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elmo7sharp9 last won the day on January 31 2016

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  1. Frank Zappa had this done to a Stratocaster. I tried it myself. Handling noise (Including the Pick Attack) swamps the string vibrations, You get artificial reverb off the Springs. You can "play" the lacquered body with the friction of your fingertips (And hear the friction of your clothing against the rear of the body). VERY unmusical, even if you're Avante-Garde, just UGLY. Still glad I tried it as now I *know*. Piezos need to see a higher impedance than a guitar amp input - FET preamps are normal - the "Treble-only" sound and low volume is a direct consequence of impedance mismatch. Prostheta is entirely correct about piezos needing to be under direct pressure from the source of the sound (Underneath a fixed Fender bridge is ideal) - the Gel Pack idea is a non-starter - filtering by electronics is cheap and easily repeatable.
  2. "...maybe distorting the signal being fed through the strings might result in a similar "raspy" "zingy" tone..." Sadly, this is not achievable by simple electronics - to achieve "buzziness", interference with the string envelope is necessary and electromagnetic interference with the string envelope (The Moog Guitar, for instance) is a lot harder to arrange than physical interference.... My own experience with DIY Sustainers suggests that 1) You can only excite a string with a signal that is coherent with one of the natural, physical harmonic series of that string's current condition. 2) In the regular Sustainer feedback loop, the string will settle to a sine wave that is related to the drive signal - the physical resonances of the mechanical system (including the physical location of the drive transducer along the string length) largely determine whether you get a Fundamental or Harmonic out of the string. 3) Using a square wave drive signal is just a less power-efficient way of supplying the string with the sine wave that would get the same result - if the string rings at the Fundamental, all the energy you're supplying in the Square Wave's harmonics is wasted (and similarly for the string ringing at a harmonic - you'd be more efficient just supplying a sine wave drive signal at the frequency of that harmonic). The Electromagnetic Harp could easily utilise a per-string drive signal that fades between sinusoids of the the harmonic series. Incidentally... Having said all of the above, I have had - with both fixed sustainer and e-bow - freak occurences of single strings sustaining two frequencies at once - usually a natural Fifth interval (which is logical, when you consider the relative energy levels of each harmonic within a ringing string). There are too many variables to make it an easily repeatable event - I'm just happy when the magic happens...
  3. The closest, in the electric guitar world, is the bridge on a Coral/Danelctro Electric Sitar guitar. You'd need some means of fine-tuning the bridge's interference with the the string's vibrational envelope. I have Rockinger Sitar saddles installed on a cheap Telecaster copy (I can't believe I spent £35 to make a cheap guitar sound buzzy ) and the correct angle for buzziness is a very fine adjustment and is no match for an actual Sitar bridge. There's an entire ancient craft - called "Jawari" - pertaining to the science of shaping Sitar bridges to produce the best buzzy drone. An on/off system for a Sitar bridge could operate like the adjustable mutes in this Fender patent: http://www.google.com/patents/US3427916?printsec=drawing#v=onepage&q&f=false ...set to buzz only when engaged.
  4. I have followed the Electromagnetic Harp since its first appearance on Project Guitar. It's a great technical achievement and looks fantastic. The actual music in this clip reminded me of Robert Fripp's Frippertronics music - specifically the "Let The Power Fall" album. The slow attacks and the looping nature of the piece were similar -though Fripp used 2 Revoxes, a volume pedal and a Les Paul, the end result is a select pallette of notes, overlapping in time. It'd sound great with a Sitar bridge...
  5. My Ibanez RG doesn`t have my favourite Fender tones as stock. I didn`t want to drill any holes in the only guitar I possess that has any resale value, so I used this variation on the Peavey Tone Control Coiltap. The guitar acts as normal with tone set anywhere between 0 and 9. With the tone at 10: Position 1 is Neck North Coil for Jimi-style warm leads Positions 2, 3 & 4 are SILENT, for killswitching Position 5 is Bridge South Coil for Fender-style sparkle. Using this diagram http://img13.imageshack.us/img13/6495/rg470.jpg Just add a wire from the unused lug on the tone control to the unused lug on the pickup selector switch. Easy to do and undo...
  6. I have read the Brosnac book (and have had it since the 1980s !). It's a bit simplistic and the information in it is (nowadays) freely available on the web. I recommend http://www.scribd.com/doc/64028088/Electronics-for-Guitarists which starts with an exploration of the effect of component values in passive circuits within guitars, proceeds through how classic effects pedals work and ends with how valve amps are designed. There are example schematics for the effects and amps.
  7. If you can source a 13-pin DIN socket, you might be better off starting from scratch, rather than cannabilising a gk2a (especially one with "issues"). I reinforced my gk2a with epoxy at the weak spot you mentioned (the tiny retaining screw had chewed the thread in the casing), and it has lasted over 15 years. I built a "13-pin to 1/4" sockets" breakout box to pan the strings in stereo (which was boring, because of the sterile sound) sum the pickups through a mixer to be able to vary the string balance in the drive signal to a sustainer (with, sadly, results roughly equal to using a conventional pickup). recreate the hex fuzz of earlier Roland guitar synths (which I STILL haven't got around to doing). I rarely use my Roland GR-50 guitar synth, as its Linear Arithmetic synth engine sounds "dated" to me and nowadays, freeware VST plugins do a faster job of note-following (not surprising, considering the comparative processor power)
  8. The gk2a does not allow direct access to the pickups at the 13-pin socket. See http://img141.images...k2schem1da0.jpg for details. You'd need to hack the SMD-scale PCB to access the nodes where the mini humbuckers of the hex pickup connect. Even then, the mini humbuckers are (comparatively) low impedance devices and piezo saddles are the opposite. You'd probably need to add a FET preamp for each separate saddle (and there's NO SPARE SPACE in the GK2A casing).
  9. I did somethimg similar... I bought a broken TSL footswitch and converted it for use with my Peavey Deuce. I stripped the TSL PCB of everything except the LEDs and their limiting resistors. I've now got (from left to right): SW1 - UNUSED (FOR NOW - MAY BE A CONTROL SWITCH FOR A STROBE, in the future) SW2 - BOTH CHANNELS ON SW3 - CH1/CH2 SW4 - PHASER (YES, MY AMP IS FROM THE 1970s...) SW5 - REVERB I had to ditch most of the Marshall footswitches, as they were MOMENTARY CONTACT types, not LATCHING (which is what I needed). I replaced a couple of the (dud) Marshall LEDs with modern equivalents. The difference in brightness is amazing.
  10. Get lost with your PM spamming.

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