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Links to Videos / Re: Glen Campbell Documentary - "I'll be me"
« Last post by Kevin M on Today at 09:22:25 PM »
I'm ashamed to admit that I had no idea what an accomplished guitarist he was. 
General Discussion / Re: New Indio Guitars from Monoprice
« Last post by Elantric on Today at 08:26:55 PM »
Inflation Results

The first guitar which I owned which I would consider any good was a Kappa Continental that I bought used.
Might have been wise to have kept it !

Another “LITE Collection To Go” (“lite” is Norwegian for small) from my large collection of vintage guitars. Once again, I will describe this as another “AMERICANA Collection” since these guitars were Made In America in the 1960’s.


In 1999 I began collecting guitars. I focused on buying guitars that I liked but also on those brands that were no longer around, especially those that were Made In The USA. I have named them “Americana” brands.


At the same time, I believe that vintage, and some custom handmade, guitars are still among the best investments anyone can make. Especially “niche” guitars like many of mine. I cannot give investment advice, nor am I attempting to persuade anyone to buy guitars as investments, but can tell you that my guitar collection has increased in value many times over my real estate, stock, and other investments.

But more than that, I think for those of us who love guitars and like to have our own little “stash”, yet do not want to blow the grocery and rent budgets, it makes sense to look at these former Made In The USA brands as well as some high quality Made In Japan brands.

To make that easier for beginning, and seasoned, collectors I have decided to begin offering small packages of my guitars for sale as a group that represents the variety of products offered by a manufacturer.


“Guitar Collections To Go”

I have done the work for you:

1. I have found the best examples of a Brand in the marketplace that were available when I was buying them, or as I say, “I only sell the best guitars because I only bought the best guitars”.

2. I had my luthier check them out, repair them if necessary, clean them up, and set them up.

3. I found all of the information I could about them to include copies of catalogs, magazine reviews, and forum remarks.

And now I have gathered them in affordable variety collections that are ready to go to your guitar room.




Once more, a true story of American entrepreneurship in the music industry—the story of KAPA is one that demonstrates the influence that the electric guitar has had on popular culture and music history in the world but MADE IN THE USA brands like KAPA show how the popularity of the burgeoning rock and roll music phenomena carried over to the general population of Americans who wanted to make their own music.


For those wishing to begin his/her own guitar collection, this is a great place to start. These guitars are true pieces of Americana musical history. That makes collecting a lot easier. Also, this is a comprehensive package that is representative of the brand “KAPA” but along a single model line. By isolating on this single model grouping, you are able to make a more definitive statement with your collection. This is a comprehensive collection of the KAPA “Continental” model line showing the different finishes available for this model group.

Current collectors will find this “Lite” collection to be a perfect addition to his/her collection. It fits a great niche for a true “Americana” brand guitar that is extremely appealing in appearance but also rare. Uniqueness and limited supply also go to make a “collectible” more collectible.


What is unique about this brand is that it is a “cross culture” guitar using the extremely high quality of German parts from HOFNER (pickups) and SCHALLER (tuners) with the Tremolo system coming from Japan. All wood came from the USA and all guitars were “built” in the USA.


THIS KAPA COLLECTION. (all are Model# CO-VI, Model name “Continental” six string guitars with tremolo system).


A. Blue Finish (called “Thunderbird Blue “and “Metallic Blue”. Condition: “Fair”. This is a beautifully “aged” guitar showing its age (50+) with finish wear on back, front, and edges.

B. Yellow Finish (called “Pastel Yellow). Condition is “Good”. Finish shows wear with “spots” on the back.

C. Red Finish (called “Candy Apple Red”). Condition is “Very Good” with slight finish wear.

D. Green Finish (called “Ocean Turquoise”-note-these are metallic finishes and show different color tones based on age and wear). Condition is “Fair” with lots of finish dings, scratches, gouges, etc. Again, a great “relic” finish guitar.

E. Sunburst Finish. The traditional three color sunburst finish. Condition is “Good”.

F. Green Finish. This is an unusual finish color. More “Green Apple” tone than other green. Condition is “Fair” with lots of finish dings, scratches, gouges, etc. Again, a great “relic” finish guitar.



KAPA guitars are great playing guitars. These guitars were advertised as having . . “the ultra-thin Kapa neck, truly the easiest playing guitar in the world”. These necks were made from Maple wood with Rosewood fretboards.

The body of the “Continental” is a “thin” slab of wood that is offset shaped “like a Jaguar/Jazzmaster”. This body, with the bright and loud Hofner “Pix” pickups, give these guitars a strong and clear tone that is unique to this guitar.

What other “brand name” guitars does the KAPA “Continental” compare best to? Perhaps the FENDER MUSTANG or the GIBSON MELODY MAKER.


About the KAPA Guitar Company.


1. KAPA Guitars was founded in 1963 by a Dutch immigrant named Koob Veneman.

2. Mr. Veneman was the owner of Veneman's Music Emporium, a musical instrument store in Silver Spring Maryland.

3. During the early 1960’s Veneman made the decision to build his own unique line of guitars. This was the years of the British Invasion and the Guitar Boom and Mr. Veneman wanted his piece of the pie.

4. Many of the guitars in stock at the Veneman store consisted of guitars that were imported from Germany and Italy.

5. The connections with these companies provided him with an excellent opportunity to purchase supplies from overseas manufacturers. His plan was to order guitar parts from European suppliers, assemble them in Edmonston Maryland where the guitars bodies were created.

6. KAPA guitars were at a plant on 46th Avenue in the town of Edmonston, Maryland.

7. The necks, pickups and electronics originally came from German manufacturer Hofner.

8. The pickups used on this Kapa guitar were provided by Hofner. They were the “Staple Nova-Sonic Twin Coil Humbucking Pickups manufactured for Hofner by Franz Pix, Type 511. Later, Kapa had his own “staple” pickups built.

9. Also the bridge, electronics, and tailpiece (tremolo system) were made in Germany.

10. The guitars generally were equipped with two slider switches to control on/off function of the pickups, which is typical of Hofner's design of the 1960’s.

11. The tuners were made by Schaller.

12. Veneman named the company after himself, wife and children by using an anagram of their first names. Of course his name is Koob, his son’s name, Albert, his daughters name, Patricia and his wife’s name Adeline. Later Koob’s brother joined the family business.

13. KAPA necks are ultra-thin, which is sort of a ’60 thing. Guitarists wanted to play fast and for some odd reason, manufacturers equated this with skinny necks instead of low action.

14. The bodies also were thin in comparison to Fender and Gibson bodies.

KAPA went out of business in 1970 and its assets were sold to MICROFRETS and MOSRITE. It is a small world.

Right Mark Audio Analyzer

RMAA suite is designed for testing quality of analog and digital paths of any audio devices, be it a sound card, an MP3 player, a consumer CD/DVD player or an acoustic set. The results are obtained by playing and recording test signals passed through the tested audio path by means of frequency analysis algorithms. A more common mark is also provided for those unfamiliar with measured technical parameters.
A new version is the result of two years of development by best experts in digital audio. RMAA 6.0 raises the bar of comfort and functionality for spectrum analyzers. That's why it is a program of choice for enthusiasts, professionals, and audio magazines around the world; and some manufacturers are developing new devices with the mandatory testing of their quality in RMAA. In short, the program at the moment is a de-facto standard providing quick and easy measurement of technical parameters, without the need to spend tens of thousands of dollars on specialized measurement systems.

RMAA 6 features:
friendly user's interface (all tests and options in single list, new look of HTML report);
added new sample rates (88.2, 176.4 kHz);
added new important parameter in HTML report: Harmonic distortions + noise, dB (A);
added new MONO mode;
added polarity test (HTML report);
added new spectrum plot modes (linear/log/mel);
added support of local languages on spectrum label;
fixed some critical errors.
RMAA 6 and instruction in English is available for free in the Download section.
Commercial version RMAA 6.0 PRO is coming soon.
RMAA 6.0 PRO features:
ASIO support for the first time, only in the professional version;
ASIO diagnostics: supported frequencies, buffers sizes, channels list;
any combination of ASIO i/o channels testing;
using various devices on the same test;
cross API testing (MME, DirectSound, ASIO);
single devices list;
many new parameters are available to change;
friendly, easy-to-use graphical user interface;
many other fixes and improvements.

General Discussion / Re: New Indio Guitars from Monoprice
« Last post by chrish on Today at 08:18:03 PM »
Inflation Results

$49 in 1968 equals $348.97 in 2017.

We even had a Lafayette store near us.

The first guitar which I owned which I would consider any good was a Kappa Continental that I bought used.

The guitar comes with an iPhone dock with a 24-bit/96kHz audio interface. The rechargeable battery lasts up to 6 hours. These smart guitars make learning and sharing with others easy.

World’s smartest travel electric guitar with built in amp, speakers and iPhone integration. Now with full-scale premium maple neck and rosewood fingerboard.

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Excludes Hawaii and Alaska.
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Your Fusion Guitar comes with a comprehensive warranty on materials and craftsmanship.
Antares Auto-Tune Guitar Top things to know / Re: ATG/Peavey Dilemma
« Last post by Elantric on Today at 07:38:44 PM »
I have a Peavey AT200 - I do  Not recommend it.

It has far too many drawbacks detailed here
Antares Auto-Tune Guitar Top things to know / ATG/Peavey Dilemma
« Last post by Vaultnaemsae on Today at 07:30:44 PM »
Hope somebody can give me some advice here. I've done a little searching but time is of the essence now.

I'd been thinking about biting the bullet on an ATG custom installation kit as I just purchased an ATG-1 at super low price and it's amazing but I'd really like the functionality built into a guitar. I'm not in the US and Antares may have stopped shipping OS after my recent order (unclear). They cease sales in about a week and support not long after.

So, I hunted around a bit and these are my options as far as I can see.

1. Order from Antares to a friend's address in the US and get him to forward it over to me. Purchase software packs and hope they'll work at the time I receive the unit from the US.

2. EDIT: NOT an soon as I posted the seller replied that it's already gone :( ---- Order a DEMO AT-200 in Australia (where I live) at about the same cost as the C.I.K. from US with the hope of gutting it and putting it in another guitar I actually like. Purchase software packs online and hope they'll work at the time I receive the unit. I read that the Peavey guitars are fairly ordinary quality but the only seller I can find is on the other side of the country so I'll have to buy it without testing it.

3. Live with the amazing yet heavy and big ATG-1 and forget about internal efficiency...happier wallet :)

What would you do?
Damn, It's all too soon. I just got the ATG-1 w/ lap steel pack and absolutely love it -- but it's huge on the floor and thus too much kit for gigging. I'd like to get an internal kit but there's too little time to research it properly before Antares drops the product :(
General Discussion / Re: Doco about the origin of the 80's drum sound
« Last post by Elantric on Today at 06:15:02 PM »

Q. How do I set up a gated reverb?
Hardware > EffectProduction
Published March 2005
By Steve Howell
I am trying to recreate the famous gated reverb effect on Phil Collins's records. I have used many of the modern digital reverbs and plug-ins and whilst they do a good job, they don't seem to have quite the same power as something like the tom break on 'In The Air Tonight'. Can you tell me how the original effect was created?
Phil Collins In The Air Tonight single cover artwork.

Ted Chandler

Sound library developer and SOS contributor Steve Howell replies: Without wishing to be too pedantic, strictly speaking, the classic gated reverb effect attributed to Phil Collins was actually created by Peter Gabriel some time earlier and, interestingly, quite by accident.

They were setting up a kit for recording, and there just happened to be some sends on the channels being used for the drum mics going to an AMS reverb — and the reverb's returns just happened to be patched into two channels that just happened to have some noise gates strapped across them! As the drums were being tuned and hit and miked up in the studio, listeners in the control room heard the fabulous sound of the reverb being abruptly cut short by the gates on the returns. Rather than 'fix' this, Gabriel exploited it and it became a trademark sound on his third album, particularly on the opening track, 'Intruder'.

Of course, Collins played drums on that album and he 'borrowed' the technique (and the recording engineer!) for his first solo album, subsequently making it famous on his massive hit 'In The Air Tonight'. Collins thus acquired credit for the effect by assumption when it was, in fact, Peter Gabriel with producer Steve Lillywhite and engineer Hugh Padgham who were really responsible for this dramatic sound. AMS loved the sound so much, they recreated the effect in the 'Non Linear' preset for their digital reverb — which was subsequently copied by other digital reverb manufacturers, with varying degrees of success. But I digress...

The initial drum hit (top graph) triggers the gate (middle graph) which allows the reverb to pass through (bottom graph).
The initial drum hit (top graph) triggers the gate (middle graph) which allows the reverb to pass through (bottom graph).

To create that effect authentically, send the drums to a reverb with a medium room preset selected. Now route the output of that reverb through a stereo noise gate (or patch a stereo noise gate into the reverb's return channels) and set an instant attack and pretty much instant release. The gate's hold time can be adjusted to taste, but the threshold should be adjusted carefully to avoid any 'fluttering' during the final part of the reverb tail. For more accurate triggering of the noise gate, take a feed from the drums into the gate's side-chain so that the percussive attack from the drums is used to trigger it, rather than the onset of the reverb alone.

Of course, for the most authentic results, consider the equipment used at the time — early digital reverb through analogue noise gates. Consider, also, the source — world-class drumming on impeccably tuned kits through serious mics set up by a highly experienced engineer and recorded to analogue tape through an SSL desk. The sound produced by some generic drum samples running through 24-bit VST effects is likely to be too clean to have the full impact.
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