------------------------------ Loopers-Delight-d Digest Volume 97 : Issue 77 Today's Topics: Re: Sustain [ Kim Flint ] Re: Klein Electric Guitar [ Kim Flint ] Re: JamMan, TransTrem, and other wor [ pycraft@elec.gla.ac.uk (Dr M. P. Hu ] Re: JamMan, TransTrem, and other wor [ Jeff Schwartz ] Newlooper [ Isagil ] Re: Susutainer 3 switch [ Olivier Malhomme ] Re: Klein Electric Guitar [ Kim Flint ] Re: Plex stereo [ Kim Flint ] Re: Sustain [ matthias@bahianet.com.br (Matthias ] special balls and no backsides... [ MiqSk8@aol.com ] Re: Klein Electric Guitar [ Sean Echevarria To: Loopers-Delight@annihilist.com Subject: Re: Sustain Message-Id: Content-Type: text/plain; charset="us-ascii" At 5:33 PM +0100 5/30/97, Dr M. P. Hughes wrote: >2. Whilst the contols seemed utterly barmy, I think it goes like this. > When the sustainer is off, the mid and br. p/ups work via the 3-way > blade switch. When the sustainer is on, the mid p/up is disabled and > only the br. h/b works. The sustainer on/off is the 2-way toggle; >the > pots are vol, tone and sustainer sensitivity. There's a 3-way toggle, > but I've no idea what it does. Kim, Jon etc, could you confirm this? The 3-way toggle switch is fundamental/2nd harmonic/upper harmonics. Fundamental is more ebow like, sustaining the actual note. The upper harmonics position is more Jimi-in-front-of-cranked-Marshall. > >However, the guitar is going (used) for $900. No way. I've got to build >me one of these.... somehow! I've never gotten around to checking out the circuit in mine, but I suspect it is pretty simple. They just take the signal from the bridge pickup, filter it, and use it to drive the neck pickup in reverse. Just as strings moving in the pickup's magnetic field produces an ac voltage at the output of the coil, applying a signal voltage to the coil output will cause the motion of the magnetic field to move the string. NotRocketScience (tm). You need to make sure you get the pickup placement right so that you drive the string in phase. kim ______________________________________________________________________ Kim Flint | Looper's Delight kflint@annihilist.com | http://www.annihilist.com/loop/loop.html http://www.annihilist.com/ | Loopers-Delight-request@annihilist.com ------------------------------ Date: Sat, 31 May 1997 16:11:11 -0700 From: Kim Flint To: Loopers-Delight@annihilist.com Subject: Re: Klein Electric Guitar Message-Id: Content-Type: text/plain; charset="us-ascii" 100% loop free: At 9:04 AM +0100 5/30/97, Dr M. P. Hughes wrote: > >>I've got 20 >>combinations between coil splitting, phase, and pickup selection, plus all >>the variations from tone/volume changes. > >How easy is it to move around those variations in a hurry, eg in performance? I designed it with that in mind, its not so bad really. The switch/wiring scheme is rather complicated in order to minimize the effort to switch things around. The five position switch gives neck/neck+mid/neck+bridge/mid+bridge/bridge. Mostly I just switch that. I have two volume knobs and a master tone. As the selector switch is changed, the knobs are effectively rewired so that they do what is intuitive for that position. So the neck-pu volume knob does volume for both the first and second positions, bridge-pu knob does volume for fourth and fifth positions, and they are both operational for the middle position. The tone knob operates for everything. Each knob is also a push-pull switch, doing the most obvious thing for that knob. The bridge volume pot, when pulled out, splits the bridge pickup to make it single coil. The neck volume pot is the same. The tone knob, when pulled out, puts whatever pickup combination I've got selected out of phase. That was the most complicated part of the design, because it has to get radically repostioned in the circuit depending on which pickups are on. Mostly I just use humbucking sounds, so I'm just changing the pickup selector. Going to a single coil sound usually just means flipping the selector switch to whatever position and pulling a knob. The Klein is very well designed so that the controls are easy to get to, and my setup is very intuitive for me so I don't have to think about it. >>The only down side of all this was that all the customizing resulted in me >>winning the prize for "most expensive klein Lorenzo has ever sold." > >Is it the most expnsive ever? Do you know who has that? (I'm betting >Michael Hedges) Well, first off, Lorenzo German owns and operates Klein now. Steve Klein didn't want to do it anymore, and had closed the company a few years ago. Lorenzo was working for him at the time, and I think Steve owed him money or something, and Lorenzo got the company as payment. Guitars custom built by Steve are probably a lot more expensive then my guitar. I think the Michael Hedges harp guitar was a custom job by Steve, not really by Klein guitars. I'm sure it was expensive. Steve also makes acoustics with some sort of magical bracing he designed. Those go for $15,000 - $20,000 I think. That's way more than I paid! kim ______________________________________________________________________ Kim Flint | Looper's Delight kflint@annihilist.com | http://www.annihilist.com/loop/loop.html http://www.annihilist.com/ | Loopers-Delight-request@annihilist.com ------------------------------ Date: Sun, 1 Jun 1997 10:25:32 +0100 From: pycraft@elec.gla.ac.uk (Dr M. P. Hughes) To: Loopers-Delight@annihilist.com Subject: Re: JamMan, TransTrem, and other words that have a capital letter in the middle Message-Id: <6502.199706010925@rank-serv.elec.gla.ac.uk> Content-Type: text/plain; charset="us-ascii" > Yes, it uses double ball strings. That's part of the deal with the > steinberger tremolo/no headstock design. I haven't had to buy strings yet, > but I just figured I could mailorder them. Allan Holdsworth gets custom-made LaBella 8's, or did when he used DBE strings... >> Number two, do y'all know if it's possible to get a TransTrem to install >> in a normal guitar, say, a mutant Strat-like unit? > If the guitar wasn't designed for the transtrem, you will need to seriously > > butcher it to get one on there. It needs to be on the edge of the body, Hmm... I think you only need to do that if you need decent access to the tuners. If you're putting the TT on a Strat, you'd still use the machineheads, and wouldn't need to use the trem tuners much. I'm sure that's what happens on the Steinberger Sceptre(?) - y'know, the one with the headstock... I've also heard that PRS will build you a TT-equipped model if you ask them nicely. >so on your strat, you would need to >chop out all the wood between the bridge and the edge of the body where the >strap pin is. I guess you would then have a mutant flying V..... Or an Ibanez Reb Beach model... Michael Dr Michael Pycraft Hughes Bioelectronic Research Centre, Rankine Bldg, Tel: (+44) 141 330 5979 University of Glasgow, Glasgow G12 8QQ, U.K. "Wha's like us? Damn few, and they're a' deid!" - Scottish proverb ------------------------------ Date: Sun, 01 Jun 1997 16:53:27 -0400 From: Jeff Schwartz To: Loopers-Delight@annihilist.com Subject: Re: JamMan, TransTrem, and other words that have a capital letter in the middle Message-ID: <3391E147.B4B@bgnet.bgsu.edu> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Thanks to Kim and everyone for answering my ignorant TransTrem questions. As I get more and more into figuring out what the Vortex can do, I find I'm using pedal-controlled delay times with a 100% wet mix to get pitch bends. Listening to Henry Kaiser however, I covet more elaborate pitch tweakage. . How about a discussion of moderately priced pitch shifting/harmonizing/whammy-ing devices? -- Jeff Schwartz jeffs@bgnet.bgsu.edu http://www.bgsu.edu/~jeffs/main.html ------------------------------ Date: Sun, 1 Jun 1997 19:32:10 -0400 From: hporter@UAkron.Edu (Hayden Porter) To: Loopers-Delight@annihilist.com Subject: Whammy Message-Id: Content-Type: text/plain; charset="us-ascii" Jeff Schwartz wrote: I covet more elaborate pitch tweakage. . How about a discussion >of moderately priced pitch shifting/harmonizing/whammy-ing devices? >-- >Jeff Schwartz >jeffs@bgnet.bgsu.edu >http://www.bgsu.edu/~jeffs/main.html What about the digitech whammy pedal? That thing seems to do alot of pitch shifting and whammy. Kind of looks cool too!! Hayden Porter hporter@uakron.edu ------------------------------ Date: Sun, 01 Jun 1997 19:13:29 -0500 From: "Mikell D. Nelson" To: Loopers-Delight@annihilist.com Subject: Rang Features Message-ID: <33921029.948@crystalball.com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Patrick Smith wrote: > > Bob, > > Would it be possible to add to your list of mods a function that would > allow you to record a loop, play it backwards, record over the backward > section, and continue to flip flop these overlays? Could get chaotic, but > it may get very cool..... > > Thanks for all your thought and effort in this. > > Patrick > The Boomerang Phrase Sampler does this now. Any part can be recorded forward or reverse; and then the whole musical creation can be played forward or reverse at your whim. Motley ------------------------------ Date: Sun, 01 Jun 1997 19:58:46 -0500 From: "Mikell D. Nelson" To: Loopers-Delight@annihilist.com Subject: Re: Klein Electric Guitar Message-ID: <33921AC6.4317@crystalball.com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Someone was talking earlier about the gorgeous tone and sustain the Klein guitars produce. My question is this - is this true for clean sounds? My number one guitar is a 15 year old G&L Skyhawk (strat style replaced by the Legacy) with a solid maple body. Through a good tube amp this ax sounds beautiful. I know the Steinberger, and I suppose the Klein, sound great for very high gain, overdriven tones like Alan Holdsworth uses, but do they project an acoustic richness and complex woody sounds? I have equipped this guitar with a Hot Rails humbucker (single coil footprint) and a 2 position switch that taps that pickup and turns it on all the time. With this and the stock 5 position pickup selector, I can get all seven pickup combinations. Motley ------------------------------ Date: Sun, 1 Jun 1997 21:43:42 -0400 (EDT) From: Dpcoffin@aol.com To: Loopers-Delight@annihilist.com Subject: Re: JamMan, TransTrem, and other words that have a capital letter in the middle Message-ID: <970601214341_843888520@emout10.mail.aol.com> <> Indeed...and what about exotic filters, like the Meatball, Mutator, etc., and other things them English kids'r using? dpc ------------------------------ Date: Sun, 1 Jun 1997 22:22:01 -0400 (EDT) From: Dpcoffin@aol.com To: Loopers-Delight@annihilist.com Subject: Plex stereo Message-ID: <970601222200_-1095646553@emout10.mail.aol.com> So, is it happening, really, no-muss-no-fuss, just get two and you're there? or is it if-fy, or waiting for software upgrades, etc...? Thanks! ------------------------------ Date: Mon, 2 Jun 1997 00:10:09 -0300 From: matthias@bahianet.com.br (Matthias Grob) To: Loopers-Delight@annihilist.com Subject: Re: Sublime experience looping --warning: no guitar content! Message-Id: Content-Type: text/plain; charset="us-ascii" Russell Gorton wrote: >Latest Echoplex victim: my buddy Dan's Fender Rhodes Model Seventy-Three >stage piano. > >When I picked it up to loan...Dan is a ReallyNiceGuy(tm)... I didn't realize >that these old things were totally passive electronics. Duh. I was >looking for >the power cord for, like, 3 whole minutes before I took the top off and >examined >the innards. No power supply. "Must work like one of them eee-lectric guitars >all these kids are playing nowadays..." Amazing, isnt it? I had one of those. It still lives with a friend in switzerland, probably not played. I remember we used to push the midrange, probably around 2 kHz to bring out the nice attack. During the whole 70ies, there was no real alternative to the Rhodes: The Hohner pianet with flat tongues and capacitive pick up was ridiculous. The Hohner clavinet was great, with real cords, but no bass, little sustain - marked the beginning of the funk aera. And then there was the piano that Supertramp created their success with (Hohner, too?), a rather childish sound, for my taste. Around '78, the Electric Grands came, heavy and expensive, and still just one cord per note and not very realistic sound. I think there was a Yamaha and a Kawai. They soon became outdated by the polyphonic synths. Only problem with Rhodes: The tone "wires" break if you attack to hard, and they might be hard to replace, now. >Looping several different short 8-10 second chord changes; think "Kind of Blue" >riff or something... then use NextLoop w/SwitchQuant=On to walk through them. >Then, play various inversions and diminished variations of same over the >loops...solo notes wash over the transitions between loops. Overdub when the >urge strikes! > >As with other things I loop ('cello, analog synth), I'm getting about an 85% >success rate with noiseless startpoints. What seems to help is selecting a >dominant note that is slowly decaying over each startpoint, trying not to >attack >that note too near the startpoint. Each small loop is overdubbed once to wash >over the startpoint with that same note (end Record with Overdub, or end Record >with Insert in Rehearse mode until I get it near how I want it...) Get the >startpoints of all the small loops within a range of similarity and it is >surprisingly easy to step through the loops without any abrupt changeovers. >Loving that Echoplex...what a box! Thank you. Great to hear from somebody that seems to *understand* the box! >The overtones and room resonance are mind-blowing. Absolutely gorgeous! The >"tines" (is this what they're called?--the little tuning-fork metal bar guys >that vibrate on the Rhodes' sounding board) set up washes of eardrum-buzzing, >underwater-landscape-on-quaaludes-with-Milt-Jackson-on-vibes that put everyone >(even the dog) into trance mode. > >The interaction between the instrument's sounding board (sustain pads raised) >and the amplified looped versions is phenomenal. A great instrument for >looping! This I did not understand: Did you get some kind of feedback from the loop into the instrument? So the notes would resonate with the look like a sympathy cord? Great post! Matthias ------------------------------ Date: Mon, 2 Jun 97 01:54 CDT From: "kim corbet" To: Loopers-Delight@annihilist.com Subject: Re: Whammy Message-Id: Content-Type: text/plain; charset="us-ascii" In response to... > I covet more elaborate pitch tweakage. . How about a discussion > >of moderately priced pitch shifting/harmonizing/whammy-ing devices? > What about the digitech whammy pedal? That thing seems to do alot of pitch > shifting and whammy. Kind of looks cool too!! ....................I have 2 Whammy IIs and love 'em. They're wonderful with a mic...or anything else I've put them through. When I have both in the set up, I generally have one as a frontline processor (it has a nice little preamp for remote ampage) and put the other one right after my rang to be able to warp out the loopage. One iteresting effect is playing the rang loop back at half-speed and shooting it up an octave on the trailing whammy so the pitch is the same as the original but half the original rate...duh. you can imagine the variations. The whammy has good tracking, better than anything else I've seen in the $150 - $200 range and has a variety of stepped through stages. The pedal part of the pedal allows you to smoothly gliss up and down various intervals (up to 2 octs) and to play several harmony intervals. I especially like using trombone to create steel guitarish lines as I rock between m3 and M3 or 5ths and 6ths, etc. I have minor complaints about the interface (you can only step Forward through the stages and there oughta be a slight center notch on the pedal to be able to (for example) find exact unison when you're given the choice of oct up or oct down harmony. And, while I'm being picky, when I'm using a mic, I have to always be aware of how much I'm bleeding the rest of the band through my mic. Some folks go ballistic when they hear their own hard fought sound coming out in strange intervals through someone else's stage monitor. I generally find if I set up on the opposite side of the stage from the lead guitarist, I get fewer sore ribs from agressive necks probing my space. Of course, there's an effect mute switch, the use of which is determined by my attitude toward the gig and any potential disturbed bleeders. That said, I'm awfully glad to have found the Whammy. I've played several sessions using trombone to exactly mimic trumpet or tuba. And the two octave up is so etherial...I often use it on bass to get above the rest of the band for solo and pad stuff...and that's all I have to say about that - Forest Gump. ------------------------------ Date: Sun, 01 Jun 1997 08:32:44 -0700 From: Isagil To: Loopers-Delight@annihilist.com Subject: Newlooper Message-ID: <3391961C.5D24@cam.org> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Greetings all, I'm a new kid here on this list. I'm a bassist in a jazz trio & I've been using for a short while a Lexicon JamMan from the guitarist in our trio. It really expends the sonic versatility - if I added an octaver or a Whammy, solos would sound neat too... And if I ever get to play my contra-bass *right* with a bow, there'll be many interesting possibilities. Since the JamMan is sold out and part of history, I thought buying an Echoplex would be a good deal. I found your mailing list just yesterday - many persons seem to be using that Echoplex around here. Any comments regarding that tool? Regards, Gilles Douaire ------------------------------ Date: Mon, 2 Jun 1997 14:58:36 +0200 (MET DST) From: Olivier Malhomme To: Loopers-Delight@annihilist.com Subject: Re: Susutainer 3 switch Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII According to me, the three way switch works that way: up: sustain the root mid sustain the 2nd harmonic (octave above) down sustain the third one (5th above octave, a 17th) But but but expresience with the machine shows that it depends where you play on the neck. after mre or lass the 12th fret (and higher) we go down of on "rank" of harmonic. up don't change, mid gives the root and down gives more the octave than the 17th, but it changes for this one because the higher harmonics they are, the "energy full" they seem to be (anyone can tell me the corrct word in plain english?). olivier Malhomme ------------------------------ Date: Mon, 2 Jun 1997 11:27:51 -0400 From: crb@silvertone.Princeton.EDU (Curtis Bahn) To: Loopers-Delight@annihilist.com Cc: isagil@cam.org Subject: Re: Newlooper Message-Id: <199706021527.LAA14832@silvertone.Princeton.EDU> I also play string-bass and use various looping toys. I love the features of my Echoplex BUT there is a input gate which is a problem with bowed tones. It doesn't pick up the softer sounds, and then clicks on in the middle of a stroke. Maybe this will be fixed with a software update I don't know. Maybe try out a Boomerang, I find it the most useful (compared my Jam Man, and Echoplex) in simple "jazz trio" settings, it plugs into your amp and acts like a stomp box. It handles the bow just fine and has a half speed/ double speed button that will speed up a loop so that it sounds in the guitar register. The reverse digital delay feature is a lot of fun in freer solos also. Cheers sreehC (forward/backward looped Cheers), Curtis Bahn crb@music.princeton.edu ------------------------------ Date: Mon, 2 Jun 1997 10:24:43 -0700 From: Kim Flint To: Loopers-Delight@annihilist.com Cc: isagil@cam.org Subject: Re: Newlooper Message-Id: Content-Type: text/plain; charset="us-ascii" At 11:27 AM -0400 6/2/97, Curtis Bahn wrote: >I also play string-bass and use various looping toys. I love the features >of my Echoplex BUT there is a input gate which is a problem with bowed tones. >It doesn't pick up the softer sounds, and then clicks on in the middle of a >stroke. Maybe this will be fixed with a software update I don't know. upcoming software updates will address this problem. >Maybe >try out a Boomerang, I find it the most useful (compared my Jam Man, and > >Echoplex) in simple "jazz trio" settings, it plugs into your amp and acts >like a stomp box. It handles the bow just fine You may want to consider that bowed strings have a very wide frequency bandwidth. (I've measured them going well beyond human hearing range, actually) The Boomerang's bandwidth is quite a bit lower than most other delay units, but you should give it a try to see whether that's a problem for you or not. kim ______________________________________________________________________ Kim Flint | Looper's Delight kflint@annihilist.com | http://www.annihilist.com/loop/loop.html http://www.annihilist.com/ | Loopers-Delight-request@annihilist.com ------------------------------ Date: Mon, 2 Jun 1997 10:39:27 -0700 From: Kim Flint To: Loopers-Delight@annihilist.com Subject: Re: Klein Electric Guitar Message-Id: Content-Type: text/plain; charset="us-ascii" At 7:58 PM -0500 6/1/97, Mikell D. Nelson wrote: >Someone was talking earlier about the gorgeous tone and sustain the >Klein guitars produce. My question is this - is this true for clean >sounds? The vast majority of guitar playing I do these days is with clean tones. That's what I was talking about with the tone of my Klein. I'm getting everything from out-of-phase funky strat tones to bluesy strat tones to Les Paul type humbucker sounds to rich acoustic/arch-top tones. (all through tube amps, naturally) I do a lot of jazz playing, so rich clean tones are very important to me. That's the first thing I look for in any guitar or amp! > My number one guitar is a 15 year old G&L Skyhawk (strat style >replaced by the Legacy) with a solid maple body. Through a good tube amp >this ax sounds beautiful. I know the Steinberger, and I suppose the >Klein, sound great for very high gain, overdriven tones like Alan >Holdsworth uses, but do they project an acoustic richness and complex >woody sounds? Other than the missing-headstock design, I would describe a Klein as "not at all like a Steinberger." The graphite in the Steinbergers make them sound very flat and one-dimensional to me. You can get a Klein made with graphite if you really want to, but I get the feeling that nobody does that. Mine is swamp ash and rosewood, and "acoustic richness and complex woody sounds" is exactly what I love about it. Strummed acoustically it is quite loud, like a 335. The resonance chamber does that for you. In fact, all my high-gain distortion sounds had to be "fixed" for the Klein. They had all been biased on the bright side to make my other guitars sound good. All the upper harmonics from the Klein made them sound muddy, sort of like the way an archtop like an ES175 or something sounds through a distortion pedal. Once I rolled off some of the treble, they sounded great too. kim ______________________________________________________________________ Kim Flint | Looper's Delight kflint@annihilist.com | http://www.annihilist.com/loop/loop.html http://www.annihilist.com/ | Loopers-Delight-request@annihilist.com ------------------------------ Date: Mon, 2 Jun 1997 10:43:08 -0700 From: Kim Flint To: Loopers-Delight@annihilist.com Subject: Re: Plex stereo Message-Id: Content-Type: text/plain; charset="us-ascii" At 10:22 PM -0400 6/1/97, Dpcoffin@aol.com wrote: >So, is it happening, really, no-muss-no-fuss, just get two and you're there? >or is it if-fy, or waiting for software upgrades, etc...? Thanks! Works great for me. With the current software you need to do a couple things differently than the manual describes to make it work right. Not a big deal, just a couple different parameter settings. The new software will fix that and make stereo even easier, but you shouldn't have any trouble with the current version. kim ______________________________________________________________________ Kim Flint | Looper's Delight kflint@annihilist.com | http://www.annihilist.com/loop/loop.html http://www.annihilist.com/ | Loopers-Delight-request@annihilist.com ------------------------------ Date: Mon, 2 Jun 1997 14:20:54 -0300 From: matthias@bahianet.com.br (Matthias Grob) To: Loopers-Delight@annihilist.com Subject: Re: Sustain Message-Id: Content-Type: text/plain; charset="us-ascii" >>However, the guitar is going (used) for $900. No way. I've got to build >>me one of these.... somehow! > >I've never gotten around to checking out the circuit in mine, but I suspect >it is pretty simple. They just take the signal from the bridge pickup, >filter it, and use it to drive the neck pickup in reverse. Just as strings >moving in the pickup's magnetic field produces an ac voltage at the output >of the coil, applying a signal voltage to the coil output will cause the >motion of the magnetic field to move the string. NotRocketScience (tm). You >need to make sure you get the pickup placement right so that you drive the >string in phase. Sure I tried it, years ago. There are problems I did not have the patience to solve: 1 To keep the correct phase for any note is not easy. 2 To drive, you need power. Either a higher tension than battery or a low impedance pickup (DIY?). In any case, its hard to keep the strong driving signal separate from the outgoing sound signal. If you bring the supply to the guitar, keep the ground separate. If you bring the driver signal to the guitar from a external amp, shield it separately. 3 The driver tends to feed back directly to the pickup. To avoid it, you need to limit its energy, make it more effective through filtering or build it in a specific way so it does not stray the magnetic field. But... go ahead and find out! Matthias ------------------------------ Date: Mon, 2 Jun 1997 15:23:13 -0400 (EDT) From: MiqSk8@aol.com To: Loopers-Delight@annihilist.com Subject: special balls and no backsides... Message-ID: <970602152312_-229068803@emout11.mail.aol.com> In a message dated 97-05-31 19:31:53 EDT, you write: << I haven't had to buy strings yet, but I just figured I could mailorder them. >> La Bella makes special double ball ended strings _just_ for the the transtrem. they are supposedly the only licensed transtrem strings. one of the balls is machined and grooved for a better fit. i've tried plain double ended ones with varying shades of success, but if you really want accurate retuning and locking, these are the way to go. unfortunately, of course, they're tough to find and not cheap. La Bella does, however, throw in an extra high e string with every set, making it a little more practical. I've had good luck having my gtr guy get boxes of complete sets, but we've been waiting about a month for an order of .009,.011, and .014. <> my guitar guy has one of these in his shop. it looked like to me that after taking off the pseudo floyd(nasty), there would be a whole lot of anything left to attach the ttrem to. plus it would be a waste of a good tremelo ;) ------------------------------ Date: Mon, 02 Jun 1997 18:56:50 -0700 From: Sean Echevarria To: Loopers-Delight@annihilist.com Subject: Re: Klein Electric Guitar Message-Id: <3.0.1.32.19970602185650.008cf260@pure.pureatria.com> Content-Type: text/plain; charset="us-ascii" At 10:39 AM 6/2/97 -0700, Kim wrote: >Strummed acoustically it is >quite loud, like a 335. The resonance chamber does that for you. > Are there any other benefits to the chamber? >In fact, all my high-gain distortion sounds had to be "fixed" for the >Klein. They had all been biased on the bright side to make my other guitars >sound good. All the upper harmonics from the Klein made them sound muddy, >sort of like the way an archtop like an ES175 or something sounds through a >distortion pedal. Once I rolled off some of the treble, they sounded great >too. Was this a result of the chamber? Did you try a non-chambered version through your setup? If a person were to head up to Sonoma and play a Klein, how strong is the 'danger' that they'd drop a few grand for one? What kind of amps does he have up there? Do/Can you take your own? Sorry for the barrage - take your time responding. --------------------------------