I'm right there with you. It was fun for a bit at first, but I can't get anything that I'd want to use in a mix. Also, when loading third-party impulses, they sound NOTICEABLY worse than when using a different IR loader, which leads me to believe that the in-app one intentionally fucks with them somehow.
Posted 11 September 2017 - 03:49 PM
It's interesting to see how universally the ENTIRE RECORDING COMMUNITY seemed to rally behind BIAS, only to immediately abandon it for Scuffham S-Gear. It just goes to show: always try the demo first.
Good lord, the fucking
Professional Audio Services - http://vikingguitar.com
Posted 11 September 2017 - 03:56 PM
Well I mean Christ, every single tweaking option in BIAS just sounds like a minor EQ adjustment, every single base amp model sounds like a minor EQ adjustment of the LAST amp model and only has that ONE cab sim that sounds good with it (seriously why the fuck do amp sim makers think guitar players enjoy nothing but fuzz tones), and not one of them gives you a tone that sounds like one of your favorite tones you've ever heard. I'll take a one-trick-pony amp suite if that one trick happens to be Stevie Ray Vaughan doing Little Wing, Friedman on Rust In Peace, or the overdrive on Akeldama by The Faceless.
At least that one time I used Pod Farm I got a decent heavy distortion.
Posted 11 September 2017 - 04:45 PM
Finding a Gibson in a dumpster is pretty cool, but that Goldtop is a Tribute model, $800-ish in perfect shape. Fun project maybe, but absolutely worthless in that condition. That break is pretty damn bad, and repairing that finish wouldn't be as easy as the guy makes it sound.
On a completely different note, been looking at high gain amps again. Somebody is selling an Egnater Armageddon locally for less than half the going rate just because the tolex is beat to shit. Very tempted.
Those things are fucking LOUD
Posted 11 September 2017 - 05:27 PM
Posted 11 September 2017 - 05:34 PM
Speaking of clean tones, I'm honestly not sure I'm ever going to use an amp or sim of any kind for clean tones again when I can a tone like this with direct input (first is neck, second is middle position): https://www.mediafir...Clean Tones.wav
Posted 12 September 2017 - 05:53 PM
its shipping from japan, so it may be a while til i get it. that being said, last time i bought an instrument from japan i had it in 3 days.
Posted 13 September 2017 - 07:42 AM
I'm glad you bought it Mig because I'm currently trying to sell my Schecter to offset the cost of the Monitors I just bought and, more importantly, slim down my collection a bit which is getting a little out of hand. but I wouldn't have been able to resist letting that deal go unsold. I wouldn't do playing it nearly as much justice as you will either so it's perfect. RIIIIIIIIIIIIP
Bring it to the listening party if you can and it's not a total pain in the ass to fly with it (flyyyyy me to tha moon)
Posted 13 September 2017 - 12:01 PM
The more I ponder my baritone situation, the more I wonder why every single baritone has the bridge pickup so close to the bridge. Maybe 99% of baritone players want that ultra midrangey cut through the mix tone because they play nu-metal? If that's even a thing still. The more baritone demos I hear, the more I hear really sweet sounding neck pickups with a broad range of frequencies, and incredibly narrow focused bridge pickup sounds, no matter what that bridge pickup is. This has been my experience as well in what, 8 years of baritone ownership and countless pickup swaps.
To kinda get where I'm coming from, check out basses with bridge pickups. The pickups are 2 inches away from the bridge (approximately), depending on the bass? I just measured a guitar and the bridge pickup is exactly 1 inch away from where the string touches the saddle. A bass bridge pickup 1" from the bridge would sound terrible. the sound waves on the string would be barely formed that close to an anchor point. You would pick up more of the overtones than fundamental tones. So, the pickup is placed double the distance away from the bridge because of the physics of a vibrating string. Double the distance for the pickup placement, but only 38% longer scale if you compare a 24 3/4 inch Les Paul to a 34" P/J bass.
So, that leads me to my point about baritones. By putting one inch between the edge of the bridge pickup and the bridge, the physics of the vibrating string make the sound sharp and aggressive in a very narrow range of frequencies (especially on low strings). I want a bigger bridge pickup sound, a wider range of frequencies, and I think the physical placement of the pickup in relation to the vibrating string is severely limiting the ability for me to get this sound. Since my 28.62" conversion neck is about 17% bigger than a Les Paul, it makes sense to move the bridge pickup another half inch away from the bridge, if you're using the same math as you use for basses.
Maybe this is why telecasters tend to get converted. The angled bridge pickup is going to be further from the bridge and the low fundamental notes will be more well physically formed on the string.
Posted 13 September 2017 - 01:10 PM
The more I ponder my baritone situation, the more I wonder why every single baritone has the bridge pickup so close to the bridge. Maybe 99% of baritone players want that ultra midrangey cut through the mix tone because they play nu-metal?
This. It's not just nu-metal though (honestly don't know if that's still a thing either). That biting midrange-y tone seems to be what most radio friendly metal bands are going for these days.
Have you looked into the Squier Vintage Modified baritone JM? Not a fan of the blackout look, but that's an easy fix. Because of the size of a JM pickup, the pole pieces are much further from the bridge than most baritones. Maybe more up your alley. Though, demos I'm hearing are still pretty nasally.
Posted 13 September 2017 - 01:23 PM
I've got the baritone neck on the old Warmoth Jazzmaster body. Still, not quite what I'm going for. I don't know if that strattish body I've been using the last couple of years is worth much of anything. I want to try the experiment, so I could rout it out and see what happens.
I've also been considering hiring someone to make a custom body. Something with the outline of a J-bass or similar to that. Sort of link this, except with less of an extreme in the lower control area...
With the upper cutaway reaching the 12th fret of this 24 fret beast (my conversion neck is 24 frets) you achieve balance and the neck doesn't stick out so damn far.
Posted 13 September 2017 - 01:24 PM
Have you looked into the Squier Vintage Modified baritone JM?
I'm pretty sure I played around on one of these at Sam Ash and holy shiiiiiit it was a ton of fun. I was surprised because I was putting it up against the Squier Bass VI and was surprised how much I liked the Bari
Posted 13 September 2017 - 02:07 PM
IIRC they're the same except for pickups.
I've long thought about making a baritone / Bass VI out of a shortscale bass. Fill the tuning peg holes, swap the nut and bridge for six string. Something like this (although it does look like the bridge pickup is still really close to the bridge itself)
Posted 13 September 2017 - 03:02 PM
It isn't just metal or rock players that use a "close to" bridge pickup on a baritone. Blues, country, surf, instro, etc., all utilize that position. It's just a nature of the beast. If you are looking for detuned guitar sounds, or to double a guitar or bass line, the low end will fart out a guitar amp and many times a larger tone doesn't sit in the mix very well. Having that pickup real close also gives a more even response.
The further out you put the bridge pickup, or use the middle or neck position, the closer you get to a bass guitar, and with that comes bass "issues". You need a more powerful amp with headroom, perhaps a limiter, and different EQ.
I saw a 3 piece band Monday night that was drums, guitar, and baritone. The bari player used two amps with two different outputs on the guitar. Some songs he used more of a guitar sound, and some he played more as a bass player, and most were a blend. The middle pickup on the bari was the "bass" part of the rig (clean, into a bass amp) and it sounded and looked like he used an octave down on that for songs where he was capo'd up in the mid register of the neck. He was using backlined gear and sounded great.
I just put two Burns Tri-Sonic pickups on a Squier VM Jazzmaster, tuned to B. I hedged and put the bridge pickup a bit further forward because I wanted a thicker sound but after a couple gigs it appears I needed to put it closer to the bridge. I'm after a guitar sound rather than cleaner full bass tones.
Reminder- I'm selling my Squier Baritone Jazzmaster. I like the tone of a longer scale but get around better on a shorter scale.
Here's the band I saw:
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