Author Topic: Elantric's Tips and Blog  (Read 57547 times)

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Offline Elantric

Re: Elantric's Tips and Blog
« Reply #175 on: March 10, 2017, 09:19:07 AM »

« Last Edit: March 10, 2017, 07:20:07 PM by admsustainiac »

Offline Elantric

Re: Elantric's Tips and Blog
« Reply #177 on: March 29, 2017, 06:52:28 PM »
View of PCB Inside Steve Fryette's VHT amps (circa 2004)

Offline Elantric

Re: Elantric's Tips and Blog
« Reply #178 on: March 29, 2017, 07:12:49 PM »

Offline Elantric

Re: Elantric's Tips and Blog
« Reply #179 on: April 06, 2017, 01:19:57 AM »

Ralph Napier wrote.
The wiring on my tele... It's a little crazy...

inside view



Meawhile for conventional wiring  diagrams

and extreme tele wiring

« Last Edit: April 06, 2017, 01:44:38 AM by Elantric »

Offline Elantric

Re: Elantric's Tips and Blog
« Reply #180 on: April 06, 2017, 09:13:50 AM »

Offline Elantric

Re: Elantric's Tips and Blog
« Reply #181 on: April 21, 2017, 12:37:27 AM »

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Re: Elantric's Tips and Blog
« Reply #182 on: May 09, 2017, 02:54:51 PM »
« Last Edit: May 09, 2017, 03:26:38 PM by Elantric »

Offline Elantric

Re: Elantric's Tips and Blog
« Reply #184 on: May 24, 2017, 12:49:12 PM »
Found this bit of info on the Native Instruments site  - which might be valuable info worth knowing regarding your "USB Powered" or AUDIO/MIDI  devices
Choosing the Correct USB Cable for Your NI Hardware Device
Native Instruments is investigating hardware issues caused by poor USB cables. Inadequate cables can cause a variety of issues, including:

Loss of USB connection
Erratic display and LED behavior
Audio distortion
In order to avoid these problems, we recommend to use cables with a maximum length of 2m (preferably 1,5m or shorter). Additionally, we found that certain cable types are not suitable for use with our hardware devices since the diameter of their internal power wires is too small. This draws additional power along the cable, exceeding the capacity of USB bus-powered mode. Below you can find information on how to identify the correct cable type.

Identifying the Correct Cables Type

Most USB cables are labeled with two identification codes following the AWG (American Wire Gauge) standard:

The code ending with /2C (or X2C) shows the specification of the power wires in the USB cable (relevant for this test)
The code ending with /1P (or X1P) shows the specification of the data wires in the USB cable
The number at the beginning of the codes reflects the diameter of the internal wires:

AWG 24: 0,511 mm
AWG 28: 0,321 mm
Our tests have shown that you should always use USB cables carrying a /2C (or X2C) code beginning with 24 (e.g. 24/2C, 24AWGX2C, AWG 24X2C). As described above, this means the power wires have a diameter of 0,511 mm, which will reduce the power lost in the cable.

If your cable is showing a /2C (or X2C) code beginning with 28 (e.g. 28/2C, 28AWGX2C, AWG 28X2C), it is not suitable for use with our hardware devices and needs to be replaced.

Note: If your USB cable is not labeled with the 2C code, it may or may not be suitable for use with our hardware devices. Therefore we recommend to replace it with a cable showing the correct 2C code.

Below you can find two examples of USB cables with different /2C (or X2C) codes. Note that the /1P (or X1P) code is not relevant for this test. Ensure to always check the first two digits of the code ending with /2C (or X2C).

The following picture shows a cable labeled with the code 24/2C. This cable is suitable for use with your NI hardware device:

The following picture shows a cable labeled with the code 28AWGX2C. This cable is not suitable for use with your NI hardware device:

Offline Elantric

Re: Elantric's Tips and Blog
« Reply #185 on: May 31, 2017, 12:31:41 PM »
Some good ideas here

Offline Elantric

Re: Elantric's Tips and Blog
« Reply #186 on: June 08, 2017, 02:28:07 PM »

Offline Elantric

Re: Elantric's Tips and Blog
« Reply #187 on: June 13, 2017, 08:07:59 PM »

Still extremely happy with my Gibson Custom Shop Les Paul
It was built during the Rick Gembar era at the Custom shop

Sad those days are over
Gibson Net income
2012 $1.1B
2013 $-3.4B (that's minus)
2014 $-2.4B
2015 $-15.6B (right, MINUS 15.6 BILLION, I'm guessing it's the robot crap)
2016 $-1.8B


IMHO  - Gibsons $$ problems and poor net income are in large part due to  Henry J's buying spree spending habits.
He has the ultimate G.A.S.

While we all know he bought Steinberger and Opcode systems and Kramer guitars and Valley Arts guitars and killed those brands

He was using Gibson guitar manufacturing profits to finance purchasing non guitar related companies : Baldwin piano Wurlitzer jukeboxes, Cakewalk, Onkyo (Pioneer), Stanton, Cerwin Vega, Tascam (TEAC), Phillips Electronics, KRK , the Universal Ampitheater) - to pursue his "LifeStyle Brand" goals.

He  purchased harmony-central a few years back to manage the online  Forum Content ,

remember Gibson is no longer just a guitar company - it's Gibson Brands - and those net profit losses reflect a lot of non-Guitar related negative cash flow
In 2011, Gibson acquired the Stanton Group, including Cerwin Vega, KRK Systems and Stanton DJ. Gibson then formed a new division, Gibson Pro Audio, which will deliver professional grade audio items, including headphones, loudspeakers and DJ equipment.[23]

Gibson announced a partnership with the Japanese-based Onkyo Corporation in 2012. Onkyo, known for audio equipment and home theater systems, became part of the Gibson Pro Audio division.[24]

In 2013, Gibson acquired a majority stake in TEAC Corporation.

In 2014, Gibson acquired the consumer electronics business of Royal Philips.

In 2014, Gibson acquired the R&D team from Blue Microphones and founded Neat Microphones with Skipper Wise.

And throwing millions $$ away on R&D for Auto Tuners few folks want

The issue is his "cash cow" ( the Gibson Les Paul) sales have declined  -in large part due to Slash and GnR ( or suitable equivalent popular act playing Les Paul's )not being as popular on the Billboard charts , the high $$$ Gibson dealer "buy in" terms and rising costs for the desirable New LP models priced more than a grand piano, and larger market competition from Used Gibson Guitars in effective global used gear marketing channels that never existed decades ago (Reverb, Ebay, Cragslist).

And "new" Gibson being blown out below Dealer cost
« Last Edit: June 24, 2017, 04:02:12 PM by Elantric »

Offline Elantric

Offline Elantric

Re: Elantric's Tips and Blog
« Reply #189 on: June 16, 2017, 10:56:59 AM »
« Last Edit: June 22, 2017, 01:45:27 PM by Elantric »

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« Last Edit: June 22, 2017, 01:45:58 PM by Elantric »

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Offline Elantric

Re: Elantric's Tips and Blog
« Reply #192 on: June 25, 2017, 09:01:56 AM »

Rocket 88
From Wikipedia, the free encyclopedia
This article is about the song. For the band, see Rocket 88 (band). For the namesake car, see Oldsmobile 88.
"Rocket "88""
Rocket "88" single cover.jpg
Single by Jackie Brenston and his Delta Cats
B-side   "Come Back Where You Belong"
Released   April 1951
Format   10-inch 78 rpm
Recorded   March 3 or 5, 1951
Studio   Memphis Recording Service, Memphis, Tennessee
Genre   Rhythm and blues, rock and roll
Length   2:48
Label   Chess (1458)
Songwriter(s)   Jackie Brenston (credited), Ike Turner (uncredited)
Producer(s)   Sam Phillips
Jackie Brenston and his Delta Cats singles chronology
"Rocket "88""
{1951)   "My Real Gone Rocket"
Audio sample
file help
"Rocket 88" (originally written as Rocket "88") is a rhythm and blues song that was first recorded in Memphis, Tennessee, on March 3 or 5, 1951 (accounts differ). The recording was credited to Jackie Brenston and his Delta Cats, who were actually Ike Turner's Kings of Rhythm.

The record reached number one on the Billboard R&B chart. Many music writers acknowledge its importance in the development of rock and roll music, with several considering it to be the first rock and roll record.

Contents  [hide]
1   Original version
2   Influence
3   Cover version by Bill Haley
4   Later versions
5   References
6   Additional sources
7   External links
Original version[edit]
The original version of the twelve-bar blues song was credited to Jackie Brenston (Ike Turner's saxophonist) and his Delta Cats, which hit number one on the R&B charts.[1] The band was actually 19-year-old Ike Turner and his Kings of Rhythm band, who rehearsed at the Riverside Hotel in Clarksdale, Mississippi. Brenston sang the lead vocal and was credited with writing "Rocket 88". The song was a hymn of praise to the joys of the Oldsmobile "Rocket 88" automobile which had recently been introduced, and was based on the 1947 song "Cadillac Boogie" by Jimmy Liggins.[2][3] It was also preceded and influenced by Pete Johnson's "Rocket 88 Boogie" Parts 1 and 2, an instrumental, originally recorded for the Los Angeles-based Swing Time Records label in 1949.[citation needed]


Drawing on the template of jump blues and swing combo music, Turner made the style even rawer, superimposing Brenston's enthusiastic vocals, his own piano, and tenor saxophone solos by 17-year-old Raymond Hill (later to be the father of Tina Turner's first child, before she married Ike).[4] Willie Sims played drums for the recording.[5] The song also features one of the first examples of distortion, or fuzz guitar ever recorded, played by the band's guitarist Willie Kizart.[6] The song was recorded in the Memphis studio of producer Sam Phillips in March 1951, and licensed to Chess Records for release.[7]

The legend of how the sound came about says that Kizart's amplifier was damaged on Highway 61 when the band was driving from Mississippi to Memphis, Tennessee. An attempt was made to hold the cone in place by stuffing the amplifier with wadded newspapers, which unintentionally created a distorted sound; Phillips liked the sound and used it. Robert Palmer has written that the amplifier "had fallen from the top of the car", and attributes this information to Sam Phillips.[8][9] However, in a recorded interview at the Experience Music Project in Seattle, Washington, Ike Turner stated that the amplifier was in the trunk of the car and that rain may have caused the damage; he is certain that it did not fall from the roof of the car. Peter Guralnick, in his biography of Sam Phillips has the amplifier being dropped from the car's trunk when the band got a flat tire and was digging out the spare.[10] Link Wray explains the development of his fuzz tone with a similar story.

It was the third-biggest rhythm and blues single in jukebox plays of 1951, according to Billboard magazine,[11] and ninth in record sales, reaching first place on 9 June 1951 and staying there for five weeks. Ike Turner's piano intro to the song was later used nearly note-for-note by Little Richard in "Good Golly Miss Molly".[12]

Ike Turner was only paid $20 (US$185 in 2016 dollars[13]) for the record.[14]

Many writers have suggested that "Rocket 88" has strong claims to be called the first rock'n'roll record, but others take a more nuanced view. Charlie Gillett, writing in 1970 in The Sound of the City, said that it was "one of several records that people in the music business cite as 'the first rock'n'roll record'".[15] It has been suggested by Larry Birnbaum that the idea that "Rocket 88" could be called "the first rock'n'roll record" first arose in the late 1960s; he argued that: "One of the reasons is surely that Kizart's broken amp anticipated the sound of the fuzzbox, which was in its heyday when "Rocket 88" was rediscovered."[16]

Music historian Robert Palmer, writing in The Rolling Stone History of Rock & Roll in 1980, described it as an important and influential record. He noted that Hill's saxophone playing was "wilder and rougher" than on many jump blues records, and also emphasized the record's "fuzzed-out, overamplified electric guitar".[17] Writing in 1984, Nick Tosches, though rejecting the idea that it could be described as the first rock'n'roll record "any more than there is any first modern novel – the fact remains that the record in question was possessed of a sound and a fury the sheer, utter newness of which set it apart from what had come before."[18] Echoing this view, Bill Dahl at AllMusic wrote:[19]

Determining the first actual rock & roll record is a truly impossible task. But you can't go too far wrong citing Jackie Brenston's 1951 Chess waxing of "Rocket 88, "is a seminal piece of rock's fascinating history with all the prerequisite elements firmly in place: practically indecipherable lyrics about cars, booze, and women; Raymond Hill's booting tenor sax, and a churning, beat-heavy rhythmic bottom.

Rock art historian Paul Grushkin wrote:[20]

Working from the raw material of post-big band jump blues, Turner had cooked up a mellow, cruising boogie with a steady-as-she-goes back beat now married to Brenston's enthusiastic, sexually suggestive vocals that spoke of opportunity, discovery and conquest. This all combined to create (as one reviewer later put it) "THE mother of all R&B songs for an evolutionary white audience".

Michael Campbell wrote, in Popular Music in America: And The Beat Goes On:[21]

Both the distortion and the relative prominence of the guitar were novel features of this recording – these are the elements that have earned "Rocket 88" so many nominations as "the first" rock and roll record. From our perspective, "Rocket 88" wasn't the first rock and roll record, because the beat is a shuffle rhythm, not the distinctive rock rhythm heard first in the songs of Chuck Berry and Little Richard. Still, the distortion and the central place of the guitar in the overall sound certainly anticipate key features of rock style.

Ike Turner himself said, in an interview with Holger Petersen:[22]

...Anyway, we recorded "Rocket 88" and you know that's why they say "Rocket 88" was the first rock'n'roll song (well, they use the language "It's been said about 'Rocket 88'"), but the truth of the matter is, I don't think that "Rocket 88" is rock'n'roll. I think that "Rocket 88" is R&B, but I think "Rocket 88" is the cause of rock and roll existing ... Sam Phillips got Dewey Phillips to play "Rocket 88" on his program – and this is like the first black record to be played on a white radio station – and, man, all the white kids broke out to the record shops to buy it. So that's when Sam Phillips got the idea, "Well, man, if I get me a white boy to sound like a black boy, then I got me a gold mine", which is the truth. So, that's when he got Elvis and he got Jerry Lee Lewis and a bunch of other guys and so they named it rock and roll rather than R&B and so this is the reason I think rock and roll exists – not that "Rocket 88" was the first one, but that was what caused the first one.

Cover version by Bill Haley[edit]
A second version of "Rocket 88" was recorded by the then-country music group Bill Haley and the Saddlemen (who would later rename themselves The Comets) at a recording session on June 14, 1951, a few months after Turner recorded his version.[23] Haley's recording was a regional hit in the northeast United States and started Haley along the musical road which led to his own impact on popular music with "Rock Around the Clock" in 1955.

Upright bass player Marshall Lytle commented on his playing on this recording. "Before we had drums, I was practically the whole rhythm section. Since we didn't have any amplification, I slapped it so hard the neck had big grooves in it. Bill liked it loud, so he'd scream, 'Play loud!'"[24]

Those who subscribe to the definition of rock and roll as the melding of country music with rhythm and blues believe that Haley's version of the song, not the Turner/Brenston original, is the first rock and roll record.[citation needed] No matter which version deserves the accolade, "Rocket 88" is seen as a prototype rock and roll song in musical style and lineup, as well as its lyrical theme, in which an automobile serves as a metaphor for sexual prowess.[25]

Later versions[edit]
The song is featured in the 1984 film The Adventures of Buckaroo Banzai Across the 8th Dimension. Buckaroo Banzai and his band, the Hong Kong Cavaliers, perform the song at a bar early in the movie, but the song itself (which was a  3⁄4 time sped-up instrumental version) was actually recorded by Billy Vera and the Beaters. "ROKIT 88" is the New Jersey vanity license plate on the jet car, named HB 88, that Buckaroo uses.

Jump up ^
« Last Edit: June 25, 2017, 09:24:40 AM by Elantric »

Offline Elantric

Re: Elantric's Tips and Blog
« Reply #193 on: June 26, 2017, 04:34:34 PM »

Paul Kinny “Stereo Acoustic” steel-string (2010)

Offline Elantric

Re: Elantric's Tips and Blog
« Reply #194 on: June 30, 2017, 09:07:34 AM »
Just give me some truth

Offline Elantric

Re: Elantric's Tips and Blog
« Reply #195 on: July 08, 2017, 04:03:40 AM »

-Greil Marcus, History of Rock-n-Roll in Ten Songs, (2014)
“You had to find something new. You had to listen to everything on the market and try to understand what wasn’t there – and what wasn’t there was you. So you asked yourself, as people have been asking themselves ever since, what’s different about me? Yes, you invent yourself to the point of stupidity, you give yourself a ridiculous new name, you appear in public in absurd clothes, you sing songs based on nursery rhymes or jokes or catchphrases or advertising slogans, and you do it for money, renown, to lift yourself up, to escape the life you were born to, to escape the poverty, the racism, the killing strictures of a life that you were raised to accept as fate, to make yourself a new person not only in the eyes of the world, but finally in your own eyes too.“
« Last Edit: July 08, 2017, 04:15:10 AM by Elantric »

Offline Elantric

Re: Elantric's Tips and Blog
« Reply #196 on: July 08, 2017, 05:39:39 AM »
« Last Edit: July 08, 2017, 05:49:05 AM by Elantric »

Offline Elantric

Re: Elantric's Tips and Blog
« Reply #197 on: July 08, 2017, 11:38:13 PM »

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« Last Edit: July 10, 2017, 11:14:39 PM by Elantric »

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Re: Elantric's Tips and Blog
« Reply #199 on: July 12, 2017, 11:14:54 AM »