Gear Wanker thread Mk II

These do look cool. I think there might be a few kicking round on Reverb for a reasonable price if you don’t mind second hand.

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Speaking of Elektron check out this bonkers thing

I’ve got one, but I haven’t really had a chance to use it much at all. Hope that helps!

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get two

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Might change the pots in my jazzmaster to 250k

My favourite kit providers finally put up an Engineer’s Thumb compressor, 5 knobs and a treble boost toggle. Just what everyone needs. Obviously I’ve got one on the way.

Here’s what it does:

http://www.valvewizard.co.uk/engineersthumb2.html

Bloody hell, how many are in that second video?!

Matt Karmil’s ace. Really glad you turned me on to his stuff! Will was one of my most listened to albums last year.

Just came across this, super handy for anyone who has one of these gathering dust

there’s a fair bit of gear on that table. it’s this lot;

https://www.circleof.live/

Saw them on thursday night - Matt has joined the circle now. 8 hours live improv. Very bleep, much LED

Found an annoying thing with my Scarlett 212 interface, use it for recording (in theory), but also as a kind of stand alone amp so I can use my stereo monitors for my Helix, v-drums, and synth (and mini SNES, and retropi games). Always been underwhelmed with the stereo sound, turns out it is not stereo, has two inputs and two speakers, while a DAW can route each input to stereo in direct monitoring mode both speakers get both input. I could have everything going through my DAW but I think the prospect of latency when playing guitar would spook me (even if total placebo effect), plus it’s a real hassle firing up Logic, always tries to download stuff and look for files. Just wondering is this standard interface behaviour?

How does anypne reckon a Duncan designed pickup on a squier JM compares to say, a set of 65 fender JM pups?

Thing is, i played my mex tele with lil 59 and a something or other single coil bridge the other day and it just soubded a lot better than my JM when played in anger, through all my fuzzes

Found this http://www.offsetguitars.com/forums/viewtopic.php?t=107829

they get super technical which i can’t follow but seems to suggest the neck dd pickup is similar to a traditional one but the bridge one is wound considerably hotter

I think i like hot pickups

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So, bought an Octatrack then.

Let the bafflement begin!

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seymour duncan do a ‘hot’ and ‘quarter pound’ jazzmaster pickup.

have you tried messing with the volume/tone controls to get it more in the tele range, don’t know if its a factor with your fuzz application, but im thinking of changing the pots in my Jazzmaster, always have the tone rolled half way down or the volume down a tiny bit (which also rolls down the tone) as otherwise it is really shrill when maxed out, apparently that is because of the 1meg pots, strats have 250k to tame the single coil brightness, les pauls have 500k to bring out some brightness with hum buckers, but mr fender in his wisdom decided on 1000k for jazzmasters to give them more range. so even with similar output pickups to your tele the volume/tone circuitry could be playing a part

im thinking of switching to 250k, could just use the volume/tone but they get really scratchy (tried contact cleaner but it keeps coming back)

Oh, i didn’t kow about the 1000k pots, will have to look at that. I do wind then back, as it cleans everything up, and i can always slam one of my boosts after the fuzzes to brighten things up. Actually i was chatting with one of the guitarists rom Slow Crush about that, as he plays everything on the rhythm circuit and does a lot of tweaking of the rollers as he plays. Says he likes the tone and uses a trebble boist to brighten it later.

Will look into those pickup options.

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love slow crush, irked they don’t seem to be doing any london headlining gigs.

the rhythm circuit is 50k, kind of admire the all or nothing approach they took when designing the guitars

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what kind of modulation is on the clean interludes on this song, sounds like chorus, chorus tends to thicken things up but this sounds thin and glassy (in a good way)