Dad3353

Ah, probably open circuit there, then, rather than short-circuit. Valve amps do not like being worked hard with no load, so if the connection to the cab fails, for whatever reason... 'Puff..!' is often the result. A pity to not get it repaired, though, as those amps are splendid (we have a Laney VC50 Combo, which is very, very loud, and was toured around France for many years with no issues. Laney do some very Good Stuff.)

Yes indeed; this is an important point, which merits, perhaps, an explanation. Guitar (and other instrument...) cables have to carry very low-level signals, with very little current, and need protection from parasitic interference. To this end, they have very thin, flexible wire inside, enclosed in a metallic outer sheath, which keeps the unwanted noise out. Speaker cable, on the other hand, has to carry much higher voltage and current, and so much thicker wire and insulation goes into their structure. They are not, however, subject to picking up extra noise, and so do not have, nor need, the metallic sheathing of the instrument cable. What difference does it make..? An instrument cable used, wrongly, to cable an amp to a speaker is liable to heat up with the high currents that the amp puts out, as the thin wire, made for low signals, can't handle it, and is most likely to melt. If the inside wire melts, it will provoke a short-circuit between the inner wire and outer sheathing, which in turn will overload the amp. This could, if lucky, just shut down in protection mode, or, all too often, just bust the output of the amp, with ensuing 'magic smoke'. This is a Bad Thing, and can be expensive, or even dangerous. On the other hand, using, wrongly, a speaker cable to connect an instrument, will result in a lousy sound, with much buzzing, clicking and other extraneous noises. No physical harm, but a damaged reputation and a ruined concert. Each type of cable has its specific construction to cater for the use it is to be put to. These uses are not interchangeable, despite their having similar (jack...) plugs. Don't be fooled. Use instrument cable for instruments, and speaker cable for speakers.

No, the original switch has one button for Clean/Lead, the other for Reverb On/Off. There is no compatible switch that allows the combinations you're wanting, sorry. There is a later version of that amp that has a five-pin connector for the footswitch which does all you need; that's not the one in the photo, though, and an update would not be possible without major work.

Could I respectfully suggest a re-wording of this, to avoid any ambiguity, please..? (I'm assuming that the scams were not carried out on Basschat..! ) 'I’ve followed on Basschat the various scams this piece of filth has carried out; how he’s still walking the streets beggars belief.'

'7' or '8', it matters not, but not both at once. Those two are wired internally together, so there's no difference. There are two to cater for the folk using two 16 Ohm cabs, so that, when they are plugged in together to '7' and '8', the amp 'sees' 8 Ohms (two 16 Ohms in parallel behave as one 8Ohms cab for the amp...). Hope this helps.

Cab switch to the right (8ohm mono...), plug into the 'Left/Mono' socket, and the middle output socket from the amp (N° 7...) with the amp switch to the right (8 ohm...). Enjoy.

Good afternoon, @Aurora, and ... Plenty to read and amuse you here, and lots to learn and share.

If there's only one scale length, that's fine, but one needs a template for each scale length. For someone producing, that's worthwhile, but for a solo bloke making different 'one-offs', the maths help. There's a need for maths elsewhere, too, in working with wood, generally.

Hmm... Photos would help. Without seeing the project, then, I'd suggest that, if damage was to be done, it's already done. I'm assuming that the acoustic qualities of the instrument are now of little importance..? If it's to be hung on a wall, a coat of undercoat, to seal the sanded wood, and then paint away. The result depends more on your artistic talents and taste; I would use an airbrush with acrylic paint for a project of the sort, but brushwork would be fine, too, if that's what you're best at using. If the result is to be durable, (and worth it...), a final coat, once the painting is over, with a clear acrylic varnish will protect to some extent the artwork. All of this with some reservation, and subject to completion, correction and/or contradiction from others. Photos (before and after..?) would help, though.

Fret spacing can be established quite easily, using a well-known formula (scale length divided by 17.817...); it's the same formula for basses, guitars, mandolins etc. Here's an easy-to-read page explaining in more detail. It's fastidious (the jig makes it easier, of course...), but it's not complicated to calculate. Cutting accurately is another subject, though..! Calculating fret distances...

I'm a drummer.

Not my idea at all; it's been ongoing over there on Basschat for about ten years or so..! We don't do videos, though, just Soundcloud audio. A modest clique of regulars, but it keeps on going, so it must be doing something right.

Maybe a kick-start is all that's needed..? An incentive, such as a monthly 'challenge' to see who can compose a piece, inspired, maybe, by a picture or photo, with a vote at end of month..? The compo that gets the most votes from Forum members gets to choose the pic for the next Challenge, perhaps..? Nah, it could never work..!

Good afternoon, @Andyibanez, and ... Plenty to read and amuse you here, and lots to learn and share.

See here, maybe..? Chordify...

Good afternoon, @Axe2Grind, and ... Plenty to read and amuse you here, and lots to learn and share.

Good afternoon, @ryan1mcq, and ... Plenty to read and amuse you here, and lots to learn and share.

Are the strings new, or fresh..? Have you changed them..? If they are old (depends on usage, but over a year old I'd call 'old'...), they may be due for a change. When changing strings, my tip is to be careful when winding onto the tuners to get the first wind near the bottom of the hole, then make sure that the next few winds start from the bottom of the post, crossing over the first wind. This helps block the winds in place. Once wound onto the tuner post (three or four turns is quite enough...), I tune the guitar up to pitch, lay the guitar on the bench (or table, or on the bed...), then take each string in turn and gently lift the guitar up by this one string. It's perfectly safe; the string won't break, but it will bed down at each end fully. I then tune up to pitch. Always tune 'up', never 'down' to the note. If the note is too sharp, tune down to flat and bring it back up. I use any tuner (headstock, PC-hosted DAW, whatever, but cross-check with fifth-fret and octave harmonics from string to string. I start with the 'A' string, and check it again once all the others are done. It helps that I use Elixir strings, which hold their tuning much, much longer than others I have tried (for years I used Fender Bullets; Elixir now get my vote on all my guitars...). I have never had a tuner (machine head...) issue, ever, on any guitar, vintage, old or new; maybe I've just been lucky. I'm not maniac, either, about tuning to 1% precision; fretted temperament inaccuracy is greater than that, anyway. I sound out my chords, and if they sound OK, the tuning is OK. The tuner is a guide, but it's one's ear that has the final decision, not the needle. Yes, a decent set-up is always the starting point, and a competent guitar tech can do the job, but it would be very useful to learn the basics oneself (how to adjust intonation, String saddle height, check for neck bow, when (and when not...) to adjust a truss rod etc...). I doubt that the moderate temperatures we experience in these climes would affect tuning, or the guitar set-up, to any noticeable degree, but a set-up is always a good starting point. Better value than a set of tuners, anyway, as a first move. Hope this helps. Douglas

Ibanez tuners are made by Gotoh. To change, it would be best if the replacement tuners used the same screw configuration as the originals. The precision of tuning depends to a great extent on the 'ratio' (number of turns it takes to increase string tension...). The 'flagship' Gotoh tuner that would probably be a straight swap for your originals would be the Gotoh SGL510, which has the same screw positioning and barrel diameter. These tuners are used on some of the higher-end Ibanez guitars such as the George Benson models. There are a few cosmetic variations of these tuners, concerning the 'look' of the tuner buttons; that's a matter of personal preference. Thomann stock these tuners; the price for a set is £60 currently; they have a gear ratio of 18:1. There is no real reason why your present tuners don't give stable tuning. Fine tuning is also a function of other factors, such as the nut material and quality, the way the strings have been wound on and pre-tensioned, the correct tuning procedure (always tune upwards; if you're too sharp, tune flat and come up to pitch from there, never the opposite...) and more. Ibanez make excellent guitars, in all of their price ranges; you may find that swapping tuners does not, in itself, solve your issues. Just sayin'. Is this a new guitar..? How much experience with electric guitars in general do you have..? Hope this helps; meanwhile... Have a great day Douglas

I've had a look at the Justin modules, and they look to be exactly what you need. I wouldn't worry too much about 'worship' for now; you'll be able to play lots of them soon enough, as many do, indeed, use those three basic chords (D, A and E...). Without the lyrics, all songs are simply Music, anyway. If you need a good one to start off with, using only D and A, I'd suggest 'Give Peace A Chance', which is also part of the Justin module. Do you have a reliable method for tuning the guitar..? That would be very important, from the beginning.

@chongjasmine... You didn't give your location; to judge from using '$', I guess you're not in the UK. That's not a problem, of course, but some replies may not be relevant or applicable. Where are you, please..? The ideal way to learn from the very start is with a few lessons, face to face, with a competent teacher. I understand that this may not be possible or practical, but it's still the best recommendation. Having said that, it's not necessary to start 'strumming' at all. Get the chord shape right ('D' is, perhaps, the easiest...), and lightly brush the strings, from the bottom string (the low 'E' nearest your head...) to the top string. As you brush, listen to each string, and practice getting the fretted strings sounding clearly. Remove the left hand from the strings, fret the chord again and brush again. Do this for a while (not long; just a few minutes...), then give your hands a rest. Choose another chord ('A' is fine, but 'E' may be easier; it doesn't really matter too much for now...), and repeat the light, slow brushing from string to string, listening to be sure that each string is sounding clearly. A few minutes, and rest. As a rule, it's best to practice in short, regular sessions, rather than long ones. Two 10-minute sessions, each and every day, are much better than one whole hour once a week. 'Little and often' is the key. Playing a guitar does not have to mean playing every string. It's not necessary to 'strum' all 6 strings, all the time (although it is often done, it's not a 'rule'...). You can lightly strum, for a 'D' chord, for instance, only the top 4 strings. With a 'D' chord, the bottom string (the low 'E'...) is not, harmonically, part of the chord, and should not be played, or muted so as not to sound. You will have difficulties with this, and other chords, if you're beginning, so don't try to do things that you think are right; do only the things that will make you a better player. This will involve patience, and some concentration on your part. It seems, at first, as if no progress is being made, but be assured: every guitarist started out in exactly the same way. Go slowly, very slowly; that's the fastest way to get to the destination. Hope this helps; others may have more advice or tips.

Very nice, if a tad 'retro', maybe..? T'would have been huge in the early '60s. Spot on, for the production. If I was to suggest anything, I'd want an evolution from 1'30, to come back to the main theme later. Otherwise, well done Hank Clive.

Our work here is done.

OK, then; you are worthy. I hereby dub you as 'Fit For Investment'. Now off you potter to the shops, and fetch me half-a-dozen eggs whilst you're out, if you would, please..? The money's in the tin on the mantlepiece.