| March 2001 | Electric Strings Monthly |
Number 9 | ||
| Contents:
Ask Andy: Editorial: Telephone: If you would like to contribute to this newsletter with details about new products, new music or just news, then please send me an email. Although this newsletter is light-hearted in it's style
please note that the content is copyrighted and remains the property of Andy Holliman,
Achieve Instruments. No part of the contents may be reproduced, in print or electronically
(except for your own personal use) or stored in an information retrieval system or
workshop or bathroom without the prior permission of the author.
In Previous Ask Andys: #1-Do I need a
Preamp?
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Welcome to the
third monthly newsletter in magazine format. I hope you like it. If you do, please
tell others, if you don't, please tell me. It is my endeavour to be completely fair in the things that I write or tell you from these pages. If you feel that I have voiced anything that is inaccurate or unfair, please let me know. This month's Ask Andy is all about effect pedals and how to link them up. If you would like me to publish details about any of your equipment or products then please send me some information.
Web Site Changes New Pictures New Links New Pickup I have had a few enquiries for details of the Stephan Kurman Sound Post pickup system. Details can be obtained from: Audiotechnik Arber & Co., Edisonstrasse 7, CH-4051 Basel, Switzerland. Tel: +41 81 271 5115. The Electric Violin
Book New Music Digital Violin Database Ben Heaney has nearly completed his volume on the electric violin. It includes playing techniques, very interesting historical information, details about vintage and modern makers and patents. A good read for the long winter evenings. A link to his site can be found on my Contents list. Line 6 DL4 Having heard Stuart Wyatt's CD and his use of a DL4 box I ordered one. Did it make me play any better? Well in some ways it has. The DL4 has two sections. One is an incredible range of delay and echo effects that can reproduce 'old sounds' as well as creating new ones. The other part allows you to sample what you are playing and then to play on top of that sample. Several layers are possible. I like it because you can put down a fairly random set of layers and then improvise on top. So my improvisation skills may be improving. Also, when you lay down a couple of layers you find that the key you have to follow changes as notes merge to form 'chords'. It is a great box but I do have several extended features which I wish were there. You cannot use any of the delay sounds as the base for the sampler and the sample time would be even better if it was longer than 15 seconds. Still great fun and assists creativity. Roger Hansell Whether you make electric or classical instruments the fittings that you use are very important and, as a player you need fittings that are both functional and good to look at. Roger Hansell, here in the U.K. has opened up his new web site where you can see some of the very best pegs, tailpieces end pins etc. that are available. http://www.hansellviolins.com/ Fiddle in a Tube First of all we both dislike guitar sound processors for several reasons. If one part goes wrong everything in the box usually dies. They usually need some sort of programming and setup which can be good, but on stage is difficult. For example, if you have a delay set up to match the tempo of a tune and it is programmed in, then there is little you can do about it if the rest of the band play the tune faster or slower. My main reason for not recommending them is that they usually have more features than you would sensibly use. Individual pedals, bought individually meet specific needs and you can build a set that is best suited to you and your music. So what has Ric got on his pedal boards. He has two boards. One he uses all the time and contains his basic requirements. The other board takes any extra pedals that he needs.The set he has on tour at the moment is as follows: Violin=== ===Boss Vibrato VB2===Boss Octaver===Boss Digital Delay DD5=== ... ===Boss Digital Reverb RV2===Trace Elliot amp For this tour the violin he is using is one of my classical instruments that is fitted with an L.R.Baggs pickup. He has decided not to use a radio system on this tour as his need to jump around the stage whilst playing is reducing every year!! The violin goes first to the volume pedal. This enables him to shut everything down in case he needs to re-string or re-tune on stage. The pedal he uses has an additional output that he connects to a tuner. This he powers by battery and not by an external power supply because mains frequencies sometimes cause it to falsely display G#. Using an internal battery avoids this occasional problem. Then he connects to a pre-amp. He needs this to give his signal more power because everyone else in the band plays so loudly! (It is actually another EQ pedal with all the controls flat and the boost control pushed to max). This box isn't actually technically required but as it has been part of his basic setup for years we tend to leave it there. After this he goes into a 10 band MXR graphic equaliser. This is an unusual box because of the ten frequency ranges that it covers (I don't think that MXR make them anymore). He trims out the 312, 625, 2K and 4k frequencies. (Piezo pickups often require 2 and 4K trimmed out). This then goes into a Vibrato unit. He only occasionally uses this and usually when he plays harmonics as it adds more depth and a synth like sound. The second board has the specific pedals that he uses for various numbers and can be as few as 1 or as many as 6. For this tour he has an Octaver which creates a very good 1 or 2 octave drop from what he is playing. Then a Digital Delay pedal. This one has a side cable and tap footswitch. You tap in the tempo of the tune and the delay will repeat at that exact tempo. Brilliant - I always wondered what he was tap dancing on behind the stage monitors. Then finally he goes into a Digital Reverb unit which when used subtly can add a lot of presence and grandeur to a tune. Each of these boxes is powered by it's own transformer, so each box connects to a rail of power sockets. The effects line then goes into a Trace Elliot amplifier, which he uses
as his on-stage monitor. The line out then goes off to the PA equipment.
I would appreciate ideas for
future 'Ask Andy' questions - product reviews, technical discussions, making
items??? I hope this has helped you. Any suggestions for future discussions, Click to Email me I am not sure if I have created a monster with this page! Will I be able to keep it up and create a full newsletter each and every month? Will you help me by sending in details of CD's, instruments, suggestions? We will have to see and you will have to come back again to check it out. Bye for now,
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