IamScrooge

I dont really use one in my playing much, but I always miss the trem if it isn't there. I never bother using non floating trems though, dont really see the point. My edge equipped RG holds better tune than most guitars I've played, which is why I've decided that I aint going back Sure, they take a lil while longer to tune but I'll always have a non-trem guitar as backup or for mucking around with other tuneings.

Well lets see, the RRP for that guitar is 1,618.00, and the first price I found it going for was 1,199.00 I bet it sounds gorgeous!!! What would be a fair amount? 800ish (pulled that number out of a hat) maybe? Looks to be in excellent condition. Theres a 330-6 in fireglow red on ebay right now going for 715 with 11 bids, which seems to be the best indicator of price I can find. I'm not interested btw (well, I am but unless you're giving it away its out of my reach ) just thought I'd throw in my 2ps worth. Looks like an awsome guitar.

Am I right in thinking that G&L and MusicMan are Leo Fenders post-Fender legacy? Man that guy knew what he was doing. Senior Gibson and Les Paul dont have a look in. Still, is 700 really that much to pay for a quality guitar?

Maybe this is definative proof that if you use good woods which age well, an instrument will age gracefully, no? Or maybe its a contributing factor? You say you've used 20 strats, but you dont say what range they were and which specific pickups were in them, which body/neck woods were used, and if the comparison was made using equal testing circumstances. For all I know you've used 20 mexican strats and are comparing them to a 25 year old american deluxe (I dunno, did they have 'american deluxe's back then?) Theres also the whole confusion surrounding the japaneese strats of that era too... Overall though, I have to say that Fender have one of the best theologies regarding guitar design I can think of. Gibson made a few guitars and pickups when they first started, and...well...thats about all they've ever contributed to the electric guitar. Nowadays they rely on their intellectual property to sell their guitars. People want a 'gibson' because they grew up listening to gibsons. Ibanez on the other hand are too obsessed with making everything new and different from the classic electric guitar as we know it, some things are improvements, like their trems and necks, but others like luthite and basswood just dont cut the mustard. Fender now, take the design that works, and improve upon it with proven technology only when its beneficial, and often this includes outsourcing to other manufacturers to get the best parts. For example, Lace sensors, Floyd Rose trems, roller nuts etc. They also put a lot of money into developing worthy proprietry developments such as the deltatone, noiseless pickups, their floating trems and Texas Specials. While Gibson are beaten at their own game at both the budget and high end markets by companies like Tokai and Vintage, Fender are very consumer friendly by comparison. Can you honestly say that a Squier isn't good value for money? Or a Highway 1? Wish I owned a fender

Hmm...dont think I'd be too popular on that forum I'd like to take this oppertunity however to moan about how much a rip off Gibson and Epiphone are in general. Who wants to spend that much on a silly gibson ZW model anyway when you can buy yourself a one of these??? Heres a better picture here. Its gorgeous!

Well I sincerely hope you get a decent price for it. I think they're kinda rare so you might be in with a good chance. I know how it feels though, I'd like to sell my epiphone for more than 250 too Damn you Bruce Millers!

Nearly all epiphones go for 250 on ebay

Hmmm...thats gonna be a tough decision for bar owners, scrap the music or install a ear plug dispenser...hmm...

Just out of curiosity, are you actually having any problems with feedback right now or is this a 'rather take it and not use it, than need it and not take it' thing (like a spare guitar cable) ? By your last post it looked like you were pricing them up, maybe theres a cheaper solution (like wedge placement or microphone type). Or were you just asking out of curiosity?

85dB? You're joking! That could never take off, there has to be some exceptions to this, like, a noise licence or something. Concerts just wouldn't be worth going to. Then again...it might be nice to actually have a conversation in moshulu from time to time

The Dillenger Escape Plan. Thurisaz,

Doc, I absolutely agree. Heres an explanation on how to use an EQ to reduce feedback: http://acapella.harmony-central.com/forums/showthread.php?s=&postid=7286019post7286019 and here it is again, worded differently: http://acapella.harmony-central.com/forums/showthread.php?s=&postid=8262668post8262668 if you note in that last thread, theres a link to a nice little piece of software called the 'Neihoff Feedback Trainer', its a simple and effective way to help you identify feedback frequencies, recommended On a side note - there are far too many djs in aberdeen who take one look at an EQ unit and say "Ooh! Ooh! Smiley face smiley face!" and turn the sound to mince. I hear it all the time when I'm out, exodus is quite bad for it. Although this may be true in a number of cases... 1. I'd rather have and not want, than need and not have. 2. If you have no other low pass filters in your system, a lot of EQs will have this feature. A low pass filter around 30 - 50hz will help protect the (sub)woofers, let the system run efficiently and in certain cases a system will have more punch or clarity with such a filter engaged. 3. How many SERIOUS systems have you seen without an EQ or DSP? Some food for thought...

Yes I have. Both the early bands from the nineties and some of the huge quantity of modern material marketed at angsty kids as well (haha slipknot, their last album was actually surprisingly good), and I reiterate - I did not say that there were strictly no talented musicians in death metal. Really, I'm seeing a LOT of shite and not a lot of well composed pieces at all. Much like the pop market really, just with a lot of shouting and not a lot of singing (give the pop singers their due, a lot of them can actually sing!)

The best way to get rid of feedback issues is to take a 31 band eq (or a parametric with a few channels, the 15 band graphics aren't as good as the 31 band ones), find the frequency that you're feedbacking at (the peavey FLS EQs are handy for this if you're not good at identifying frequency) and reduce it till you get more volume(gain) before feedback occurs, until you get as much volume as you deisre. Feedback destroyers just atttempt to do this automatically and digitally, but often there is a delay before they operate. The better quality of equipment (esp monitors) you are using the less of an issue feedback will be and the less you will need to tweak with an EQ. Proper mic placement is essential too, use a different placement of monitors for cardioid and hypercardioid mics. I wouldn't spend my money on a feedback destroyer.

He didn't say they were rubbish, he said that he BELIEVED they were PROBABLY rubbish. To be honest, if a band cant say "Hey thanks for the tips, we'll try better next time", but instead have a tantrum and moan that everyones slagging them off then what chance do they have of identifying the areas in which they can improve? Like Bob said, 'Bad Attitude', if they have a bad attitude accepting feedback whats the chances that their attitude about improving as a band is any better? Not to say that his statement was solid. There are plenty people out there blessed with musical talent who could have a really bad attitude and still write amazing stuff. Thing is the really talented musos tend to hang around in the jazz bands, not the nu-metal/hardcore/death/"individual" scene.

Insurance! Ya, ya, peavey...uh...model, which model was it again...I think I remember seeing the numbers 5150 SOMEWHERE...you'll give me what for it?

Sorry' date=' but uh... [img']http://acapella.harmony-central.com/ubb/rolleyes.gif And yes, I listen to heavy music so my opinion does count

The second band were pure lead. Their website is www.purelead.co.uk I believe. I'd just like to say that I thought that the first band (Indigo Blue?) were really good. Their drummer excells and had a great tight sound. Indeed I reckon they pretty much prove you just dont NEED a bassist at all. The lead guitarist had a terrible case of 'scoop out all the mids' syndrome but without a bassist the low end didn't muddy up and the 2nd guitars sound fitted right in the middle of the scoop, its a fascinating and refreshing way of building a bands sound but its the only time I'll ever condone scooping. Sounded real professional. One of the songs had some nice punchy stop-starts but I reckon the tunes could be catchier. Missed the rest of the night, oh well

It would save a lot of time and room and reduce the chances of someone blowing up the system. Not very cost effective if someone wires up the thing wrong and burns out an amp or something is it? Take the situation where the highs and subs were miswired for example. A sensible person would have figured it all out but I've seen some people who would probably just turn the thing up till some of the speakers burned out. And they probably wouldn't stop till they saw the smoke either... At least they should spend a few quid and get a decent quality/size mic cable for the second microphone so its not cutting out/falling over all the time

Y'know...a lot of people moan about the sound in the malt mill. They all say 'oooh crap pa system!!!' without bothering to notice, that theres nothing wrong with the sound at all. When I've been there its been used for vocals alone and if they dont sound quite right its because some fags gone and scooped the mids on the channel strip again. The problems on setting up the system which have been voiced here are all completely unnecessary and could be avoided with the smallest effort. The system should be set up and waiting for the bands to turn it on and play, but if they must set it up themselves a really really cheap and simple solution like a pre-wired patch panel with labels on the sockets and even the cables would not only make setting up the system piss easy but also eliminate the chances of someone blowing it up. If they had bothered to spend a little bit extra cash they could have bought a pop-up rack case and mount the mixer above the power amps, saving loads of stage space and having everything all pre-wired, eliminating set up time and again, ensuring that everythings wired correctly. It would also be easier to store. Even using NL4 speaker cable would be really beneficial. All these things however, you can only blame the sound company Danny(who really needs to calm down) claims they are using. One thing thats not excusable is the unreliable microphone cables, lack of spares, and lack of cable long enough to reach the second microphone without being a hazard. Overall, someone just didn't care/could be arsed. I do like the plasma screens and the CCTV camera though. If only they'd pipe the CCTV through to the back room instead of the same room the bands playing in...