Apparently the Avanti top sounds best with the Pearl Wild bottom hi hat, it's far superior than either matched set. Weird stuff.
Also the Avanti bottom actually works as an interesting higher pitched ride. Might as well have more weird on the set right?
Sadly the Pearl Wild top just kinda sounds terrible always and appears useless
Remember the cracked cymbal I had to send back? Guy sold it to Guitar Center/Musicians Friend. You can literally very easily see the cracks.
This is a scratch build- blank Princeton Reverb chassis and a Mojotone cab It's about 15W and is not a Princeton circuit, it's an original. 6BM8 tube for reverb drive & recovery, a long-tailed pair phase inverter (like a Deluxe Reverb) and push pull 6CW5/EL86 outputs. It's Fendery but a little looser and mellower.
Anyone here going to the Fretboard summit in Chicago next week? I think I'm going to take a pass, I'm slammed at work now.
In reply to flat4_5spd :
That's a new kind of rad. What speaker is in there?
Thanks! It's a Warehouse G12Q, which was primarily chosen because a.) I had it laying around and b.) It's not outrageously heavy. c.) It physically fits in the cab without too much drama. Amp sounds amazing clean and lightly pushed to the edge of breakup, but I'm not totally sold on the overdrive tone yet. I may try tweaking the amp or a different speaker. We'll see.
Clearing out some stuff I never play, any interest here in a Squier Double Fat strat in a rare color? It's a good guitar, I just literally haven't played it much this decade and I need room.
Got it listed on Reverb but good discounts for good (GRM!) people.
In reply to flat4_5spd :
A speaker may get you where you want to be. My 2x12 has separate inputs for the different speakers. Both are 12" Eminence jobs. The cannabis rex is a lot smoother and has more midrange punch, and the Texas Heat sounds a lot more modern and almost scooped with much tighter lows. The Rex pairs great with my champ clone, but I don't really like it with my orange terror. The Heat is way better at high gain things.
flat4_5spd said:Thanks! It's a Warehouse G12Q, which was primarily chosen because a.) I had it laying around and b.) It's not outrageously heavy. c.) It physically fits in the cab without too much drama. Amp sounds amazing clean and lightly pushed to the edge of breakup, but I'm not totally sold on the overdrive tone yet. I may try tweaking the amp or a different speaker. We'll see.
WGS makes some cool speakers, the et65 has been a favorite of mine
Extra points for innovation.
Another one got away this weekend:
There was a Peavey Dyna-Bass exactly like this one for only $60 up on FB Marketplace over the weekend. It was up for about 5 minutes. By the time I went to message the guy, it was already gone. It's the same body/neck as the late 80's Foundation/Foundation S, but with better hardware and active pickups. These were the top of the line offering by Peavey back then, meant for touring professionals. Like the Foundation and Fury lines, they were made in the US. Doesn't quite sting as bad as the Peavey T-40 for $100 I missed a couple years back, but yeah... someone scored a hell of a bargain!
In reply to Tony Sestito :
I too have felt the sting of a cheap T-40 being unbought. Mine was $150 though, $100 is a ridiculous deal
In reply to Antihero :
Yeah, I even messaged the lady selling it offering over asking, but someone else got it. I think they are great basses, but when it comes to Peavey stuff, the later US made ones like the Foundation and Dyna-Bass lines are the ones I grew up playing, so that's what I always prefer.
Want a drum that will shake your house and probably your soul? Heads up! The 18 inch massively rare Street Can is a whole $89 at this Music Go Round....
Tony Sestito said:In reply to Antihero :
Yeah, I even messaged the lady selling it offering over asking, but someone else got it. I think they are great basses, but when it comes to Peavey stuff, the later US made ones like the Foundation and Dyna-Bass lines are the ones I grew up playing, so that's what I always prefer.
I'm not really a bass player, or really.....a drummer even though I buy a lot of gear for both lol, but the t-40 I played was really nice.
It was also $849 and weighed about that much too so I didn't get it lol
In reply to Antihero :
Yeah, it's a coffee table with 4 strings. They are HEAVY!
I built this Telecaster from a cheap Amazon kit a couple months ago. I replaced the kit pickups with Seymour Duncan vintage pickups, but aside from that the rest of the hardware is as it came. I like it, I made it as my first foray into guitar building and it turned out well for my purposes. it sounds nice, even through my ancient Washburn amp lol.
Apologies for the terrible pic but this is the best my phone will do.
In reply to AMiataCalledSteve :
That's super cool
In reply to AMiataCalledSteve :
I didn't know Washburn made amps. Nice. Makes me miss my old wash-v. It's the trashy pawn shop stuff that I get attached to. Maybe it says something about me?
The tele looks good and I'm partial to rosewood boards on that shape. Decent pickups and attention to finish details, mostly just removing any sharp edges, seems to make a world of difference on kit builds.
In reply to barefootcyborg5000 :
Thanks!
I don't know anything about Washburn amps, all I know is that this one is a little solid state amp from the 80s that I've had since I was 13. I'm pretty sure my parents bought it at a pawn shop for $30 lol.
Antihero said:Sadly the Pearl Wild top just kinda sounds terrible always and appears useless
So I've been thinking a lot about cymbals lately. It started as idle musing about why I've never tried to use the plumbing skills to solder a cracked cymbal. Which led me to some internetting and a couple hours on YouTube. What I learned is in the world of cymbals, putting heat to a finished product is bad, mmmkay.
Now, my old drummer hit hard and cracked a lot of expensive bronze. I tried drilling the end of cracks to keep them from spreading several times, with zero success. I didn't try, but have seen folks "cut out" a crack, chamfer the new edge and have a reasonably usable piece. But what we usually ended up doing was just trimming the whole cymbal down to a smaller total diameter. Usually they didn't sound super great, but were usable in a pinch or as an accent/effect. What I do remember is the tone wasn't stellar, but we had tons of sustain. This can be an issue if the tone is bad.
Stick with me, we're coming back around. I'm no expert, but from the reading I've done, heavy/thick cymbals tend to have a slower decay. So the 18" A medium we'd trim to a 16" or 14" would now be considered a very heavy piece. Most rock hi-hats are rather heavy castings too.
All this is to say I really want to learn (and build the apparatus) to lathe cymbals. In my mind, these small diameter, heavy pieces, may have a second chance in thinner form as a fast crash or splash.
I'm also very curious about hammering, or re-hammering. This seems like it would be easier to experiment with, but I don't have any B80 pieces I'm willing to practice with just now.
I wish I owned this
In reply to SpeedwayFan :
I'd love to try it out, but I'm not sure there's any way I could reach the middle strings without muting half the other ones with my forearm.
barefootcyborg5000 said:Antihero said:Sadly the Pearl Wild top just kinda sounds terrible always and appears useless
So I've been thinking a lot about cymbals lately. It started as idle musing about why I've never tried to use the plumbing skills to solder a cracked cymbal. Which led me to some internetting and a couple hours on YouTube. What I learned is in the world of cymbals, putting heat to a finished product is bad, mmmkay.
Now, my old drummer hit hard and cracked a lot of expensive bronze. I tried drilling the end of cracks to keep them from spreading several times, with zero success. I didn't try, but have seen folks "cut out" a crack, chamfer the new edge and have a reasonably usable piece. But what we usually ended up doing was just trimming the whole cymbal down to a smaller total diameter. Usually they didn't sound super great, but were usable in a pinch or as an accent/effect. What I do remember is the tone wasn't stellar, but we had tons of sustain. This can be an issue if the tone is bad.
Stick with me, we're coming back around. I'm no expert, but from the reading I've done, heavy/thick cymbals tend to have a slower decay. So the 18" A medium we'd trim to a 16" or 14" would now be considered a very heavy piece. Most rock hi-hats are rather heavy castings too.
All this is to say I really want to learn (and build the apparatus) to lathe cymbals. In my mind, these small diameter, heavy pieces, may have a second chance in thinner form as a fast crash or splash.
I'm also very curious about hammering, or re-hammering. This seems like it would be easier to experiment with, but I don't have any B80 pieces I'm willing to practice with just now.
I'm not sure what that's made of but I'd make you a screaming deal on it if you wanna screw with it.
Pete Gossett (Forum Supporter) said:In reply to SpeedwayFan :
I'd love to try it out, but I'm not sure there's any way I could reach the middle strings without muting half the other ones with my forearm.
I think it needs octave strings.
40 string bass ftw
No photos yet other than the one from the Reverb ad below, but I can confirm that sober Reverb shopping isn't much cheaper than sloshed Reverb shopping.
Not that I have mastered six strings, but for some reason the ergonomics on seven string guitars work slightly better for me. Hopefully this one will give me a bit of a prod to start practising more again.
Let's see how long it takes to get here from Florida.
You'll need to log in to post.
