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Lets get Technical > All Things Tube All about preamp and power amp Tubes.

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 51 
 on: Time Format 
Started by Iperfungus - Last post by Iperfungus
Hi guys!

I want to show you something that comes from the 90s.
This is a perfect example of the italian electric lutherie of those years.

Galeazzo Frudua, a dear friend now and my Master since 2016, studied at the Lutherie School in Cremona, learning how to build complex instruments like violins and cellos and then transposed this knowledge in electric lutherie.
He has built guitars and basses for many pros, in Italy and also outside Italy, and gained a renowed fame due to the high level of his instruments.
Starting from the choice of high quality woods, he designed his own electric instruments lines, something that became his signature as his name on the headstocks.

I own this beauty since 2018, when I found her used and purchased immediately: today Gale does not build instruments anymore (or just a few, for very special friends and customers) and you've to litterally hunt them high&low on the used market.

The body's shape reminds the Kramer Paul Dean, like the Larrivée RS-4 we remember in the hands of guitar heroes like Kee Marcello.
Apart from that, the guitar follows the path Gale decided it had to follow...

The body is a classic: one-piece mahogany body with AAAAA bookmatched flame maple top.
The neck is made of one piece of bird's eye maple, reverse matching headstock and a 22-frets ebony fretboard.
Schaller-Floyd Rose tremolo bridge: here I modified a little and removed the R3 Schaller locking nut with separated strings retainer (ok, I'll close those little holes one of these days...) and put a Khaler locking nut with integrated strings retainer.
I decided to do that because strings are not parallel, due to headstock design, and it was very hard to make them stay all under the retainer: with the Khaler nut, strings are forced to stay in the retainer, avoiding tuning issues when you lock the strings.

The top has been carved by hand totally...no CNC machines here.

Pickups are a set of Seymour Duncans from the '90s:

1) TB-4 Trembucker bridge humbucker
2) SSL-1 middle single coil
3) Alnico II Pro neck humbucker

A previous owner destroyed neck humbucker's wiring, but I repaired it and now it fully works again: it's a blast of a pickup in neck position!

The pickup switch is a Schaller SuperSwitch and it allows the following combinations:

1) bridge humbucker (full)
2) bridge humbucker (auto-split) + middle single coil
3) both humbuckers (full)
4) neck humbucker (auto-split) + middle single coil
5) neck humbucker (full)

Then we've a push-pull Tone potentiometer, to split humbuckers even when not combined with middle single coil, and a midrange boost/preamp, with its gain control, that gives up to +16 dB of boost in any pickups switch position (you can set your preferred gain level and turn it on/off with its microswitch).

This wiring, called MIX circuit, gives an incredible range of sounds and possibilities: you can literally play almost anything with these guitars!

You can hear a similar guitar in action here:

https://www.youtube.com/watch?v=ECwNdgBdoho

And, of course, some pictures or it never existed!

 52 
 on: Time Format 
Started by AxeHarmony - Last post by Iperfungus
I'll meet you there Harley, we'll start a retirement band and do some Geriatric Choreography like ZZ Top

Am I invited to join???

 53 
 on: Time Format 
Started by Dante - Last post by Peter H. Boer
@Peter - I can't imagine life without a back line (I get that that's they way it's become for some  :facepalm: ). Not that I play out much these days, but in Australia, (mostly) having your amp set up is still expected and ok.

I plug in (directly into the power amp or effects return) to whatever is available, if my bandmates need me to plug in (when no monitors are available to them) with the in-ear setup I can hear myself better than I ever did using a backline (which is great especially when I need to play fretless).

 54 
 on: Time Format 
Started by Dante - Last post by Peter H. Boer
We're so old, I stopped using backline over 20 years ago  ::)

Tell me you don't miss that.

My preamp flightcase with MB1, wireless receiver (bass) and wireless sender (inears), DHP-33, Tuner & Rolls PM 351 still weight a ton though.

But indeed, I do not miss lugging big bass amps and cabs at all  O0

 55 
 on: Time Format 
Started by AxeHarmony - Last post by Dante
I'll meet you there Harley, we'll start a retirement band and do some Geriatric Choreography like ZZ Top

 56 
 on: Time Format 
Started by Gregg - Last post by rnolan
Hey Gregg, sounds good, as it should.  But then it goes to crap, not good.  Hopefully you can work it out.

BTW you might suggest to your brother that he holds the pick more with the very tip of thumb and index finger and bend the tip of his index finger (and try to relax the other 3 fingers)  Similar to making an OK signal underwater.  It will improve his picking.

 57 
 on: Time Format 
Started by Dante - Last post by rnolan
Hey Harley, while I haven't been playing out here for a while, most gigs here still need an amp (albeit small footprint) hence me getting that 2 x 12 going, with 4 RU rack it's not much bigger than a 2 x 12 combo. (and should fit in my car boot/trunk). 

I also like the open air gigs, they used to happen more way back when.  Rain...  we did 2 New Year gigs in a row outdoors and it rained  :facepalm: .  The the next (3rd) year we got an indoor New Year gig  :whoohoo!: , I don't get wet...  well not so fast, a fire sprinkler opened up right on top of me and my rig while I was setting up.... :crazy:

 58 
 on: Time Format 
Started by rnolan - Last post by rnolan
I use the clip on for everything (Live, Studio, electric, acoustic, bass, setups/intonation), I liked the idea of the pedal versions but I don't use any pedals (except the MXC pedal pack), but they look like great units.  I've found the clip on works for all situations (for me), it doesn't get confused on stage (when every one is making loud noises etc.) which I was initially concerned about (not that I have it on the guitar when I'm playing during the set, while it would be fine, I just tune in the breaks.  The rack version is now discontinued (I discovered today) and their top of the line baby is $5400USD, hmm one day maybe  :dunno: .  Also I don't have a spare RU for the rack unit anyway. But good tip about their delicacy  :thumb-up: .

 59 
 on: Time Format 
Started by rnolan - Last post by rnolan
Hey Harley, I hear you.  When I did the latest test recordings with the band, one channel wasn't working (really, really low level).  I've fixed it now, seem to be a dirty jack problem.  But the track had one channel and no Fx.  When I overdubbed another stereo guitar track including a separate stereo fx track, I found I preferred the mono no FX track in the center with the others L & R.  As you say, it added dimension but also articulation and presence in the mix.  Made me rethink recording guitar tracks.  If you listen to the first post here https://adadepot.com/index.php?topic=3019.0, Stumblin', The first half of the solo is mono, panned center with no Fx (the original live take).  I replaced the 2nd half because it had mistakes with stereo + Fx.  And I prefer the first half sonically, hence my rethink which is a bit similar to your approach.

 60 
 on: Time Format 
Started by rnolan - Last post by Harley Hexxe
Richard,

   I suppose it's really about how you want to use your stereo application. Stereo guitar was good for me for a lot of years, but after going W/D/W, I just find that lacking anymore.

   Even though W/D/W is not completely wet in the stereo channels, the dry center channel just adds so much dimension that wasn't there before. I only use the stereo for the stereo effects, and bypass them with an A/B/Y switch when I don't want effects. Sure, it's more gear, but it's so worth it!

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