GregP

Mostly agreed-- especially about the yung'ins and the old farts. I fit into the latter category, so I can relate. To expand and answer a few more specific questions: - No matter what your host is (Cubase, Tracktion, Sonar, n-Track) you will be streaming your audio files (your recorded audio tracks) from hard disk. I have personally used 20 tracks on a ONE-hard disk system without any hiccups, but this is where you should look first if you're having a tough time: * put your system and your streaming audio on separate hard drives. I wouldn't bother using separate partitions if you're just using one hard drive. It's more convenient for organization, but won't actually increase your system's performance unless you use a special app to make sure your audio files are in the faster-moving part of your platters. It's much easier to slow your system down with partitioning than it is to speed it up. * As Dugz mentioned, it's the other crapola you have installed that will slow your system down... resident anti-virus and firewall... schedulers... things like that. Check out http://www.musicxp.com for tips on improving Windows XP performance. There are all kinds of levels you can take it to, depending on how obsessive you are and how much you need 'streamlining'. Generally, if you have a super powerful computer, you won't notice any real-world benefits from some tweaks and you're better off spending that time making music. However, if you have a slow system and you need to squeeze every drop of performance out of it, some of these tips can prolong your system's life. When I was working on a track that had 20+ tracks of mostly audio, and I started running into problems, I had the following spec: Athlon XP 1700+ 512 MB PC2100 RAM 120 GB 7200 RPM hard drive ATI Radeon video card I was supposed to upgrade just a few components, but some things crapped out and got messed around, so my current system is: Athlon XP 2600+ (overclocked a WEE bit, though it's not usually worth the hassle and risk-- a stable and cool PC is worth more than a few extra computation cycles) 512 MB PC3700 (? current gen, anyhow) RAM -120 GB 7200 RPM hard drive -80 GB 7200 RPM hard drive Matrox G550 video card (dual head) Both systems use the Audiophile 2496 sound card, and I had disabled on-board sound and video on both. To be completely honest with you, the 'new' system is noticeably quicker, but not to the level where the upgrading was really worth it. It was like a slippery slope-- components kept breaking or being incompatible... all I really wanted to do was upgrade the CPU. There are definitely diminishing returns for the money spent on a computer. You can have a reasonable DAW with an old T-bird processor and 512 MB of RAM, so depending on your needs and what you currently own, almost any current-generation (even slightly lagging) computer will see you fine for a long while. If you're already planning on building a new system, there are some very good options to be had for very reasonable money. It's finding that "sweet spot" of performance-to-cost that's more interesting than just going for the biggest and best. More recently, I have been craving another 256 MB of RAM, though if I do that, I'll likely just jump right up to 1GB. The thing to remember as a hobbyist is this-- do you really NEED to have the same amount of power as the pros? Not at all. It's tempting to go for it, and to think that your system is shoddy if you can't run as many plug-ins or tracks as so-and-so, but the truth is that we've had enough power for a respectable DAW for years and years, so don't get too caught up in having a mad machine if you just want to be able to make some music! Greg

Tracktion isn't own by Mackie at all. It is still the property and product of one man, Jules Storer, and his company Raw Material Software, who also make a very interesting library of C++ classes (or whatever they're called... I'm not a programmer) called JUCE. Tracktion IS, however, distributed by Mackie. The interface is definitely a matter of taste, but in most cases that comes down to visual appeal rather than functionality. Once you give Tracktion a decent shot (ie. one day, not necessarily a whole week or anything silly), the ease of use soon quells any doubts that stem from the unconventional look of it. As for n-Track, it is easily the buggiest and most unstable piece of recording software ever compiled. For a more traditional and yet inexpensive option, I stick by the Magix option. Firewire is definitely a great technology, and I hadn't even thought of the interference-killing benefit, which is a great selling point. That Tascam looks awesome, but I don't see myself ever owning one. Greg

Exactly. Which is why it's weird that it took so long for them to start adopting 2.0 on their devices, and that they even bothered with 1.1 technology in the first place. Greg

I'm not usually one to be overtly contrary with forum members... but Gibson's posts were riddled with misconceptions, poor information, and clearly unresearched and untested information. Primarily, the things that he quoted as being "features" are actually inherent in virtually ANY computer recording program... and the plug-ins bundled with Cubase SL (which is a cut-down but still feature-rich version of the program) are not renowned for their wonderful feature sets. Additionally, it will depend on your final purchase whether or not to get a mixer. What Gibson failed to grasp is that you don't actually use it for mixing duties-- he's right that the mixing facilities of the software are more flexible and useful. The hardware mixer is more of a front-end for your instruments, providing phantom power for condenser microphones, allowing you to use multiple input jacks for a 2-input soundcard (even though you'll be limited to 2 at a time unless you're recording live and don't plan to edit much) and also serving as a 'breakout box' or miniature patch-bay for your cables rather than farting around at the back of your computer. If you get a PCI soundcard, a mixer will be your good friend. Dugz Ink is right about the Behringers, though-- if you plan on getting very serious with your recordings, eventually you will discover that the mic preamps aren't clean enough. For my home hobbyist purposes, they're fine, but they're certainly not pro (and are barely semi-pro) standard. Back to your questions, though-- - Between PCI and Firewire, I'd still have to go with PCI. It's such a stable and battle-tested interface that you'll be very unlikely to run into driver or hardware incompatibilities. Some of those Firewire boxes look beautiful, though, so I don't think you could go wrong by going that route, either. - You seem to like the look of the Steinberg System|4, so I need to reiterate-- it is a very capable and rich application. You WILL find it useful, you WILL understand it fairly quickly (depending on natural aptitude and previous experiences), and you WILL find yourself with a package that is excellent value for the money (ie. if you're worried about being ripped off, don't be. The package IS a bargain) - By going with the system I was suggesting, you are getting a whole bunch of components, and if they need support and/or servicing (mine haven't yet), you're going to multiple vendors; the System|4 is all part of one tech support phone call. That might be a selling point. - The plug-ins for Cubase SL aren't great... to some people they are very dated, indeed; however, they ARE still there and ARE still usable! With Tracktion, you'll have to track down some freeware replacements or buy a separate commercial plug-in. (for example, the now-cheap but industry standard DR-008 drum machine) On the other side, though-- - Software like Tracktion is easier and has a more active and supportive user base who can help out (see the Raw Materials forum at kvr-vst.com) - You'll have more control over your components - You'll save money It depends on what your priorities are. In fact, since this thread started, I was reminded of another piece of software that I highly recommend you have a look at: Magix Music Maker 2005 is more 'standard' in its interface, has a long enough pedigree to be stable, and the bundled fx/instruments are as good or better than Cubase's, and yet the whole thing only costs $59.99 (software only, all hardware must still be considered). It's an astonishing deal, and should give you another alternative while you're looking around. Greg

I can see your points. For the purists, accept no substitute. I'm not a purist, and the tele-tones that I've heard from 6-saddle bridge Telecasters are sufficiently authentic for me. Frankly, I can't tell the difference, but then again, I'm thrilled with the tele sound of my Pacifica 302, which isn't even made by Fender and doesn't even have a similar spec. Point taken, though-- and if I ever decide to built an authentic traditional telecaster, even for looks alone I'd probably go with the 3-saddle. Greg

Yes, USB 2.0 transmits data at... 40X the speed of 1.1, if I'm remembering correctly. Substantially more quickly, anyhow. Pretty much any computer made after 2002 will have USB 2.0 ports (not a hard and fast rule, but pretty much), but strangely enough the soundcard industry is just getting started with 2.0 on THEIR devices. Greg

I'm still figuring out which binding-routing tool to buy... never mind fretboard radiusing. I think it was Perry that said it on page 1-- hobbyists are better off just buying a pre-radiused fingerboard. Not that I've even completed ONE project yet, mind you, but that's what I did right away, rather than fool myself into thinking that I'll be able to properly radius a fingerboard myself. I'm sure some people can... and have... on their first or second attempt, but I know myself well enough to know that it won't be me, even if I HAD a fancy aluminum thingy! Greg

I'm surprised the Delta 66 doesn't have software-- usually it comes with Live! Delta and Reason Adapted. However, as I mentioned in the other thread, a fully working sequencer called Tracktion is available for only $80 anyhow. The Cubase system... is fine. I'm just not a fan of Cubase or Steinberg. Latency refers to the delay between the time you play the note, and the time you HEAR it through your speakers. This delay comes because of limitations in your hardware-- first there's the Analog-to-Digital conversion (as your sound enters the soundcard), then there's the processing that's applied to it (any effects you add on inside your sequencer program), and then there's the Digital-to-Analog conversion (as it goes from the soundcard to the speakers). USB devices sometimes have higher latency because your PCI bus is congested, and it doesn't prioritize your USB soundcard properly to give it the most importance. Therefore it takes longer for your computer to get around to 'processing' it. Firewire and USB 2.0 are just other technologies that allow your device to transmit more data at a time. Not sure what the impact is on the PCI bus, but it's probably similar. For what it's worth, people who are obsessive about recording REALLY believe that anything longer than 10ms latency (that's a tenth of a second) is god-awful. I've recorded with 10ms latency and haven't found it annoying. As long as your computer is relatively decent, any modern and popular sound card will get you around 6ms of latency, which I can't even detect. If you have a great computer and a recent and popular soundcard, you will probably get it down to 2 or 4ms, which as far as I'm concerned is "realtime". --- Back to the question, though-- unless you're already very familiar with hardware recording (ie. the concepts of Sends, Inserts, Buses, etc.), Cubase or almost all other software will present a bit of a learning curve. That's not necessarily a problem, as it's good to know what you're doing. But Tracktion (OK, OK, I'm very biased) offers little to no learning curve and gets you up and recording. Check out the other thread for my other recommendations... and remember, although I talk the talk, I'm still just one opinion in a sea of opinions, so take what I say as a suggestion, not the "ultimate truth". Greg

I think the pickguard is a perfect choice, and I would have done it exactly the same, were I you! The only thing I don't like is the vintage saddles... I understand the appeal of paying tribute to the vintage thing, but that kind of saddle was only created to speed up production and have fewer 'parts' back in the day... I'd never want anything but individually-intonatable saddles on my personal axes. That's only a minor quibble, though, and the rest of the guitar is top-notch! Greg

I'm still hoping for a stable prototype some day. I may not post much to this thread, but trust me the interest is still there. Greg

A few things from my personal perspective: 1. Host-- you can't get any easier than Raw Materials' Tracktion which is distributed by Mackie. 2. Hardware-- for 2 inputs simultaneously, look no further than the Audiophile 2496 or the Emu 0404. Both are basic cards with similar functionality. The Emu boasts on-chip effects that range from poor to very good, but it's less mature (drivers, user base, support) than the Audiophile. 3. Hardware revisited-- A USB interface, as mentioned, will likely only do up to 2 tracks at a time without hiccupping. The benefit is that the device is its OWN 'breakout box', and you can use it on a laptop or 2nd computer if you have such things. More and more companies are moving to USB 2.0 or Firewire, which will handle more tracks. If you're still looking at USB solutions, check out Mackie's Spike, which comes with on-board effects AND the Tracktion software package. 4. Get something with MIDI In, even if you don't end up using your drum machine-- if you get into the home recording thing, you'll eventually want a hardware controller for programming various parts and controlling various settings. 5. Forget about the drum machine. There are plenty of freeware plug-ins that will do better for you than any hardware drum machine out there. After I moved to the PC, I sold off my drum machine. 6. Speaking of freeware plug-ins, you'll want to start checking out KvR for help with your sequencer, as well as to check out free and commercial plug-ins. Be warned: free plug-ins are an unhealthy addiction. It's like someone saying, "Here, have a crate full of free stompboxes", and then you have so much that you don't know what to do with it all. Stick to the basics, or you'll never get any music done. 7. External hardware-- if you get the EMU or the Audiophile, you should get a small mixer to go with it. If you're absolutely, 100% positive that you'll only be doing 2-4 inputs at a time (with the Audiophile and EMU, you're limited to 2 analog anyhow), you can't go wrong with the Behringer UB802, which is cheap as chips and does a good job. 9. Remember that your signal is only as good as your weakest link. There's no point spending a tonne of cash on one component if the others are crap. Better to buy everything of a similar price/quality range. The best sequencer in the world with the most expensive plug-ins won't save your vocal track recorded with a Radio Shack mic, unless that's the sound you're going for in the first place. Condensed, here's what I'd recommend as a home studio for a beginner, and it's biased because it's what I use myself. Be warned, though, there's not THAT much room to grow, so try to have a clear vision of what you truly need. I already knew that I wouldn't be growing much beyond this, so I bought with confidence: 1. Sofware: Tracktion, plus commercial plug-ins as you need them 2. Soundcard: Audiophile 2496 or EMU 0404. Tascam US-122 is good for USB 3. MIDI controller: whatever you can get your hands on. I use a Yamaha keyboard that can be found at Radio Shack/Tandy, but it's limited. If you already have such a beast, you'll save $$ 4. Other hardware: small mixer with phantom power, possibly a hardware amp sim (depending on your amp situation), and possibly outboard compressor 5. Microphones: Studio Projects B1 is a good budget condenser microphone, and you can't go wrong with at least one Shure SM57 (PG57 is their budget version) 6. PC: Anything 1.5 Ghz or more will get you started, 512 MB RAM is a good foundation, though some say 1 Gig these days-- and dual hard drives if possible... I did it fine with only one hard drive, though. Now, I know that sounds like a lot, but all told (I assume you already have the PC), you're only looking at $400 CDN (about what... $300 US?) to get a basic setup going on. The one thing I didn't include because I'm still deficient in this department (and therefore have no recommendations) is a way to monitor your mixes. Either studio headphones or a decent set of 'nearfield monitors' (speakers, not video monitors!) is pretty essential to get any of your recordings sounding good. To be honest with you, I'm using a pair of $40 Sony headphones and my PC Speakers, and many people tell me my mixes are well balanced and sound good... so, you know... do what you gotta do. Greg

<points and laughs at the new guy>

Where did you get the spiffy beige corduroy? (nice refinish, btw) Greg

Hi psw. I mostly need it for plain old acoustic-tone-on-an-electric (like Godin Flat Five or Parker Fly) type stuff, but I imagine the hexaphonic piezo pickup will still add a great bit of articulation to the tone! Be aware that I'm not going to be buying the materials tomorrow and making it or anything, so please don't go through any trouble writing an explanation or anything. I'll remember to look you up when I get around to it! Regarding Bear's tutorial-- wow... epoxy! That'll seal'er in. Great tutorial, though. Between that and the "bass piezo" tutorial, i should be able to hack something together. Greg

Hi all, I did a forum search, but didn't find what I was looking for. Wasn't there a piezo-making tutorial somewhere in here? I found a link to the one that was used on a double-bass, but I could have sworn there were one or two others, no? Actually, I thought there was a thread titled, "Make your own Piezo pickup", but apparently I've been hitting the smack a bit too hard. Also could have sworn it was ansil that posted it. I really must be dreaming. Any other tutorials OTHER than this one? Not that there's anything wrong with it, but I like a variety of sources, you know? Greg

Really, too difficult to choose. But choose I shall. Greg

Bummer that the 'chrome' covers are actually plastic; however, I guess the bright side is that any other P-90 comes with plastic covers, too. Greg

We had a discussion about a ranking system a while back, and my opinion hasn't changed. I'm all for cleaning up the forum, but a ranking system? Pfffft. I won't bother arguing, though, because part of a regime change means acquiescing to modifications, whether I like them or not. Bring it on, and I'll still be a member. I'm not going anywhere. But I think it's a crap-tastic idea. Greg

Unless you can print to one sheet all at the same time, you will not get sufficient accuracy to use this as a fretting template. Today's printers wobble a wee bit here and there as they're printing so that the 2 sheets aren't really aligned to each other in the first place. On top of that, even if you manage to splice multiple sheets together with what seems to be a degree of accuracy, then you have to accurately transfer them to your fretboard, the logistics of which I don't see producing a highly accurate result, either. There are better solutions, some of which might even take a printed template into account! Indeed, a printer could be your friend; however, I think that making a full-scale replica of the fanning of the entire frets isn't the right approach if you want accuracy. Were I to do it myself, I'd probably just measure on the fretboard; however, that's not exactly foolproof, either-- I have an idea, but it requires a detailed explanation and clear communication, which I'm not capable of right now. (sleepy... shouldn't even be on the forum!) Greg

I've got to admit... I don't know much about wood, but even an amateur can see that PRS sometimes falls very short with bookmatching. I've noticed it since long before this thread, and I bet others have, too. Greg

The odds of having buzz on that re-glued fret are fairly high. Still, I can't think of what else you can do other than return it to the vendor for a replacement. If you're lucky, the above idea will work and you'll have no worries. For the neck, you can either finish it or leave it unfinished; it's up to you, really. I think it's more common to have finish on the maple; on the other hand, Eddie Van Halen insists on UNFINISHED maple for his necks. Greg

That is, I WOULD be able to see it if the picture weren't so fuzzy. JK, cool to see what the thing actually looks like! Greg

Pickups are different shapes and sizes. When we say "drop one in" we just mean to swap one out for a new one. That involves de-soldering the wires, taking out the pickup, putting a new one in, and re-soldering. In this case, because P-90s and Humbuckers are different sizes, he wants to know if there's an option to just "drop a replacement in" without having to modify the guitar's body (ie. hacking it up) in order to put new pickups into the guitar. Greg

B...b..ut... a Yamaha Pacifica Telecaster.... (see avatar picture... OK, it's not very clear... but Grimace is in fact playing MY Yamaha Pacifica Telecaster. ) JK, looks like a great project so far. Greg

Wickity-Wicked. Awesome stuff. What can I say? OK, one more adjective: Tasty! Greg