Guitarfrenzy

Have you tried using a different USB cable? Not sure if that will help, but I've had issues with USB cables causing problems before.

Very true, all electronic devices are prone to mess up at any time.

I never intended to suggest avoiding Line 6, just be aware that dependability on some of there stuff are suspect. I still like Line 6 a lot, when it works.

I used to be a Line 6 supporter, but their dependability has been an issue for me to not want to buy anything else from them. I have the original AXSys 212 Combo amp and I've worked on it so many times fixing various issues. Now I can't fix it because I think the mainboard is the problem, that causes the sound to cut in and out and I can't use it anymore. I had a friend whose same combo started to smoke and doesn't work anymore. The other day another friend was playing a gig and his Line 6 head just quit and so he's having it looked at. I could go on and on about them, but I won't. Just be sure to have a backup amp if your doing much gigging, or at least a pedal board to run through the PA just in case your amp bonks out. That's pretty much on all cheaper amps to some extent though, as Wes pointed out.

I agree with Wes, I'm really loving the tone of Engl amps. I also like the newer Peavey amps, which kinda shocks me, because I used to hate Peavey amps. Egnater has some great amps as well, just depends on what sound your looking for. Randall is really making some great amps nowdays also.... So many amps, so little money

No, close to Warren.

That's a real nice build man, what part of Arkansas are you in now.. I live in Arkansas myself.

I live in Conway, Arkansas. Yourself?

I live 40 miles south of Pine Bluff.

That's a real nice build man, what part of Arkansas are you in now.. I live in Arkansas myself.

Wow, I'm proud of ya man, great job, and glad to see your still building those killer guitars!! Just had to check in to see how everyone is doing.

WOW Matt is alive!!!

Sweet sounding guitar Perry, no wonder Opeth wanted to acquire it! Perfect for their sound and style!

hahaha.. Yeah I'm still alive, just been playing guitar is all, I've done work on guitars for people, like refretting a 1961 Telecaster, etc... but other than that, just playing in the band, and writing songs. How's life for ya bro? Good to hear from you again!!

Here another site you guys may not have heard about.

http://www.guitarbackingtrack.com/

Wow, I'm proud of ya man, great job, and glad to see your still building those killer guitars!! Just had to check in to see how everyone is doing.

Hi guys, this is the first time I've logged on to the site in ages I guess. Anyway, I didn't realize that you couldn't see the Making of a Strat tutorial anymore. I got it in a PDF format now, and I don't mind posting a link so people can download it. That is if anyone is interested in it. Good luck on your project, and go ahead like Mickguard said, and build the whole thing, you'll be proud you did!!!

The Line 6 Gear Box is pretty awesome. That is the first I have seen it.

Thanks for pointing it out!

As for Behringer I was surprised to see Alex Lifeson uses several of their products in his arsenal.

I read about it in the last issue of Sound on Sound magazine, and was glad to hear about it because I'd always wanted their Amp Farm which has been used on tons of records, but it was only a TDM Pro Tool format. I was finally glad to see Line 6 to put out a new plugin that the RTAS, VST, and AU format, for us less fortunate to not own a Pro Tools HD setup. So, I'm definitely wanting to buy it soon. I've also got my eye out on IK Multimedia's new Amplitube Jimi Hendrix plugin.

Yeah I'd seen Alex using some Behringer stuff. BTW, have you bought the newest Rush album? It just came out.

I think i'll go the way of a lot of people, and invest in a couple of Line6 units for guitar and bass, The immediacy of plug and play does help grease the spontaneity somewhat. I hate having to build and configure stuff when i'm itching to thrash one out.

But anyway....! I think adding either a couple of desktop PODs or perhaps if i'm feeling flush a couple of POD XT rackmounts would remove the need for lugging my Trace stack to the recording setup every time.

Does anyone else use Drumkit From Hell/EZ-Drummer in any way shape or form? They're so much cooler when you start routing the virtual mic outputs via individual channel processing....

If you don't already own any recording gear like POD series etc., and want to buy Line 6, I would highly advise you to consider the new Line 6 GearBox Plugin. It's gotten great reviews and to me sounds great, but the main reason is because your never commited to the sound you are using at the time of recording, and can change it at any time you want when mixing. This gives you unrivaled flexiblity that you can't get when recording through gear into the computer. I use Guitar Rigs 2 right now and absolutely love it for recording, but since the new Line 6 plugin is out, I'm getting anxious to buy it. If you do buy any outboard gear, I'd advise you to at least split the output of the guitar, and send a clean unprocessed signal to a track on your DAW. That way you can use the outboard gear when recording, then route the clean signal back through an output to the POD, etc. then back into the computer when mixing down, thus giving you the same flexiblity of a plug in. With these new plugin's like Amplitube, Waves GTR, Guitar Rigs 2, and now Line 6 Gearbox, it's hard not to find at least one you like and will love using. The cool thing about the plugins is that you can automate them.

I've heard of Drumkit From Hell, but never tried it. We record real drums so the only thing I might use is Drumagog if I just can't get the sound I'm looking for on a certain part of the kit. I'll have to check it out.

GuitarFrenzy - my applause to you for being able to spend that much time on a snare. Personally speaking when I am mixiong vocals I get tired of listening to myself after 10 minutes. No idea how someone can spend hours mxing dry vox!

We'll actually I like to get the drums setup and tweaked then leave them alone, but what is sometimes frustrating is when the drummer wants to use their own drums and has to set them up for a couple of days, then take them out for a gig, then back.. etc, etc... You end up having to retweak each time, which, yes can make you pull you hair out.. lol

I think that considering the POD as being "obsolete" in a few years is a matter of subjective opinion. Better things might appear, but the POD will still do what it does and if that's what you want it to do then cool! The only thing that irks ME is that in a few years it will have gone down in price radically, and the GAS will try and make me buy the "newer" thingamadoodle that supposedly is the best thing on the cutting edge of modelling tech :-D

Similarly to DFH, a POD can create great results for scratch tracks, but you can quickly re-record these in a studio using real amps and getting a better and more workable sound!

That's why I love plugin amp sims nowdays, you can really tweak your sound to get it just right in the mix.

I only use my computer as a sketch-pad and songwriting tool, and use an antique Cakewalk program and a $100 audio card (the audiophile 2496), but I have a couple of comments:

First, I am a big fan of my PODxt. It sounds decent, and it saves a lot of screwing around with amps and microphones. As far as upgrades and cost is concerned, I bought it several years ago for about $300, and that is still the going rate today. Plus, if you have the USB hooked up, you can download any software upgrades for free from Line6 (although you then have to go through and tweak all of your sounds, which is a bit annoying). If I recall correctly, my last update actually included new amp models and effects. I wouldn't worry to much about them becoming obsolete or going down in price that much. That said, I have a Spider 210 that is now completely obsolete (and damn near worthless)!

Also, I use acid loops for drum tracks. I have been using products from Drums on Demand. They have discs for various styles, and have enough loops in various tempos to make a pretty convincing drum track.

Just my (relatively low-tech and inexperienced) 2 cents.

I just bought a Spider III amp now long ago for the tone. I was in Guitar Center and messing around, definitely not looking to buy anything, but I made the mistake of trying one out, and I later left with it..

Maybe I am wierd,but for me,the behringer Vamp sounds much more realistic than the pod.

Everyone has their own idea of perfect guitar tone, and Behringer makes some good stuff to.

If I want to record a riff so I don't forget it,all it takes is about 2 minutes of prep(start computer,start Nuendo,right click on add new track,click the record enable and mute buttons,plug in guitar,and go).

if I want a click track,that only takes a few seconds as well.

Yeah, got to love Nuendo, it's really easy to use once you mess with it for a while, although I did actually read the 780 page manual.. YIKESSS

... He will spend 40+ hours on one track. I just do not have the patience for that. How people can spend 2-4 hours eq'ing a snare is beyond me.

I'm guilty of this too..

I actually scaled it down sort of, I was using 2 Tascam DM24's. I really only used one, 2 was overkill for me. The Presonus Firepod is just so much simpler. I am going to add another one just for the drums. So I have 2 Tascam DM24's I need to sell now.

I've been wanting a controller/interface for better control over the automation, etc., especially after I saw a guys setup that had a Tascam 1884. Motorized faders, 8 xlr inputs, firewire connectivty and not a bad price, although it doesn't have an lcd display like some of the others have. How is the Presonus Firepod working for you? Are the pre's pretty good on it? I've wondered about those for some time, but was really wanting to step up to a controller/interface, instead of just an interface. I just think it would be nice to automate on the fly, although I've gotten so use to controlling everything via software nowdays. Dual screens would be nice, right now I just have one 19" Viewsonic Widescreen LCD. I'm also still using Event PS-8 powered monitors, they are pretty good, but you know how it is with equipment, always wanting more and better.. lol

Right now I'm still using a Delta 1010, but I'm looking into getting a control interface maybe the new Digidesign Digi 003, or Tascam FW-1884. I've been using Nuendo, but will more than likely switch to Pro Tools if I buy a device that comes with the software. As far as recording guitar, sometimes I mic my amps with an Shure SM-57, which is pretty much the standard way, but lately I have gotten the Guitar Rigs 2 setup and have found myself recording DI into it. The reason I like this is because I'm not stuck to the sound I recorded and can change it later, if the mix calls for it. I'm really anxious to try out the new Line 6 Gearbox, it sounds really good also, but does cost quite a bit. I haven't got Amplitube, but I hear it does a great job too. The key thing to remember is that you are basically using the plugin as an amp when recording, it doesn't actually record the sound that comes out of the plugin though, and you'll end up with a clean DI guitar recorded on the track. This way you can change the presets or plugin's if your guitar track just doesn't sit well in the mix.

When mixing I usually end up with a HP filter at 100Hz, and boost in the midrange at various frequencies, to really make the guitar sound good in the mix. One common mistake is to solo any track, and tweak the plugins, or eq until it sounds big and bold. If you do that you'll almost always end up with a muddy mix. Each track has to leave the other sonic space in the mix. Things that sound big soloed will almost always sound bad when the other tracks are introduced. I find myself starting off with the Drums, getting them to sound great, then adding my Vocals because if there is only one thing in the mix you must have sounding great, it's the vocals, most people will make the mistake of waiting until the end of the mix to add vocals, then wonder why you can't get it to sound good in the mix. Next, I will bring in the bass, and tweak it, sometimes I'll use the Ampeg SVX plugin which really sounds great. You have to watch the kick and bass because you want them to each complement each other and not mud up the mix. You can use ducking, or eq them so they fit together without competing for the low end. For example, cut the bass -3db @ 500hz, and boost the kick +3db @ 500Hz. This is only an example and 500Hz might not sound good in your mix, but work until you find the frequency that will work and make each sound great!! Next it's the guitars, which is the fun part, tweak them along with the other tracks until your satisfied. If you have more than one guitar track, make sure you use a HP filter to get rid of all the low end frequencies that won't add to the sound, but will really take up a lot of sonic space in the low ends, and will make the bass and kick mud up.

I could go on and on, but that's basically how I mix my guitar tracks, etc. Oh yeah, and I use various guitars, Les Paul Custom, Fender Strat's, Gibson J-45, etc. when recording. Micing technique goes a long way on acoustics.

I've got a 1964 Fender Champ amp that I wouldn't trade for the world, and I think it's like 10 watts, but it's still got the best blues sound out of any amp I've ever heard. Needless to say though, I don't play it out on gigs.

same as this one

I tell you, hauling all the heavy equipment around can get old, especially if you play every weekend. By the time we setup our pa equipment, lighting system, etc. it's not fun to haul in a Marshall stack in just for a small club. It also kinda defeats the purpose of miking everything. If you play so loud that the sound guy can't bring your volume down to match the others, then you have a problem anyway. Seriously, there are local bands that the lead guitar player plays so loud that it makes everything sound terrible, and being a lead guitarist, that's saying a lot. I use to think I had to play loud on the stage, but nowdays I understand that it's better to have a great state of the art PA system to drive your sound, that way the soundman can get the mix correctly. Once you get the stage volume down, you can hear your monitors better, which is a good thing, since you can get the mix you personally like on stage. So really, you don't have to use a massive amp, I normally use a combo amp, but have since bought a new practice amp, and have thought about using it, simply because I never turn up past 3 on my other amp and it's miked anyway. So to me, just as long as you have a good sound, go for it, even though the stage prescence might suffer, although you'd be suprised how many people don't even care or notice what your playing through. Unless they're a guitarist that is.

The only problem with those rollers is the depth, you need a pretty deep guide bearing to span the two slots. I don't think Stumac used any off the shelf pieces, The original was a brass roller and the new one I read is steel with one slot not two. Your best bet is to find a local shop and have them make one for you. I am lucky I have a metal lathe which makes items this like this easier. If you do have your own lathe I suggest 12L14 steel which is very easy to machine into a roller on any lathe.

I cant believe a machine shop would charge you very much for a roller from scrap. The hard part is walking into the shop and asking how much.

Woodenspoke

You very correct. Stew Mac doesn't use the old wheels with the two grooves anymore, just one groove that fits most wires. I was just providing the information for insight into how they changed designs over the years. Stew Mac probably makes them now, but you never know, I wouldn't bet my life on it.

........... I prefer to use blades as much as possible to limit dust.

Peace,Rich

Amen Brother!!!

A year or so ago I was looking at the picture of the old Stew Mac bender that had the two grooves and started looking for anything that was similar to it. Ironically, after looking all over it turns out that I think the original middle wheel was just a Mig Welder part, called the Pressure Drive Roller. You can see it a bit closer on this webpage, look at the Hobart construction.

mig welder page

What the pressure feed roller does is to feed the wire for the Mig welder. The reason it has two slots is to feed various size wire for different jobs. You can actually buy them with just one slot nowdays, but most of the old ones came with two. I went to a local shop that sells welders, etc. and they gave me a couple they had out of old mig welders that was damaged. I still have them, but I never did get around to building a fret bender. I'm not 100% sure it's the same thing Stew Mac used or still uses, but it sure looks exactly the same and even had the same groove size... it's too ironic, and if I know Stew Mac, they usually assemble things with parts already made by other companies. Just a little insight on the subject.

Wow.. I can't believe I just read through this complete thread... lol

Send me a straight-jacket if there are any left... :

Your best bet, unless you found the CNC you lost under your workbench.. .. is to do it by hand with starting with rasp, moving to spokeshave, then scrapers, and finally various stages of sandpaper to smooth it out. Just like everyone has stated so far. I also use a contour gauge if I want to match a certain contour and keep checking my progress while I keep shaping the neck. It doesn't take long to shape a neck if you use the right tools at the right time. You wouldn't want to use just sandpaper to try to take off huge amounts of wood, just as you wouldn't want to use a rasp to do the final touches. Besides it's totally fun hand shaping the back of the neck, and unless your goal is to make as many necks a day as Fender, Gibson or Taylor, then no need for CNC.

No problem.. I assume it was ok to delete all my PM's about the neck jig tutorial right? lol

I had almost forgotten how to convert everything into an Adobe PDF file.

Matt, make a little room in your PM box !

Sure thing..