In Switzerland, for a solo show of covers, it would work out to about 300CHF (about 300$ give or take), but 200-400CHF is also within reason.
For a private event, a bit less than double that.
For a band, a bit less, but 200 per person is the minimum.
It's better than a lot of places, I...
A chorus is sometimes the only effect pedal I'll bring. I don't usually need drive pedals, since I turn up the amp then control the distortion from the guitar's volume control.
(On other gigs I might bring a fuzz and a delay though).
Chorus is nice for changing things up, and sometimes making...
Mine looks normal (the CP50s strat on my profile photo), but it has some custom wiring under the hood that I developed myself.
The selector goes:
4. B+N (like a tele)
5. B+N (like a tele 4-way).
The knobs are then:
- Master volume
- Master tone
- Volume control...
I have a CP50s in sunburst and it's great. The neck is probably the best of any guitar I own.
Pickups and wiring are interesting and sound good, but I like to fiddle around and try different pickups and wirings, so that wasn't much of a factor for me.
The two point bridge is also a very good...
To me it's between Fender and Marshall in some ways.
Good cleans with a lot of character, but not as smooth and clean as a BF Fender. More mids, and a spikier high end.
The drive also has a lot of character. Looser than a Fender or Marshall, but a great transition from clean to drive.
I like the size of the AC30S1. Given how ungodly heavy a proper 2x12 Vox is, I'm surprised that there aren't more 1x12 or 2x10 AC30s.
In principle, I don't care about spring vs digital reverb (the AC15c1's reverb isn't tube driven anyway).
What I would miss though is the normal channel.
Aren't all of those sets broadly similar? All slight variations on a vintage style set?
Or can someone say which sets are very different from an approx. 5.8k A5 vintage staggered set?
Overwound, different mags, different construction, or hotter bridge?
The other factor for calculating SPL is speaker efficiency, i.e. how many db a speaker produces with 1w of power.
A little 8" speaker might produce 90db/w, and an efficient 12" might do 100db/w.
(I rounded the numbers).
Actually calculating the totals when combining more watts with more...
This is mostly already mentioned, but this is my take on what a vintage sound from a strat is:
1. Before talking about the guitar, we must bear in mind that amp and pedals (or lack thereof) is a HUGE factor. Back then, it was mostly guitar into amp and nothing else.
2. That being said, a...
My main gigging amp:
- Vox AC15 (greenback)
(Great sound, reliable, works with and for anything)
My most expensive amp:
- 1974 silverface Vibrolux Reverb.
(Great sound, but has been temperamental with some mystery bugs)
My biggest amp:
- Vox AC30 (alnico blues)
(Hasn't seen much use yet...
I don't know... All three models are rightly famous in their own right. All three standard models have the same pickups, controls and scale length (I'm referring to the 50s-60s humbucker models).
Which is best?
Les Paul has the best history of the three: it's hard to beat what's been done with...
For the neck position, I found that it benefited from being rather underwound when compared to the bridge. On my old Casino, I once modded the pickups and ended be happy with an 8k bridge and a 6.8k neck.
The Who at Woodstock, SG Special with P90s. Skip to 2:30 (the end of the song), and listen to the coda he wrote (an early version of the song 'Water').
He turns down and gets great clean sounds, before pushing it for drive.
Between a PAF and a Tele in some ways, but output and overall EQ are much closer to a PAF than a Tele. To me, it's like a less sophisticated PAF: less compressed, airier, with a bit more twang and high end, but not as smooth or refined.
There's a lot of variation also: they've been built since...
That's a possibility. A tele has been the guitar I keep going back to over the years, and it's still what's most intuitive for me. Master volume and tone, and four switch positions (I like the series sound sometimes) has been just the right palette for getting a bunch of cool sounds on the fly...
Here's a cool video of Joe Bonamassa showing the sounds you can get by using the knobs:
I use my knobs this way on all my guitars. I set the amp to be loud and dirty when I turn up my guitar, and clean once I turn down. I'm constantly adjusting depending on what the song needs, which is cool...
I think there's a lot of truth in this. With a good tube amp, you can get a lot of range by fiddling with the controls (true for Gibsons, but also true for other electric guitars).
The trouble, I think, is finding the right balance between complexity with a lot of tones, and simplicity in...
I can't tell: does the blend knob work in all positions, or just the middle switch position?
Gretsch wiring with individual volumes, AND a master volume is also pretty neat. I've never gigged with a Gretsch, but I could also imagine getting lost on it if I spend too much time fiddling...
Thanks. That's more or less what I try, except that I often also adjust volume of one pickup during a song. Say, I'm strumming along (volume turned down, neck PU for example), and during the song I sometimes use both pickups or the bridge pickup to vary things. Towards the end of the song, the...
That's independent wiring, right? The problem with that is that it still has all the complexity of normal wiring, where you can get sudden changes in volume when switching pickups if you forget where you left the volume knob on the other pickup.
One option I'm thinking about:
Master volume and master tone, 3-way.
Then, for the third hole: a blender knob that can blend the neck pickup to the bridge and vice-versa (the same idea as the blender on a strat). This knob could be set to 0 and just ignored, but it at least leaves the door...