Posts by Audiopilot

    Great I thought...song just about to start in front of packed crowd, I turn to the guitarist/singer and say " You play this in C yeah"...he says "yeah and you are singing it right?"....erm, I don't sing.....song starts and I have to sing the damn song as well! So I actually have relatively good memories as I had lots of compliments afterwards...mainly because everyone was fed up of hearing the The Beatles all night

    Walking around the city centre all you hear is the Beatles, and sometimes for variety you may hear the Beatles.


    The thing with Liverpool is the people are really friendly, will help you if you need it, are very accommodating and always up for a laugh. Ita a city where you can't take yourself too serious. The downside like all cities is there is a minority of morons who just look for trouble, unfortunately they tend to congregate near the Cavern.


    I have had some great nights out on that street though. If you go again look across from the Cavern and go to Ericks, always a decent night in there. If you do look for the Mens toilets and walk past them, you will always find another band on, usually a German band singing bad 80s music with people dancing on tables......I prefer there.

    The psychology of this has always fascinated me almost as much as full grown fat blokes going to watch football matches in replica team strips . Are they hoping the star player will get injured and the manager will turn to the, to run on the park and save the day.? I have never been able to get my head round it but maybe I’m just a freak (no need to answer that one 😜)

    Wheresthedug


    Mate you are just like me, never understood full grown men wearing football shirts, in Liverpool they wear entire bloody kits.


    I find it funny that I am from Liverpool and hate football and the Beatles. I have been out with friends and literally walked off and got a cab home due to the dull football conversation. People probably feel the same way when I talk about what I love.


    I hate being from Liverpool for one reason. As soon as I meet someone new from out of town the conversation dries up quickly......


    "So red or blue?"

    "I don't like football"

    "So you a Beatles fan then?"

    "No"

    "Bet its great drinking in the Cavern though, the home of the Beatles, the history!"

    "Its small, smells of damp and is full of kids snorting cocaine .....so not really. You are more likely to get stabbed than shagged in the Cavern too"


    Any out of towners I have to take out always want to go the Cavern. I die inside....

    Afternoon Kemper peeps


    I am predominatly an old hard rock/grunge guy and I am looking to add a more modern sound to my pallete but have no real idea where to start.


    Looking for something tight, good definition for single note rhythm work. I quite like the Mark Tremonti sound, its very defined and sounds like a great sound. Before I start looking at purchasing the PRS MT15 can you guys recommend any good amps that give a more modern sound for lead and rhythm and any commercial profilers to check out.


    I have tried out the PRS Archon and really liked the variety of sounds.


    Any guidance would be great.

    For anyone who is doing this for the first time a few tips.


    Once you have the guitar open, you block the saddle based on adding and subtracting load on the fretboard. For example;


    * E to Eb with 9s is subtracting weight from the saddle, in this case the saddle will sink into the cavity. You want to block the spring side of the trem.


    * E to E but with 10s you are adding tension to the saddle. This will raise the trem out of the cavity so block the trem at the none spring side.


    * I blocked the spring side with a stack of 5 pences. As the spring side was quite tight I added a stick of plastic to the coins and then taped them together, this came in hand why they shifted and I had to move them.


    * block both sides of the centre spring to ensure the trem does not tilt.


    * I blocked the none spring side with whatever I could find fitted as long as it won't compress under pressure.


    Here was the point to my question as it fell between the cracks of point 1 and 2:


    If I change from E using 9s to Eb using 10s, am I adding or subtracting tension?


    As I was replacing each string one at a time and had no way of knowing , I found I blocked the saddle on the spring side which was fine, but as I tuned the strings it started to rise. I then loosened up and blocked both sides of the saddle so it sat flush and tuned the guitar to Eb.


    This is the best bit of information I found that was a "aahhhh" moment for me, when you are near the end of the process tune with the screws in the cavity, not with the pegs!


    Here was my process using the example of going from E with 9s to Eb with 10s:


    * remove the locking nuts

    * tune the guitar to E (or so the saddle is level) with the tuning pegs

    * block the saddle at the spring side both sides of the centre spring so the saddle is level.

    * replace each string one at a time

    * check the bridge is still level.

    * once replaced block the other side of the saddle so the trem will not rise when tuned. (if you are going from E to Eb with the same gauge string you will not need to do this)

    * tune the guitar so it is perfectly in tune

    * stretch the strings and retune.

    * put the locking nuts back on

    * fine tune the guitar from the trem.

    * remove the block on the none spring side

    * remove the coins from the spring side.


    Now the guitar will be out of tune and the saddle will rise but don't reach for the tuning pegs or the trem tuners.


    Sit with the guitar in the playing position; do not do this part on a bench or laying flat as gravity will cause the bridge to sink a little. Tune the guitar using the two screws holding the metal plate the springs attacbh too and not the tuning pegs.


    Now with a screw driver start to tighten the 2 screws in the cavity that the springs are attached too. Do this evenly as you will find the low E takes a while to tune and will suddenly shift a few cents when you tighten the high E side spring. It is also key to ensure that the plate the springs are attached to is not lobsided, keep it straight and parallel to the cavity wall.


    Once you are in tune stretch the strings and tune again that way. Once you are in tune the trem should level.


    Additionally I took the locking nuts back off, tuned and hung the guitar for a few hours to let the strings and neck settle. Did some recording last night, a few dive bombs and it went straight back into tune..


    I hope this helps someone out there.


    Mike

    Thank you for the advice.


    Never considered the nut width! Good point, 10s may be a better option for the initial change, I also don't want to put any additional tension on the truss rod.


    It's set up so well at the moment I just don't want to screw it up.

    Hey all


    Probably a slightly dumb question but here goes.


    Last week I purchased a new Jackson which has a Floyd Rose trem. I was initially expecting to send it back due to the Indonesian Quality Control issues but turned out to be a belter of a guitar, absolute excellent piece of workmanship. The trem after dive bombs and all other abuse just snaps right back into tuning which means it's good for recording.


    Now it came tuned to E with 9s installed. My guitars are all drop tuned to Eb with 11s on. I am looking to change the Jackson either Eb with 10s or 11s (I have 10s on my standard tuned guitars)


    I watched a video of a guy explaining blocking the trem to do the change, nothing too difficult about it so more than happy to make the change. His explaining involved changing string gauge or drop tuning but not both.


    Is there anything I should be aware off when adding a higher gauge and lowering the tuning? Would a set of 10s replacing 9s and dropping a semitone in effect even the trem out or would 11s be better?


    Cheers, I would put this on a guitar forum but there seems to be a good spread of knowledge on this forum and I trust you guys.


    Mike

    Totally looks the biz, Mike! 8)


    Hopefully you win in the QC crapshoot. Fingers crossed. ;)

    Well bud, the Gibson QC was dreadful. Sent 2 back to only settle on these 2 and one had a volume sign missing from the pot...... Played too nice to return though.


    I returned an Ibanez that snapped 8 high e strings in 4 days due to how bad the bridge was cut (£1300 guitar too) so I am hoping this is Jackson is a winner.


    Oh and after my very big move away from the Kemper.... As you predicted I am back lol. Someone offered to buy it and I just couldn't let it go.

    Sollazzon


    I never noticed my previous post regarding gain, I was absolutely exhausted last night.


    In regard to gain setting, yes I did use M4 P8 in fact everthing from M4 with P4 - 10 to M10 with P4 - 10. This was just to profile a range of sound but when recording I generally use M4 - P8 with a Boost.


    In regard to the Master high and Pre low, I read a few days back on the Marshall forum that some prefer driving the master tubes and keeping the pre low but with profiling I have not attempted to really listen to see if I prefer it. I did profile that way, so M8 with P4 but as they where all distorted I couldn't really notice a great deal of difference.


    I want to get this right so I can provide some free like for like JCM800 profiles then profile my Silver Jubilee.


    I seem to be unable to draw myself away from the Kemper, I played it last night with my profiles and even though they had a lot more gain, the sound was very close to the JCM800 on alternate settings.


    The joy of being a damn guitarist, never happy.


    Mike

    Mike,

    I only tried the JCM800 ones and I've already given you my feedback..

    they are not bad for me..of course I'd put some reverb (and maybe a delay)

    to me the gain You've setted it's a bit higer than I like but.. I can roll it down a bit.

    Should I ask what kind of Vales/Tubes do You have on that 800?

    Thank you for the feedback.


    It is strange you mentioned about the gain, its not that high but I have literally just noticed that the profile sounds like there is a boost in front, a lot more saturated than the actual amp.


    I have asked for some advise before I profile again as I complete about 70 JCM800 profiles that just sound bad.... Well good, but nothing like the amp.


    Hopefully it's late and I am just tired and missed something.


    Thank you for your feedback, I'll upload more when I figure out where I am going wrong.


    Mike

    All


    I have been profiling my JCM800 and the profiles appear to be extremely distorted once captured. By distorted I mean with the JCM800 on master 4 pre 4 the sound is clear and not very distorted, yet after the profile it sounds like a boost has been placed in front and the sound is extremely heavy.


    It's late and I may just be being a bit stupid but am I missing something? Does the Return Out need to be turned down as I don't see an option.


    Apologies for a noob question.


    Mike