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Chat about Equipment Info
 #69804  by mijknahs
 Thu Dec 10, 2009 11:09 am
I personally think it's the very light coating of the Persian/Coke mixture on the Vinci strings blended with Garcia's acidic sweat that creates a slight harmonic variance which causes the overtones to form a bubble halo of resonant sweetness around each note. That and the mixture of blood from Doug Irwin in the final laquer finish on the guitar (did you see the "Red Violin"?).

Jim
 #69805  by mijknahs
 Thu Dec 10, 2009 11:50 am
SarnoMusicSolutions wrote:I think that some critical keys in the formula to that '84 sound you're referring to would include:

Dimarzio Super II's run as single coil
McIntosh Mc2300, Mc2100, Mc250, and similar (and all of the metered/faceplated counterparts ie. Mc2105, 2505, etc.)
JBL K or E 120's
Adamas Graphite pick
Twin preamp or Twin type preamp with good reverb and plenty of it - bass turned way down
9v buffer like Waldo's Tiger clone
10-46 very fresh strings
Brad,

Please don't forget that the guitar itself is critical for this 80's tone. Personally going from a bolt on PRS with Maple neck and Poplar body with Maple cap (fully Jerry-fied in 1995 with Peter Miller buffer) to a custom Cocobolo/western Maple/Cocobolo (set Maple neck) guitar was a night and day difference. Guitar woods plays a bigger role in tone than most people realize (more than I realized at least). My guitar was an kind of an experiment to see how much the wood affected the tone.

Seriously, I would say it makes as much of a difference as using JBL E-120s. And I thought it sounded pretty good/pretty close before with the PRS. Guitar wood and construction has such an impact on the attack, sustain, midrange, resonance, etc.

Jim
 #69809  by SarnoMusicSolutions
 Thu Dec 10, 2009 1:32 pm
I agree. Guitar woods have a tremendous effect on the net result. Even the difference between an alder and ash strat or tele is strong. You can hear it acoustically. And it only makes sense that if you can hear it acoustically, that the harmonic makeup of the sound you're hearing is absolutely contained in the string vibration itself, and that's exactly what's being sent down the wires on the way to the speakers. You can really hear this on a guitar that has gone thru many different pickups, but the guitar sound is always dominant. I like the analog to the singer and microphone. You can try all kinds of extremely different mic's on a singer, but it'll always sound like that singer. On a guitar, you can use all kinds of amps and pickups and speakers, but the voice of the guitar will always be the central character.

Oh, in addition to the persion/coke and sweat and blood and the Hagen Daas, the beef oil residue from the chili dogs does a nice job of reducing the string squeak....


Brad
 #69812  by jeffm725
 Thu Dec 10, 2009 1:59 pm
.............yes, the chili dog oil does reduce string squeak to a tremendous degree, but I think many people discount the black char soot on his finger tips from his tin foil "ramp" and how that gave him the tackiness necessary to facillitate his fingerpickin forays.

.....man, seriously, if you ever saw Jer up close during the dark days, he would be covered with this black soot, all over his hands, arms and face! and he would always have burnt hair patches in his beard.
 #69814  by mijknahs
 Thu Dec 10, 2009 2:07 pm
Ha ha!

No need for Fingerease or Fast Fret - just eat a chilli-dog and fries right before you go on and you'll be cookin'!

Yeah, the black soot mixed with the black goop keeps the pick from slipping around while fingerpicking. Kinda like Gorilla Snot but better.
 #69820  by SarnoMusicSolutions
 Thu Dec 10, 2009 2:37 pm
jester536 wrote:I particularly liked how Brad's recipe included a... Twin preamp or Twin type preamp with good reverb ...I'm wondering if he has a specific "TWIN TYPE PREAMP" in mind. Any guesses? :lol:
Off hand, I guess the GT Trio, the Boogie Studio Pre, and the Alembic F2-B come to mind... :wink:


Brad
 #69821  by jdsmodulus
 Thu Dec 10, 2009 2:46 pm
SarnoMusicSolutions wrote:
jester536 wrote:I particularly liked how Brad's recipe included a... Twin preamp or Twin type preamp with good reverb ...I'm wondering if he has a specific "TWIN TYPE PREAMP" in mind. Any guesses? :lol:
Off hand, I guess the GT Trio, the Boogie Studio Pre, and the Alembic F2-B come to mind... :wink:


Brad
SMS Classic too and I said it. That thing sounds great! But for me its a Trio then maybe Fractal! :shock:
 #126062  by GratefulMets
 Mon Mar 25, 2013 2:45 pm
Hi Folks,

This thread was a great read! I'm a bit late to the party. Has anything ever come of the stand-alone peak limiter idea that was tossed around?

Meanwhile, I had come searching for info and opinions on possible audiophile amplifier alternatives to McIntosh. I figured it would make sense that there might be other, similar, and new (read: more reliable, lighter, rack-friendly) options on the market? After reading this thread, I must ask:

Has it been determined by general consensus on this board, that it is the unique, subtle clipping of the Peak Limiter (which McIntosh eventually moved to "correct" with the Power Guard?), that is so hard to reproduce with other amps? Am I correct in assuming that amps designed for home audiophile use would probably do everything they could to eliminate the peak type distortion we are looking for, and therefore, these amps would no not be appropriate for guitar purposes? Too clean?

Also, I've heard that folks like to place an SMS Earth Drive between preamp and solid state power-amp. Is this being done as a way of simulating this peak limiting/clipping, or is it more just a way to warm up a sterile power amp?

peace!