GregP

Agreed, Luckily a 2.66 GHz computer with 512 MB RAM isn't completely ancient yet. Greg

They're just pickups. It'll work fine. Bridge pickups are usually optimized for the bridge position by producing higher output to make up for the lower output generated by that position. If you put a bridge pickup in the neck position, it'll have even hotter output. That's about it. Also, avoid using an f-spaced bridge pickup for the neck position or the polepieces will be out of whack.

You could theoretically do it but the results would be less than mediocre. I can't imagine the contact being enough, nor can I imagine it sticking for more than a day. I've never heard of a product that will do it effectively, but I haven't seen the whole world of electronics techniques. Proper soldering technique will ensure that you do not ruin the pot. If the wire is properly tinned, you shouldn't need to contact the pot for long enough to heat it up to 'ruination'. Absolute worst-case scenario: you buy a new tone pot to replace the one you ruined. I really don't think that'll happen if you proceed with normal precautions; however, I wanted to mention it because it wouldn't be the end of the world. Greg

I LOVE the Steinberger look. Once I get around to it, that'll be the next personal project.

I agree. Lots of memory really only becomes necessary when you're using virtual instruments that load samples into RAM. If most of your work will be audio-to-disc, then 512 will be plenty. Greg

With the right software, I think that the computer can be even easier than a "portable studio" environment. The only stumbling blocks are if computers are COMPLETELY foreign to you. If that's the case, I would stick to the USB/Firewire option since you're not likely comfortable installing a PCI card. Then the only other thing is installing the software. If you don't even like installing Microsoft Office, then you're in a bind. But if you've installed any sort of software before, this is no different. Greg

Other links no workee. Stupid Geocities. Hook yourself up with some photobucket.com action. Greg

Mbox is apparently an excellent piece of kit. Pro Tools LE is a capable and industry-standard piece of software, though I don't like it. If you decide you don't like it, either, you are not 'locked' into using it, either. Other similar products (some firewire/USB and I think some being PCI with breakout box) include: Mackie Spike which includes my sequencer of choice, Tracktion. Also has on-board signal processing which takes some of the load off the CPU. Tracktion 2 is almost out, but I don't know what the details are for its inclusion with Spike. If it DOES come with Spike, it includes hundreds of dollars of industry-standard plug-ins as well, and a full suite of mastering plug-ins from Mackie/Acuma. Also, a Mackie-specific version of Ableton's excellent Live software. M-Audio's FastTrack budget solution, or their awesome Firewire 410. M-Audio's stuff always comes bundled with software, too. Ableton Live Delta and Reason Adapted for starters, in most cases. Edirol's range of products, only one of which being the UA-25. Tascam's US-122 which includes the highly capable Cubase LE, as well as a reduced version of the industry's most powerful and ubiquitous sampler, Gigastudio 3. A word of warning, though-- at higher gain levels, the US-122 has the reputation of having some cross-talk. In other words, if you're recording and playing back at the same time, some of the playback signal bleeds into your input. I've used the 122 personally, and I haven't noticed this at all; however, it's very well documented that it's the case, so I'd believe it. To me, as a hobbyist, it's a worthwhile trade-off for the package you get. [slightly edited:] At the end of the day, a PCI with mixer solution offers you the most flexibility for the lowest price, but the trade-off for flexibility is plain ol' physical space in your work area, not to mention portability. Many days, I'd rather have one of those standalone devices like the MBox. Greg

Round it off to how many decimal places, though? Obviously there's room for some very very small 'error' (who in the world can measure to a hundred-thousandth of a millimetre?), but unless it's as precise as you can possibly make it, it won't sound good. Greg

I have purchased from A&M. The white Limba they sent me is exceptional, and they were very accomodating for a special maple top I wanted. I didn't care about figure or bookmatching, since I'm painting opaque, so I got a bit of a deal on it. The maple top was actually a wee bit cupped when I got it. Nothing that couldn't be fixed 'in house', but worth mentioning, I guess. They're good with customer service, but you gotta phone them instead of e-mailing even though e-mail is an option. They just don't seem all that quick responding to e-mails. Greg

It's really more worthwhile to use a computer than a standalone multi-tracker, even if you're not going to use it for internet or anything. I can think of a million reasons to use a computer, not the least of which is the ability to download and use free effects on your tracks. Not going to happen with the Tascam. Here's a post I was in the middle of entering but forgot to press submit: An Athlon T-bird 1 Ghz with 256MB RAM is plenty of machine to do audio on. Yes, it's long in the tooth, but it's way less powerful than the computer you mentioned, and it would still be able to handle multi-tracking audio. Given the specs you quoted at the beginning of the thread, I would worry less about your machine (which seems fine) and more about your software and audio interface. If you have a bit of extra cash, an extra 512 MB of RAM wouldn't hurt, but I wouldn't obsess any more than that. It's like wanting a Special Stock PRS... sure, it's nice to have, but your MIM strat WILL allow you to make music, still. sepultura DOES have a point, though-- it all comes down to what you want out of the machine. The T-bird mentioned above will not handle some of today's virtual instruments, and will slow down considerably once you're up to 10 tracks of audio with a lot of effects on them. If you just want to record 1 or 2 inputs at a time, any machine out there will easily handle it. Most software comes with a 'freeze' function which will free up CPU usage for playback of as many tracks as you could imagine making, so that's not really a concern unless you want to avoid using a freeze function. Even sequencers without 'freeze' will allow you to render (bounce) your audio tracks, which is just the same thing as freezing but with slightly more options to checkmark before proceeding. My system uses an entry-level "pro" card called the Audiophile 2496. It has 2 analog and 2 digital ins and outs. I don't have any digital equipment, so for my purpose, it has 2 analog ins and 2 analog outs. I plug my guitars and microphones into a small mixer (the Behringer UB802), which has 2 analog master ins, 2 analog master outs, and an output to my speakers. I can plug as many instruments into the mixer as it can handle, but they will eventually be 'mixed' to the 2 master outs, which then go to the 2496. At the same time, any tracks that are being processed are also being sent BACK to the mixer, from which they are sent out to the speakers so that I can hear them. instruments -------> mixer <-------> computer (2496) | | speakers

1. That computer is about exactly the same spect as what I'm using right now, and it's plenty powerful for audio recording. 2. USB interfaces are fine, but get FireWire if there's an option. 3. If you plan to use microphones, make sure that you get either an interface with built-in mic pre-amps (that supply +48V phantom power (it'll be in the spec list, don't worry)) or make sure you factor a small mixer or mic pre-amp into your budget as well. 4. Since you don't have the software yet, when given the choice between two very similar interfaces, you could probably go with the one that has a better software bundle to get started with. I don't think it should be the deciding factor, but it's something to at least consider. Greg

Awesome work, period. I wouldn't have known it's your first, second, or tenth if you hadn't said so. Ojala - more or less "I hope" in Spanish, no? Greg

I dunno. It's amazing how hard it is to find stuff in Ottawa that you guys take for granted in your parts of the world. For example-- no Robo-Sander to be had in this entire city. I've never heard of any particular welding shops around here, either, but there have GOT to be welders, and they therefore must get their stuff from somewhere, so I'll have to be inventive and make some phone calls. Grizzly carries some, anyhow, and I'm thinking of making a Grizzly order at some point in time, so I might just get them with that order. Greg

"so that we can showcase more of these instruments" is the part that I saw. In other words, collect nominations for even non-Guitars OTM that people think belong in a "didn't win but holy crap check THIS out!" showcase. Distilling GOTM winners into a GOTY doesn't showcase "more" guitars. That's what I got out of it. Greg

Measure twice, drill once. (watch me eat those words when I screw up my own TOM installation) Greg

Well, that's me confused, then. It seemed to me from your previous posts that you wanted a gallery for the kick-butt guitars that didn't win GOTM, and Wes was just telling us that there IS one. Now it seems you're talking about the opposite-- an even MORE elite group of guitars, like guitar of the year.

Cool beans, Rob. As offended as you are by people's response to the name choice thing, though, it's equally stupid (equally, mind, not moreso) to say that someone else is racist for noticing the unfortunate choice. Cheers for the pricing information. Some people here may not be into the style, but I bet there are lots of us who ARE. Good luck with all your endeavours, and if you ever care to share your techniques with us, I bet it would be appreciated. Greg

Those flapper discs look like the happy medium. I wonder if I can find any to fit the angle-grinder attachment of my spinsaw. I've never seen them before, so I don't know how available they'll be up here in Canuckia. Greg

The high 'E' can even be all the way forward if you want, since no string will ever need to be shorter than the scale length. Greg

I dunno about the rails. Not very tele-like to me. I've owned a Hot Rails and I now use a Little '59, and neither of them sound like a Tele. Luckily, I didn't particularly care TOO much about the Tele sound, as I just wanted a humbucker. Greg

Good progress, and nice blog. I'll be keeping my eye on this, so be sure to inform us of updates!

Back on topic-- I can't possibly imagine any way to 'teach' wah. Some people just 'get it' right away, and some people take a bit more time before it clicks, but no kind of lesson will help you be a good wah player. Gotta agree about the Voodoo Chile suggestion. Funny, I was listening to Jeff Healey's "See the Light" on the radio today (weird that they played it...) and it's covered in wah, but I didn't enjoy his wah playing. Actually, come to think of it, his technique probably wasn't horrible, but I didn't like his tone. Greg

I don't know how to solve your problem and I don't have any technical information, but I do know this: I have an old 50-Watt Garnett head. There's a switch on the back for reversing the current or whatever... dunno exactly what's going on, but if it's flipped one way, all's good, but when it's flipped the other, very nasty electric shocking occurs. I wonder if somehow at the amp level or in the outlet it's plugged into, something is 'reversed' the same way that switch reverses things. Greg

There's too deep and then there's too deep. What's the tactic for repairing such a thing? Greg