目前分類:Gear (10)

瀏覽方式: 標題列表 簡短摘要
Guitar
'94 PRS Custom 24 10 Top
'97 Gibson Les Paul Standard
'01 Warmoth Custom Made
'91 Jackson Soloist Standard
'91 Heartfield by Fender EL-3

Amp
Laney TT50 112 50 Watt Tube Combo Amp
CRATE G412SL 4x12 Guitar Cabinet

Rack
Behringer V-Amp Pro
CARVIN TS100 Tube Poweramp

Stomp Box
Sobbat Drive Breaker DB-1 Distortion
Sobbat Drive Breaker DB-2 Overdrive
Zoom Driver 5000
Arion SCH-Z Stereo Chorus
Dunlop GCB-95 Crybaby
Maxon Fire Blade Digital Delay

Multi-effect
BOSS GT-8
Line6 POD X3 LIVE

Others
Behringer FCB1010 MIDI Foot Controller
Samson Airline GT Wireless System

Recording
GENELEC 1029A
SONY MDR-7506
SUPERLUX HD-660
Focusrite Saffire
ECHO GINA 24/96

Blue Spring's Scream
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TT50-112


去年在活動中止時,拿了Fender HOT ROD DEVILLE 410,我2006-2007征戰各大小表演的音箱,換來了LANEY TT-50(感謝門田老師!),一台讓我覺得各方面都超滿意的音箱!怎麼說呢?長期以來一直覺得AMP要怎樣可以搭配Effect,是一件很頭痛的事。我又不喜歡用單顆,因為習慣了綜合效果器可以調的很細跟快速切換patch,但又覺得綜合效果器不管是前級模擬或是內建破音都不夠好,沒有真實音箱的真實感,所以如果有AMP既是真空管又有夠好的Effect該有多好(不過好的Amp廠商要求夠好的Effect太難),不然也要有Midi可以讓我串效果,我想除了用Rack堆出來之外,有Midi功能的Amp便是我心中再適合不過的首選。比較常見的就是一些數位音箱,例如Line6 Spider或是Yamaha DG-60FX112這類晶體音箱,而近年來一些高檔的AMP如FramusDiezel有推出MIDI功能的音箱,去年Marshall也推出了JVM系列,宣稱是JCM2000的後繼機種,也支援MIDI功能,價位OK但聽說評價普普(很像試試看)。要真空管又要有MIDI,聲音又要不錯,價位又要能接受,所以LANEY TT系列,成為我心中最理想的搭配。

TT系列有出50/100瓦的COMBO跟50/100瓦的HEAD,分成三個CH,以及獨立的EQ跟Reverb,對我來說至少要有3CH,4CH的音色切換是最完美的。Clean之外的兩個CH又可以有作boost或modern的音色switch,並且有作Recording Out,個人是覺得還OK,還有一個External Speaker Out,可以再多接一顆8Ohm的單體(但自己原本的仍可以同時發聲),並且有兩個音量可以控制,方便Solo時可以增加音量。音色方面,真的是全方位,幾乎可以調到所有我要的音色。

在實際串Midi時,原本我以為他能夠連EQ、Drive跟Volume大小都能記憶,但發現他只能針對CH、Reverb跟兩段音量作記憶。原本有些失望,因為這樣變成只能記憶三段(clean、crunch、hi gain),但其實這樣的設計也沒什麼不好,因為如果是用不同的琴,這樣反而可以有彈性直接調整各段的音色,我自己則選擇再加一顆boost,把塵封已久的Sobbat DB-2 Overdrive翻出來,發現這樣子的接法其實有更多的變化,而且把聲音推的更出來,DB-2原本就是一顆相當優異的low gain overdrive pedal,聲音又透明破音又好聽!

先寫到這邊。奈落即將復出,敬請拭目以待!

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來介紹一下我這把91 Jackson Soloist Standard改造的成果

琴頭沒有動到(本來想換Sperzel快拆式Tuner,後來作罷)

看得出歲月的痕跡(跟我15年以上的一手琴,有感情的)

原廠Jackson拾音器因為老化太嚴重聲音太奇怪,所以換成EMG SA/SA/89 切單雙

由於不想完全固定死,所以一樣用跟小紅一樣塞木頭的方式把bridge固定住

會改這把琴的原因,是因為我的Truss-rod已經轉不動了,需要Re-Trussrod,看到這Neck似乎沒什麼,但是其實動的工程可大了,首先要先把整片Fingerboard削掉,然後重新放Carbon,再來重作一個新的Fingerboard(East Indian Rosewood),風乾後,再重新Refret。光用想的就很累人XD

自己設計的Inlay。原本想做的太複雜,又找不到CNC或工廠可以幫我刻,只好找了heath的model bass,在12格作菱角的Pearl Inlay。這把琴在2007.9完成於Dennis Guitar Workshop。

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Origin Clip From Guitar World

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謝謝Dennis Guitar Workshop幫我為我的Jackson Soloist Standard注入新生命,還有一個漂亮的Inlay!

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自從團的歌setting都降全音以後,一直在尋找適合的弦,換過各式各樣的弦,從SIT 11-50GHS GB-LOW 11-53D'Addario EXL115 11-49ERNIE BALL NOT EVEN SLINKY 12-56GHS GBZW 10-60 Zakk SignatureBLUE STEEL MED 11-52,一路換下來,吉他的Neck也吃了不少苦頭,在台灣粗弦本來進的就不多,所以每次只要到店家看到差不多的弦就買了,但實際上並不是那麼的好用。彈慣了D tune,感覺只要用11-50以下的弦,整個弦張力就不對,總是軟趴趴的,直到最近我的Les Paul換上10-46的正常tuning才發現,怎麼一樣軟,原來我已經練就金剛指啊Orz....

回到正題,在換過的這些弦裡面,要得到理想的張力,的確四五六弦的粗細佔了很重要的成分,我的心得是,11-49與11-50在降半音(D#)時得到的聲音是最好的,11-53跟12-56則是在降三個半音(C#)時,聲音比較正常,所以降全音用這些弦,不是太硬就是太軟,太硬則動態奇差又難彈,太軟則沒有punch,推弦都容易推過頭跟容易走音。

用到目前為止BLUE STEEL似乎在降全音(D)時的表現是最好的,不過是高低頻都有不錯的表現,聲音也夠緊,缺點是太貴,個人認為弦是消耗品,不需要買到那麼貴,偏偏11-52又不好買,只好認命(唉)。用太粗的弦還有兩個缺點,像我的PRS專利弦鈕根本裝不下60的弦,氣死我也。另外上弦枕也必須要磨到夠寬才塞的下粗弦,實在是很討厭。

或許還有D'Addario EXL116 XL 11-52 Medium Top/Heavy BottomERNIE BALL Beefy Slinky® 11-54 這兩款是適合的,不過我還沒用過就是了。

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我的小紅是2003年買的,先說明一下他的用料,它是Warmoth的package,琴身是桃花心木貼上一層厚厚的虎紋楓木,鳥眼楓木指版是我看過最多鳥眼的一把neck,光neck就嚇死人,五段單單雙配置,加上push/pull,算是一把全方位的琴。當年是配置Seymour Duncan SH-4 JB Model、Vintage single coil跟Hot Rail小雙。其實當初是設計成一把blues style的琴,tone很散,但是無論手感,音色,在沒有改過setting的狀態下, 其實是相當不錯的。

2004年在金螞蟻換成EMG SA/SA/89,算是小紅二代初版。但是那時候VR被換錯了我卻一直不知道,這樣的setting我也表演了好幾場,總感覺聲音怪怪的,出不來。2006年10月,有天無聊換上了大搖救星 TremolNO,整個聲音手感都不對,經朋友介紹,遇到作小紅的人--Dennis,把他整個改正過來,先作了第一次改造:仿照Eric Clapton的方法,把搖桿用兩片楓木完全密合的固定住,讓他變成沒有搖座,再把上弦枕從原本的碳纖維換成牛骨,聲音反而沒那麼散。

到這邊已經是2.5版的小紅了,但是接下來的工程更為浩大,因為是bolt-on的接合方式,所以指版跟琴身有一個間距存在,以致於整個neck會像 Gibson一樣向後彎。為了讓指版緊貼琴身,讓整個neck變的比較直,Dennis的作法,是動到body,把body挖了一塊,讓neck跟 body更緊貼,這是一般人不敢輕易嘗試的作法,因為相當危險!動刀之後,其實還算相當成功,整個共鳴以及dynamic變的更好,但是相對以前不曾發生的問題來了。因為共鳴太好,配置的EMG出力已經很大,改造後聲音變的更難以駕馭,聲音變的超級亮,gain也超大,已經不是正常的聲音,這再次證明桃花心木配上EMG其實並不是真的很理想,尤其是在共鳴很好的狀態下。

在表演完最終夜之後,我決定尋找被動式拾音器重新改造小紅。於是我找了一堆拾音器,最後決定採用Seymour Duncan的兩顆Hot Stack跟JB,Hot Stack是Seymour Duncan出力最大的小雙拾音器,並且不再用切單的系統。最近剛好弄了幾包Ernie Ball 12-56的粗弦,Detune一個全音後裝上去,全部做好之後,小紅三代改造完成!現在的音色果然比較像是正常的聲音,而且配上粗弦,張力沒有像用 11-49或11-50那樣軟趴趴,雖然不好彈但整個低頻非常緊,厚度甚至比我的Les Paul配上11-53的弦更厚,也比較能發揮小紅木頭的特色。

四代小紅?進行中,請拭目以待。

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Body: 不詳 with Flame Maple Top 酒紅色虎紋楓木
Neck: 22 frets bird eye Maple and fingerboard
Bridge: Wilkinson VS-100 tremolo
Locking: Schaller快拆式旋鈕
Pickups: EMG SA / SA / 89 (2005.8)
5-way Switch, 1 Volume and 2 tones

這把琴於2001年組裝完成,2003年夏入手,特色是聲音細緻,音色多樣,能夠勝任各種曲風,最引人注目的莫過於他的琴頸有多的嚇人的鳥眼,加上手感極佳,是我除了Gibson Les Paul Standard以及Fender Deluxe之外最珍藏的琴

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高中上一屆學長剛好也是用同一支,不過他的NECK摔斷了,1991年生產的琴,Serial: A91894

http://www.42nd.net/strat/elan.htm 就是網頁中第三把一模一樣
http://homepage3.nifty.com/milulu/starthp/subpage09.html
http://homepage3.nifty.com/milulu/starthp/subpage10.html
http://www.harmony-central.com/Guitar/Data4/Heartfield/EL-1-01.html

Heartfield是Fender Japan的副廠,Fuji Gen-Gakki(很像是富士弦跟星野樂器)製造
Fuji Gen-Gakki這廠牌是製造早期Ibanez的vintage琴種
1989-1993年這段期間的琴
我高中的時候,一把Gibson Les Paul才要兩萬五,便宜的很
(我大二買已經要四萬初了)
所以這把琴換成現在的等級,大概是跟一把4-5萬的琴同級
之所以特殊,我查到一個網頁

這位仁兄把這類的琴叫做"Ghostbuiders"
"a Ghostbuilder is someone who builds a guitar for a celebrity, but does
not put his name on the headstock."
而像Heartfield這類的琴,僅短短出現了幾年的時間,不論在做工品質都有一定水準
算是Fender Japan當時生產線相當特別的傳奇琴種

我手邊這把EL-3跟網頁上寫的大致上差不多
Elan III model, made in Japan 1991, 22 frets, flamed maple top on a mahogany body with mahogany set neck, ebony fretboard with MOP triangular-type inlays, one volume, one tone, DiMarzio pickups in a H/S/H configuration, 5-way switch, amber finish on maple top, cherry finished on back, Floyd Rose Pro double-locking trem, gold hardware, hard shell case included. Basically, it's a very nice PRS Custom 22 copy.
Body:黃色虎紋楓木 琴身非常重 跟指版是one piece
Fretboard: 22格黑檀木 with "shark's fin" fretboard inlay
鑲象牙邊,非常高級的用料
Bridge: Floyd Rose Pro
現在這樣的搖座已經看不到了,他的六腳扳手是英制的規格 9/64
拿去給琴行調時,連老闆都沒有那種扳手
但是當年這是Floyd Rose生產線上最高等級的搖座
Pick Up: Dimarzio HB with a Single coil 雙-單-雙
bridge段很紮實,neck段則相當厚,尤其是二四段非常脆
它的線路搭載跟以前Ibanez也曾出現的TBX System,Tone轉到一半是正常,再往下去就是boost,還蠻特別的設計。

就各項評比,這把日本製的琴相較於美廠的custom等級一點也不遜色,在Harmony Centre上面有user把這把琴與PRS相提並論!

總結Heartfield可以說是活化石了,我問了好多人,都沒人知道這把琴,可以算是八零年代末期的代表。音色方面則接近Gibson LP,厚neck與ebony指版都是我想擁有它的原因。據說當年金螞蟻只進了三十把,而我這邊碩果僅存一把,就再也沒看過了........

Heartfield Cetntral 只要是Heartfield fan一定要去看看的站,收集很多豐富的資料!

(以下摘自http://web.wt.net/~jsilva/hrtfld.html)
"Heartfield guitars and basses. Not just a name. But a whole new experience."

Welcome to the wonderful world of Heartfield guitars and basses. If you're here, you're probably in the same boat I was in a few months back. Does this sound familiar...

I have this great guitar but no one seems to know a thing about it. I have searched the web and have come up empty handed! There has to be some information out there somewhere!!!

Well, there wasn't very much information out there anywhere...until now. I have done the dirty work for you. I have nickled and dimed my way on up to a dollar...I have hounded the guys at Fender (who have been great...thanks Mr. Jack Schwarz and SunnBoy)...I have hounded anyone that I could find that has ever mentioned Heartfield on their web page...I have hounded anyone I could find that had a Heartfield listed for sale, and I have accumulated that information here...just for you! My objective with this page is to provide you with as much information as I have about the Heartfield Series of guitars and basses manufactured by Fender. Here you'll find technical specifications, links to parts, copies of ads, photos, reviews, sound bites, contact information, etc.

Many people believe that the induction of the Heartfield Series was Fender's answer to Ibanez during the '80s-'90s metal craze. While this may be true to some extent, I don't believe this to be entirly the case. The Talon Series was obviously put into production to compete with the Ibanez line. As a matter of fact, they were identicle to the Ibanez and they were even made at the same factory in Japan, all of the Heartfield series was.

The Talon's were by far Heartfield's most widely marketed guitar and it is obvious that this particular series were put into production and mass marketed to compete with Ibanez. If you look at the specifications of the other series Heartfield produced, I'm sure you'll agree that an Ibanez/Heartfield rivalry was not Fender's sole intention. The EX Series and the Elan Series were no doubt directly competiting with Fender's cashcow, the Stratocaster, PRS, and Gibson's Les Paul. These two series consisted of very beautiful and well crafted instruments. The EX Series had a very interesting pickup configuration that I have yet to see repeated still today. The Elan Series is kind of a cross between a Strat and a Paul Reed Smith. The RR Series was a little lower scale, but nice guitars in their own respect. The RR-8 and RR-9 have some very innovative active electronic features and provide a wide variety of sound options for a single pickup guitar. Overall the RR series remind me of the Les Paul Jr., but with a Fender feel in the neck. It's hard to explain with words, but if you've played one you would know what I mean.

I don't personally know very much about the Basses in the series. From what I have seen in photos and read in articles, they are very attractive instruments. I have heard that they play awesomely and they certainly look as if they do. You can find the bass specs and Fender's sales pitch by following these links. Sorry but I haven't included the Heartfield basses in the photo gallery yet. The reason is lack of photos! That's a hint to all you Heartfield bassists out there. Please send me your bass photos. You know you have them so please share with the rest of the world.

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Les Paul Standard是在1998年初購於台北金螞蟻樂器行,當初原本是要買一把比這把更高等級的Ibanez Les Paul Model,無奈因故沒有買到,於是這把Standard就跟了我到現在,經歷了大大小小的表演,這七年我幾乎都是帶她上台。Les Paul有許多顏色,而我覺得Honey Burst蜂蜜漸層是最耐看、最性感的顏色!今年將Bridge段的Pickup由498T改成Seymour Duncan APH-1 Alnico II Pro,原來的Neck段不變,改完之後聲音仍保有原有的厚重低頻,但高頻卻明顯的清亮許多,原本高頻混濁的問題也大為改善。也就是說,改過後的Standard更可勝任多樣的樂風,對於HR/HM也沒有問題。2006年至今的配置是Seymour Duncan SH-2 Jazz Model (Neck) 跟SH-4 JB Model (bridge)。老實說我的琴裡面,我還是最喜歡這一把的聲音,她的聲音對我來說是最標準的Rock Tone,不管是用什麼AMP,出來的聲音就是紮實,NECK的聲音又非常清楚不糊,讓人覺得可以放心交給她,只要好好把樂句彈好就夠了!

Standard不同於Classic,由於配置的拾音器與Neck厚度不同,以致於表現上Standard的厚Neck在手感上個人覺得比Classic要習慣(我偏好厚neck的琴),但相對而言比較難彈。會選擇Gibson主要的原因我想也是因為他飽滿的低頻,加上年輕時候許多崇拜的樂手都是用Gibson,自然就成為首選。

Guitar legend Les Paul and Gibson teamed up in 1952 to produce the guitar that set the standard for solidbody electrics. In the 1990s Gibson and Les Paul still enjoy the most successful endorsement agreement in the history of the guitar, and the Les Paul Standard is still the Industry Standard. Now available with a Buillion Gold, Wine Red and Ebony

Body
Carved maple top, Mahogany back
Neck/Profile
Mahogany/Rounded
Fingerboard/Inlay
Rosewood 22 frets/Pearl trapezoid
Scale/Nut Width
24 3/4" /111 / 16
Binding
Single-ply top and fingerboard
Bridge/Tailpiece
Tune-o-matic/Stopbar
Hardware
Chrome
Pickups
Seymour Duncan SH-2 Jazz Model (Neck)
SH-4 JB Model (bridge)
Controls
Two volume, two tone, three-way switch

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