SP-FORUMS

Haven't decided between the kit and the Ibanez yet but I have at least eliminated the ESP from the list. Apparently that weird-looking neck pickup on te ESP is actually a "Rail Humbucker" and not a single coil so I'm afraid the ESP is out. I need at least one single coil on the thing as well as the humbucker, but if I had gone for that I would have been forced to use two humbuckers.

So it's between the Kit and the Ibanez although I won't be buying either just yet. I think I've settled on a synth and if the synth really does guitar as good as I heard the other day then, lol, I might not even bother with a guitar.

If I do get the guitar it will be a sort of side-project, where I will use it purely in conjunction with the Zoom R8. Then if I do produce anything worthwhile using that combo I can always sample the resulting R8 recording into the MKII. Might sound like a strange thing to do but I would much prefer to dedicate the R8 purely to the guitar and keep them both separate from the rest of the rig (and just sample the result from the R8 to the MKII if I do anything worthwhile with it).

Unfotunately, cash is rapidly disappearing due to buying all these bits and bobs so I'm not buying the guitar (that's if I buy one) until I'm settled on a synth first. The synth absolutely has to come first and take priority now that I have a MKII to connect it to.

And just in case you're wondering what synth I'm drooling over now, well actually it's one I drooled over from the first time I saw it but thought it would be too small. That said, after watching Nick Batt playing with it and finding out the sliders are much bigger than on the other models, I have changed my mind and think I might go for it.

You might recall some time back I ranted about the "Bad Gear" dude and said my favourite Roland analogue was in fact the JX-8P. It's an amazingly versatile instrument when it comes to sound sculpting, and well, I saw a video the other day that reminded just how versatile it is when you know how to use it properly.

The design is so versatile that you can get very convincing real-world intruments from it, whether it be pianos, electro mechanical, organs, guitars whether acoustic or electric, clavs, harpsichords, flutes, anything really.

Check-out these patches and be amazed at the quality and versatility:
https://www.youtube.com/watch?v=dDV0hbXeSQQ

There's a few people out there who make patches but this guy really knows what he's doing, there are some pretty amazing patches in that video that really show-off the versatility of it.

And then check-out this review video:
https://www.youtube.com/watch?v=EXTGOENRwe4

It's still 'Boutique' size but the bigger sliders on this one means it's actually not bad considering its size. Apparently they're a whole 10mm larger throw than the others. I don't see Nick having difficulty using it and he always complains when something is awkward to use but he didn't complain here, so, I guess it's not bad at all.

But yeah, those two videos have pretty much sealed my decison on that one cause all I have to do is buy a Roland A-49 MIDI keyboard to go with it and I'd have my dream analogue in a much more reliable form. And when I don't want to play it with keys I can just sit it next to the MKII and use the built-in sequencer to play it while I tweak the sounds, all with a small footprint.

So I'm just waiting for them to come back in stock and then I'll be jumping on a JX-08 I reckon, and by the way, listen to that electric guitar in the presets video and you'll understand why getting a guitar might not even be required if I get the JX-08. All patches in that video were direct from the JX-08 with no external effects processing, so it's going to be on another level when put through the MKII as well.

Nice!!!

So here's my new Gretsch Electromatic 5410 'Rat Rod' with Bigsby vibrato in Matte Phantom Metallic silver.

It's a full hollow build with no centre block ...there are a pair of Black Top Filter’Tron humbuckers in the neck and bridge positions,the red pickup covers are a very nice touch and Gretsch has kitted this guitar out with a treble bleed circuit, with the traditional master volume control, individual volume controls and a master tone, plus a three-way toggle for selecting pickups.

Maple top, arched maple back and sides with a 22 fret rosewood fretboard, U shaped neck,aged white binding,pearloid inlays and oversized F-holes.






This well and truly got put through it's paces yesterday evening.It was rigged up through the SP-808 EX which has a series of dedicated guitar FX then into the 404 OG for reverb and delay.

Acoustically it plays loud due to the full hollow body but when plugged in the guitar sounds huge...the clean tones are smooth and glassy in all pickup configuratios ,with the neck pickup especially good for Jazz chord voicings.

I also had the MXR Phase 90 running with the other FX and was knocked out over the clarity of the filter sweeps from the phaser mixed with the delay.

I don't actually use a lot of distortion in my playing set up but when overdriven it's hot as fuck sounding with plenty of crunch if it's required.

It's an absolutely brilliant instrument and one that'll definitely be making an appearance in future recordings.

To be honest I normally don't like that type of guitar, or telecasters, but I actually do like that one. Not 100% sure why I like that one but I think it might have something to do with the finishes or combination of finishes - definitely works well with the styling of it.

First thing that drew me was the pickup covers (not realising they were covers until I read that part) - looks weird but cool, never seen those before.

Don't take any dumb chances with it though, prolly best to keep it in that case! I remember visiting a music shop in Leeds to buy some gear, I was at the counter when all of asudden there was quite a prolonged crashing sound. I think some stand had collaped or something, and hat hit a guitar on a floor stand, which hit another, which hit another, so all you could hear was a prolonged crashing sound as they fell like dominoes, one after the other

When it stopped and everyone's face had uncringed, I said "Ouch, that sounded expensive!"