of that feature. — Derek — Many Hands – Trans Cultural Music from Aotearoa/New Zealand http://www.manyhands.co.nz/
> Tension on a graphite neck has little effect on relief after a certain > point. It’s kind of interesting how you can loosen the strings a whole step > down, and it doesn’t even change the relief much.
Graphite composite necks are not all built the same Peter. Some are more "rubbery" than others. In fact, they (in bizarro world) could flex like rubber bands and be acceptable to some, as long as those buyers don’t have to compensate for seasonal changes. Right? It’s not "if they flex," or "how much," it’s about the weather changes. The amount of flex due to tension can vary, depending on the composites formula, or the structure of the composites (both by strand layout, or design of neck cross section)… but they should never need adjustment due to weather after they are adjusted/set. Personally, I never needed a truss rod with the composite necks I’ve owned, and life was good. Some other composite necked basses I’ve tried coould benefit from it, like some of the EARLY EARLY Zons, or so I’ve read… Glad to hear you like the Formula. — O< "Hey, who’s da’ U-boat Captain?" /() ^^ Slidell, LA
> I have an older Steinberger XQ, no truss rod. I guess the new > Steinbergers coming out will use Moses graphite necks….which use > truss rods. This seems ass-backwards to me. Isn’t the point of > having a graphite neck suppossed to a neck that is the same, time > after time?
The point of a truss rod is to make the relief adjustable. The point of a composite neck is that it will not change with humidity or temperature changes. In other words, when you adjust the relief, you know that it will stay that way, and not need adjusting when the humidity or temperature changes. > Argh.
Where did you get the idea that composite necks and truss rods are mutually exclusive? Why wouldn’t you want a neck that can be adjusted for different relief? The Moses neck addresses the shortcoming of composite necks without adjustability, that’s good.
> Hi, > I have an older Steinberger XQ, no truss rod. I guess the new > Steinbergers coming out will use Moses graphite necks….which use > truss rods. This seems ass-backwards to me. Isn’t the point of > having a graphite neck suppossed to a neck that is the same, time > after time?
Most people seem to be under the misapprehension that the truss rod is primarily a strengthening device – and in some neck designs it pays an important role in adding strength. However, the truss rod is also an adjusting device, allowing you to change the relief of the neck to suit your playing style, your choice of strings, and for seasonal changes in the wood of the neck due to differing temperature and relative humidity. With a graphite neck only the latter is rendered unnecessary – you set the neck up once and it should remain set up until you *choose* to change it for whatever reason. > Anyway…supposedly the Moses necks sound warmer than a typical all > graphite neck…any comments?
That would probably depend a lot on what it’s attached to. — Derek — Many Hands – Trans Cultural Music from Aotearoa/New Zealand http://www.manyhands.co.nz/
The "truss rod in the graphite composite neck thing" is purely to get rid of that objection for those that find it just too unbelievable that you don’t have to adjust the relief in such a neck. It is a feature with a "perceived" benefit.
– Hide quoted text — Show quoted text -> Hi, > I have an older Steinberger XQ, no truss rod. I guess the new > Steinbergers coming out will use Moses graphite necks….which use > truss rods. This seems ass-backwards to me. Isn’t the point of > having a graphite neck suppossed to a neck that is the same, time > after time? > Most people seem to be under the misapprehension that the truss rod is > primarily a strengthening device – and in some neck designs it pays an > important role in adding strength. However, the truss rod is also an > adjusting device, allowing you to change the relief of the neck to suit > your playing style, your choice of strings, and for seasonal changes in > the wood of the neck due to differing temperature and relative humidity. > With a graphite neck only the latter is rendered unnecessary – you set > the neck up once and it should remain set up until you *choose* to > change it for whatever reason. > Anyway…supposedly the Moses necks sound warmer than a typical all > graphite neck…any comments? > That would probably depend a lot on what it’s attached to. > — Derek > — > Many Hands – Trans Cultural Music from Aotearoa/New Zealand > http://www.manyhands.co.nz/
Hi, I have an older Steinberger XQ, no truss rod. I guess the new Steinbergers coming out will use Moses graphite necks….which use truss rods. This seems ass-backwards to me. Isn’t the point of having a graphite neck suppossed to a neck that is the same, time after time? Argh. Anyway…supposedly the Moses necks sound warmer than a typical all graphite neck…any comments?
Maybe the truss rods are made out of wood? — Learning funk bass? visit www.js3jazz.com/store.htm "Speaking the Truth in times of Universal deceit is a revolutionary act." — George Orwell
– Hide quoted text — Show quoted text -> Hi, > I have an older Steinberger XQ, no truss rod. I guess the new > Steinbergers coming out will use Moses graphite necks….which use > truss rods. This seems ass-backwards to me. Isn’t the point of > having a graphite neck suppossed to a neck that is the same, time > after time? > Argh. > Anyway…supposedly the Moses necks sound warmer than a typical all > graphite neck…any comments?
– Hide quoted text — Show quoted text – >I’m sorry if this offends those of you who remember the seminal influence of >The Velvet Underground on the music scene, but I think Lou Reed is ‘taking >the piss’ with his new single "satellite of love" – a "perfect day" or "walk >on the wild side" it certainly isn’t. I think the phrase "money for old >rope" could sum it up. >This single that’s currently being given airplay in the UK is – in my >opinion – quite dire, and I’m sure fans of Mr Reed (if they’re being honest) >would expect a lot more from him. In fact, I feel sure that if any young and >upcoming act were to approach any record company A&R dept with this record >which is basically a bunch of 4 bar loops (brass, some kind of synth sound, >the title of the record repeated) and maybe half a dozen lines of lyric for >the verse(s), they’d be escorted out of the office to the sound of laughter. >Sorry, needed to get that off my chest
That’s actually a fairly old song of his, from his ‘72 album "Transformer" … perhaps it’s a remix?
> It was "I Love You, Suzanne". As Linny would say, "pants!". > Bud
Now there’s a song that will latch onto my medullaoblongata thingy, like a spider on a fly. — O< "Mr. Anderson" /() ^^ Slidell, LA
> Iteresting. I thought nothing could be worse than Lou’s "Love you Lucile > (?)" song/scooter ad from the ’80’s > — > Learning funk bass? visit www.js3jazz.com/store.htm > "Speaking the Truth in times of Universal deceit is a revolutionary act." — > George Orwell
It was "I Love You, Suzanne". As Linny would say, "pants!". Bud
Hence the question mark (?) by the name. But thanks for the clarification. — Learning funk bass? visit www.js3jazz.com/store.htm "Speaking the Truth in times of Universal deceit is a revolutionary act." — George Orwell
– Hide quoted text — Show quoted text -> Iteresting. I thought nothing could be worse than Lou’s "Love you Lucile > (?)" song/scooter ad from the ’80’s > — > Learning funk bass? visit www.js3jazz.com/store.htm > "Speaking the Truth in times of Universal deceit is a revolutionary > act." — > George Orwell > It was "I Love You, Suzanne". As Linny would say, "pants!". > Bud
Iteresting. I thought nothing could be worse than Lou’s "Love you Lucile (?)" song/scooter ad from the ’80’s — Learning funk bass? visit www.js3jazz.com/store.htm "Speaking the Truth in times of Universal deceit is a revolutionary act." — George Orwell
– Hide quoted text — Show quoted text -> I’m sorry if this offends those of you who remember the seminal influence of > The Velvet Underground on the music scene, but I think Lou Reed is ‘taking > the piss’ with his new single "satellite of love" – a "perfect day" or "walk > on the wild side" it certainly isn’t. I think the phrase "money for old > rope" could sum it up. > This single that’s currently being given airplay in the UK is – in my > opinion – quite dire, and I’m sure fans of Mr Reed (if they’re being honest) > would expect a lot more from him. In fact, I feel sure that if any young and > upcoming act were to approach any record company A&R dept with this record > which is basically a bunch of 4 bar loops (brass, some kind of synth sound, > the title of the record repeated) and maybe half a dozen lines of lyric for > the verse(s), they’d be escorted out of the office to the sound of laughter. > Sorry, needed to get that off my chest
I’m sorry if this offends those of you who remember the seminal influence of The Velvet Underground on the music scene, but I think Lou Reed is ‘taking the piss’ with his new single "satellite of love" – a "perfect day" or "walk on the wild side" it certainly isn’t. I think the phrase "money for old rope" could sum it up. This single that’s currently being given airplay in the UK is – in my opinion – quite dire, and I’m sure fans of Mr Reed (if they’re being honest) would expect a lot more from him. In fact, I feel sure that if any young and upcoming act were to approach any record company A&R dept with this record which is basically a bunch of 4 bar loops (brass, some kind of synth sound, the title of the record repeated) and maybe half a dozen lines of lyric for the verse(s), they’d be escorted out of the office to the sound of laughter. Sorry, needed to get that off my chest
I’m sorry if this offends those of you who remember the seminal influence of The Velvet Underground on the music scene, but I think Lou Reed is ‘taking the piss’ with his new single "satellite of love" – a "perfect day" or "walk on the wild side" it certainly isn’t. I think the phrase "money for old rope" could sum it up. This single that’s currently being given airplay in the UK is – in my opinion – quite dire, and I’m sure fans of Mr Reed (if they’re being honest) would expect a lot more from him. In fact, I feel sure that if any young and upcoming act were to approach any record company A&R dept with this record which is basically a bunch of 4 bar loops (brass, some kind of synth sound, the title of the record repeated) and maybe half a dozen lines of lyric for the verse(s), they’d be escorted out of the office to the sound of laughter. Sorry, needed to get that off my chest
- Hide quoted text — Show quoted text – > I’m sorry if this offends those of you who remember the seminal influence of > The Velvet Underground on the music scene, but I think Lou Reed is ‘taking > the piss’ with his new single "satellite of love" – a "perfect day" or "walk > on the wild side" it certainly isn’t. I think the phrase "money for old > rope" could sum it up. > This single that’s currently being given airplay in the UK is – in my > opinion – quite dire, and I’m sure fans of Mr Reed (if they’re being honest) > would expect a lot more from him. In fact, I feel sure that if any young and > upcoming act were to approach any record company A&R dept with this record > which is basically a bunch of 4 bar loops (brass, some kind of synth sound, > the title of the record repeated) and maybe half a dozen lines of lyric for > the verse(s), they’d be escorted out of the office to the sound of laughter. > Sorry, needed to get that off my chest
How’s it compare to Metal Machine Music? …or maybe that is considered ‘good’ now? I liked some later stuff like New Sensations…but IIRC, MMM was pretty awful.
Iteresting. I thought nothing could be worse than Lou’s "Love you Lucile (?)" song/scooter ad from the ’80’s — Learning funk bass? visit www.js3jazz.com/store.htm "Speaking the Truth in times of Universal deceit is a revolutionary act." — George Orwell
– Hide quoted text — Show quoted text -> I’m sorry if this offends those of you who remember the seminal influence of > The Velvet Underground on the music scene, but I think Lou Reed is ‘taking > the piss’ with his new single "satellite of love" – a "perfect day" or "walk > on the wild side" it certainly isn’t. I think the phrase "money for old > rope" could sum it up. > This single that’s currently being given airplay in the UK is – in my > opinion – quite dire, and I’m sure fans of Mr Reed (if they’re being honest) > would expect a lot more from him. In fact, I feel sure that if any young and > upcoming act were to approach any record company A&R dept with this record > which is basically a bunch of 4 bar loops (brass, some kind of synth sound, > the title of the record repeated) and maybe half a dozen lines of lyric for > the verse(s), they’d be escorted out of the office to the sound of laughter. > Sorry, needed to get that off my chest
> Iteresting. I thought nothing could be worse than Lou’s "Love you Lucile > (?)" song/scooter ad from the ’80’s > — > Learning funk bass? visit www.js3jazz.com/store.htm > "Speaking the Truth in times of Universal deceit is a revolutionary act." — > George Orwell
It was "I Love You, Suzanne". As Linny would say, "pants!". Bud
Hence the question mark (?) by the name. But thanks for the clarification. — Learning funk bass? visit www.js3jazz.com/store.htm "Speaking the Truth in times of Universal deceit is a revolutionary act." — George Orwell
– Hide quoted text — Show quoted text -> Iteresting. I thought nothing could be worse than Lou’s "Love you Lucile > (?)" song/scooter ad from the ’80’s > — > Learning funk bass? visit www.js3jazz.com/store.htm > "Speaking the Truth in times of Universal deceit is a revolutionary > act." — > George Orwell > It was "I Love You, Suzanne". As Linny would say, "pants!". > Bud
> It was "I Love You, Suzanne". As Linny would say, "pants!". > Bud
Now there’s a song that will latch onto my medullaoblongata thingy, like a spider on a fly. — O< "Mr. Anderson" /() ^^ Slidell, LA