edgarallanpro.game For the price of the H&K you can get a used powerball (2 channels with 2 modes each), Savage (again 2 channels 2 modes), and even an Invader (4 channels), and if you are lucky, you can even get the powerball II or Savage II, and those also both have 4 channels.
If I understand this correctly, the tuner is now so tight that you cant turn it? If thats the case, you can try untightening the small screw that holds the whole tuner together.
Just find a small enough screwdriver and loosen it a bit. There is a very big chance this will solve the problem.
If it doesnt, well, then the whole tuner is fucked, and your best bet is simply replacing it. Take the tuner out of the guitar by unscrewing the nut on the front side of the headstock and the small screw that holds it in place in the back. Then take the tuner, go to a guitar store, and say "this is the kind of tuner I need". Hell, take the guitar as well, just to be safe. They should be able to help you find one that will fit into your guitar. Get some cheap ones, because im guessing you have a beginner guitar, so dont let them sell you some brandname tuners that go for 200$, just get something cheap. You might have to buy a whole set of them tho, depends on the store I guess.
Then just install them in the same way you took it out. Pop it in, screw in the nut in the front, screw in the small screw into the back, and then tighten the nut. Not to much, but it should be fairly secure. Its pretty simple really, and you need very little tools for this, a small screwdriver and a wrench the correct size.
And the final step should be demanding a refund from whoever "fixed" it in the first place. I cant stand people who try to screw begginers over like this.
I didnt read OP, or any posts, but im going to assume, its the amp.
EDIT: Yeah, its the amp.
A Katana is going to be way better than the Line6 you have right now, but still not amazing. Honestly, without knowing your location and budget, we cant really say that much, except give general suggestions. As far as those go, my vote is for a used 6505+ combo. It would be miles above Jet Citites and Valvekings.
NotMarkTremonti Not really. Lets say i have practice 2 times a week, and a gig like every two weeks. And on the off days i also practice, so i have to plug the guitar in and out 2 times each day at least. A lot more for recording. That adds up to about 1000 cycles of jacking action (oh yeah) per year. Add to that the stress of transport, the tugging on the jack when practicing and walking around, when someone randomly steps on the cable or you go to far, and the jumping and spining at live shows.... Its the jack that really takes the most abuse in those situations. And im not really the gentlest guy with guitars as well.
Ive also had a ton of switches fail, because switching pickups live is just so much more forceful than when just jamming at home. Pots not so much, since i just leave them at full at all times.
Its quite possible that the mix would be better, because the sound would be coming from the same sport, and the soundguy would have way more control over it. Provided of course, that you actually feed the PA a good signal.
I have used modelers straight into PA before, and ended up using them exclusively for the last two years of giging. Even the soundguys who were very sceptical about them from the start ended up loving them. The only issue I see, is monitoring. I usually relied on monitor wedges on stage, and so far its been good, but if you have no way to monitor yourself, then you will need some sort of aditional speaker or IEM for yourself on stage.
NotMarkTremonti Some of us have had a lot of jacks go bad. I had to replace, or at least repair the jack on every guitar that i owned for more than a year. So changing out a shit jack for a quality one right out of the gate would save me a bunch of stress, because i already know that my jack is going to fail at the worst fucking moment, if I dont replace it. Right now im not giging anymore, so its not such a big deal, but if you play live, i think 10$ is a very good price for the peace of mind that you get with a new high quality jack.
Is there a question in this that you want answered? But in any case, tastes change. I was into the whole EMG metalized guitars, and I was really into the whole esp/jackson type guitars. Now ive sold all of those, except my 7 string, and my old Ibanez SZ320, and am much more into "mellower" guitars, like strats, teels and lps. An EC-401 was my main guitar for years, and I just sold it 3 days ago after it had been sitting in a case for over a year. It happens.
I mean, if you are happy with it, why upgrade? If you are not, then upgrade the things that are not to your liking. You dont HAVE to upgrade it just for the sake of upgrading it. I've had my Ibanez SZ320 for over 10 years now, and I didnt change the nut, tuners or bridge, because it stays in tune just fine and i dont have any issues with it. The thing stays in tune just as well as my Pacifica 611 with a graphtech nut, locking tuners and graphite saddles. I did change the pickups because I didnt like the sound of previous ones. On the other hand, on some other guitars, I did change the nut, pots, switches and jacks, becuase they either sucked or broke down. But dont just go throwing in parts just because you feel like you have to.
I am however, right now deciding wether to order a SE Custom 22 or 24, and when I do, im ordering a graphtech nut with it at the same time. Then im gonna see if I actually need to replace it, but it would cost me more in shipping than the nut is worth, if i order it separately.
If you must have a tremolo, your best option is a Floyd or similar because they do everything that the others do AND they do things that the others can't do. It's a best of all worlds, have your cake and eat it, too kind of system.
Actually, i don have to have a trem. In fact, i would prefer the guitar to be a hardtail. BUT, ive settled on the Custom 24 SE at this point. It has splittable pups, the slightly longer scale and better upper fret acces. I actually got to play a few PRS's lately, and i didnt really like the single cut versions that much, so thats why im going with the Custom 24. And it also looks the best But anyway, the 2018 models come with floating bridges. Now, i can just block it if it doesnt work like i want it to, but I just wondered if its any good, so i dont have to worry with blocking it really.
Quote by NotMarkTremonti
Again, if you're going to modify the Christ out of it, I would recommend saving money on the initial investment, and buy a Standard over a Custom.
I also recommend researching and planning for the long term before purchasing and again before upgrading. As I've said countless times here on U-G, doing full-blown upgrades to the nines with all Paul Reed Smith parts is going to bring the total cost up to USA Core line pricing. Plus, there's cork sniffers who will look down their noses at you for using say Gotoh tuners instead of Phase IIIs. That's just one example.🧐
Personally, I've got my heart set on a McCarty. Either the SC 594, or the DC 594. Either way, it has to have Les Paul controls because putting the toggle in the lower rim is just useless, and I need all 4 knobs. I'm thinking about their new metal pickup for the bridge, and something really really bluesy in the neck 😎
Wouldn't be hard or expensive to upgrade an SE into a McCarty....🤤
The only upgrade I plan on doing with it, is installing a graphtech nut. The only complaints i hear about this guitar is that the nut sucks, and i already know those nuts are amazing. The pickups are suposed to be just korean made 81/15 pups, so they should be ok, otherwise ill just throw some seymour duncans in there or something, and maybe somewhere down the line i can put in some Grover locking tuners. I really dont give a flying fuck about what the purists think about that to be honest. But im definately not going to deal with getting PRS usa parts, i really dont see the point.
andre.fontes.es Thanks man, thats a pretty nice review you wrote, and the video is pretty informative. I was planing on fitting a graphtech nut on it anyway, any maybe using something like a tremol-no, so i dont completely block the trem. But its good to see that people have something good to say about it.
T00DEEPBLUE i suspect that would be done by just tightening the springs so much that it always stays down? But wouldnt that mess with my intonation and action?
So im thinking about getting a PRS. I wasnt a big fan for a long time, but recently i tried a few, and what do you know, they are actually pretty great. So ive been kinda deciding between the 245 or the custom 24. The custom 24 in whale blue is my favourite at this point, but im kinda iffy about the bridge. The current models all have the floating bridge, and only the 245 is hardtail. Id probably just get that one, but i think id prefer the longer scale of the custom 24. I was thinking of blocking the bridge anyway to be able to detune at will, but lately ive been playing in standard tuning like 99% of the time, so it would be nice if its at least useful.
diabolical Well thats true, but its just the nature of noise gates and what they do. You can just turn them off when you dont need it. Altough modern gates are much better at this stuff now, especially on high end modelers. The Kemper and Helix gates are amazing at this point, i can get all the feedback i want, turn down the volume and play cleaner, but its still dead quiet when i stop.
diabolical Colors the sound as in every other pedal that you use? I mean, as far as I understand its pretty much just an on/off switch for the guitar signal (i know im oversimplyfiyng this, but still)... I also dont really see the point in using them outside of hi gain situations anyway.
Look for LTD's with fixed bridge. The 1000 series should be in your budget, and those are great guitars. The EC-1000, H-1000, and so on. Schecter makes good stuff as well.
If you are willing to go used, you can probably get a Gibson explorer or flying V with EMGs for this kind of price. Or maybe even a full fleged ESP.
TBH, there really isnt a big shortage of emg equiped metal-y guitars for 1k, and at that price point, they are all going to be pretty solid, so it really comes down to your prefrences. All major companies like ESP, Ibanez, Schecter, Jackson make a hardtail with actives for this kind of money. Quality control can of course vary a bit, so its still smart to actually try them out in person first.
Im really interested in the logic behind this statement.
Anyway, OP, it depends. Cheap effects sound bad, and so do cheap multifx units. Mid priced effects pedals sound good, while mid priced multifx really depend on the pedal itself. Some excel in some areas and suck in others, and vice versa. Expensive single pedals generally sound good, but in my opinion are overpriced, and top of the line modelers like Helix or AX8 sound great as well.
At this point it sounds like user error. There is a learning curve to setting up modelers, like using eqs and setting up cab blocks. Also, they dont sound like "amp in the room", because thats pretty much impossible.
EDIT: I just realized i didnt offer a solution... Try putting an eq block after your cab block. Set a low cut at around 100Hz, and a hi cut at around 10-12kHz, then adjust to taste.. The low cut will tame the flubby bass, and the hicut gets rid of the fizz.
You can also fiddle with the cab block itself, with mic choice and placement, and you can also eq the middle frequencies to bring out a bit of the guitar flavour.
Well, yes and no. I started out on my dads acoustic, and I still have that. Its a Fender DG-5. Id sell it, since its not very good, but its not mine, so I keep it around. My dad only takes it if he has a party with his old camping buddies or something.
As far as my firs electric goes, I sold it after like a year of owning it. It was an Ibanez GRG170DX. At the time I figured I should upgrade to something better, and i really wanted an LP shape. In retrospect, it was an amazing guitar for the price, and it took me a few years before I found something that i liked as much as this guitar.
So ive been playing guitars with a glossy neck finish all my life. And all was well and good for a while, but now im slowly but surely getting more and more into teles, strats and other guitars, that have no neck finish, or have a satin one. Now i know i cant make a nonfinished neck feel like a glossy one, but is there a way to make a satin finished neck (like on the Fender Player series for example) into a glossy one? Im thinking i can just use some polish paste and buff it out, but is there any reason why i wouldnt want to do that? And are there special guitar polish pastes, or does the stuff i use for my car work just as well?
Basicly, longer scale = higher string tension = you dont need to use bridge cables for strings. That would be the most obvious answer, BUT there are long scale 6 strings as well as normal scale 7 strings, so its not quite as simple as that.
Disclamer: this is my reasoning, and what I learned by playing 7 strings, so for other people it my be wildly different.
When you tune a 6 string down to B or A or G, you loose some range in the higher end. Its annoying to me. With the 7 string (tuned to B or drop A) you dont loose anything. And for that reason, i also find that playing chords and extended runs is easier on a 7 string. Since you basicly have a standard tuned guitar + low string for chugs, it has a lot more chord voicing options than a downtuned 6 string has. Now, im not a music theory wizard or even that technicly proficient, but I still found it easier to figure out interesting and "proggy" riffs on a 7 string rather than on a really low tuned 6.
So thats really my reasoning for using a 7 string. Actually the whole extended range thing is much more important to me than longer scale, since I have a 25.5" scale 7string anyway.
Tried both. Also tried a Radial JDI's XLR Out to interface. No change.
Well i gave it a quick go... Seems fine to me. I got this tone out of it with just free plugins and IRs. Im fairly certain your issue is just dialing in the tone in the sim, not the playing or sound interface.
What disturbs me about the di is, because of its bassiness (if its a word) i have to add a tubescremer pedal in front for all the amp sims or they are muddy as hell.
Thats actually normal procedure. On real amps and on modelers. An overdrive is put in front of an amp like 99% of the time for these kinds of tones. Put an overdrive in front of the amp sim, gain to zero and level to 10. That tames the low and and makes the sound way tighter.
Thanks for checking out. I used almost all free ones, got Th3 and now using Fortin NTS. And to be honest i can get good good to great tones with them. My problem is the missing highs. Dont you think there is a huge difference between my di and the di on the video ? Its far more tighter and present. And it doesnt makes sense because they should sound identical. (Same guitar, same interface etc.)
I also listened to your DI and it sounds fine. At least to me, it doesnt sound any different/worse than the one Glenn put online. Just your average DI really. Maybe make it available for download so we can try reamping it ourselves?
But anyway, if you are missing the highs.... just dial in more highs on the sim? The issue could also be the cab modeling. Try a different IR, and see if that makes it better. Or, on the other hand, the issue could be that you are getting to much low end, not to little high end. Try dialing back the lows, and maybe put an eq after the amp sim, and do a highpass at around 100hZ. That tends to clear up downtuned hi gain tracks quite a lot.
Dialing in good amp sim sounds is actually a bit harder than dialing in a normal amp, so im pretty sure thats where your problem is.
Main point is I’ve just grown tired over the years of sharing the sonic space with another guitarist and having to deal with their creative input and all them at comes with that.
Might have just said "anyone tired of playing with musicians". Nothing wrong with not wanting input from other people, but thats not a strictly a guitarist issue.
Anyway, i like it. More than single guitar bands. I dont mind doubling up parts, they sound bigger that way, and there is so much potential for making 2 guitar parts and harmonies and lead/rhythm combos.... I love playing with other guitarists, its just finding the right one thats the trick.
Also, ive played with quite a few guitarists, many of them better than me. And (at least from my perspective), it has never gotten competitive. If anything, it pushes me to be better. You guys just have to keep your egos in check i guess.
Well-Hung Are you high? So far i have installed straplocks in about 15 guitars. The replacement screws that comes with them have ALWAYS been thicker than original screws. With schaller and dunlop locks. Even with noname brand locks. ALWAYS.
And even if they didnt, it wouldnt hurt to use some common sense and fill the hole with some material and then screw a smaller screw in. If you cant handle a simple thing like straplock instalation, no matter what kind of screw it is, you are better of taking it to a tech, because its literally the simplest modification one can make.
AND ANOTHER THING. If people install them wrong, how then, is any sort of failiure the fault of straplocks? Btw, if the actual strap button comes loose, its not a "straplock fault", its actually the fault of whoever cant mount a simple strap button on the guitar properly.
I have to say, human stupidity never ceases to amaze me.
I had straps come of plenty of times while being a bit more active while standing. I usually caught the thing, but one time i dropped it right on the output jack, and i had to fix the cable and replace the jack. Since then the first thing i do on a guitar is always install schaller straplocks. All of my straps have them, so its nice that they are interchangable.