Zemaitis 現在是Greco 在做,,,還蠻認真的.... http://www.zemaitis.jp/index.htm 網頁還有中文哩.... 不過,,,不是Mr Tony Zemaitis 親手做的琴,,,我覺得還是打上"Zemaitis by Greco "比較沒魚目混珠的嫌疑啦............
這把是放在mesa amp攤位前,不過也沒機會一試 倒是聽了VHT 的 new head: Deliverance 基本上維持VHT的音色特性,很in-your-face sound KT-88讓顆粒整個肥大起來,但低頻掌握能力仍然很不錯 雖然只有one channel,但是用eq 和 high/low gain switch可以得到很大的音色range 如果不介意沒有loop, poweramp tubes swaping....功能,算是相當值得考慮的機種 (跟soldano avenger很類似)
http://www.kandashokai.co.jp/greco/gz_top.html 員外 這是greco的網頁 看起來最貴的折台幣也差不多10萬左右 比PRS巴西玫瑰木便宜的多啦 快去敗一把讓大家聞香吧
還不就是上課.考試...... 日復一日啦 員外不必麻煩了,搞不好年糕我自己做的出來 我已經修畢"滷牛腱"和"蘿蔔糕製作"學分了 現在往中級班邁進 答應要寫寫namm show report 拖了好久 這個週末來動筆吧! 不過要怎麼貼圖阿?到現在還是迷迷糊糊
2005 George Lynch 8x10 Color Photo Xciter (Lynch - Before Dokken) As is widely in music history, Los Angeles is a breeding ground for many of the most successful rock bands. Stages at Gazarri’s, The Whiskey, The Troubador, The Starwood, and The Golden West Ballroom served as sacred ground for rock groups starving to cut their teeth. Featured here for the first time on CD are examples of strength from Xciter. Xciter brought to light the talents of one of heavy metal’s favorite sons, George Lynch. Lynch stood alongside drummer Mick Brown, bassist Monte Zelt and singer, Gregg Sanford. The band was also captured live and presented here with live cuts from an unforgettable show in Hollywood at The Starwood in 1978 at the height of their popularity. In 1979, the band moved on to a more commercial yet hard rocking sound with singer Lisa Furspanker as can be heard on the latter tracks featured on this CD. Soon after, Lynch and Brown moved on to join Dokken and went on to major headline success. Tracks on CD 1. Sleepless Nights 2. Black Star 3. I's Alive 4. Paris Is Burning 5. One Life To Live 6. Feel The Power 7. Heartless Heart 8. Heaven 9. House On Fire 10. I'll Be There 11. Jailhouse Rock 12. Little Lover 13. Magic Carpet Ride 14. Nobody 15. Wait 'Til Tomorrow 16. Dream Dream 17. I'll Get Over You 18. You Want It You Got It 19. I've Been Waiting http://georgelynch.com/catalog/
January '05 Lynch gear report For this short January 2005 set of dates, George basically scaled down the set-up that he used for the October 2004 east coast dates. The initial chaining of effects and stereo split was shown to us in Apple Valley by Victor Mason, the creator and designer of Mojave Ampworks last September. Gear list is as follows: Effects -Budda BudWah pedal; -George Lynch Time Machine Boost (GL TMB); -Roland GE-10 (made in 1980 prior to the Boss line of eq's); -Hughes & Kettner Replex reverb/delay; -t.c. Electronics Chorus. Amplification -'68 Marshall Super Lead (plexi faced, 100-watt model with two power tubes extracted making it half-powered); -'74 Marshall Super Lead (100-watt with purple tolex and large logo); -Ultimate Attenuator; -Hiwatt 4x12 model #4123 (late 60s/early 70s) with 50-watt Fane 12" speakers; -Orange 4x12 (late 60s); -Peavey 50/50 power amp. The signal chain is as follows: From the guitar, the signal goes into the BudWah, pumped up by the GL TMB and into the 10-band eq that is set with a midrange hump and zero level with the output gain set at -10db. Coming out of the eq it goes into input 1 of the '68 Marshall plexi. The tone and presence settings are subject to a national security threat so I can't reveal them here...or I'd have to kill you. But Vol.1 is set at 10 and Vol. 2 is set at 5...that much I can tell you. From the speaker output of this head, the signal is fed into the Ultimate Attenuator. Now here's where it gets sticky...because if at anytime I were to plug things in wrong, you'd smell something burning...and I advise you to run for your lives. From the Ultimate's speaker out, it goes into the Hiwatt 412. There's a signal output that feeds an auxiliary instrument signal (very important to note that it's an instrument signal) to the input of the Replex that goes into the t.c. Electronic Chorus. From there, the signal goes into the Peavey power amp and comes out of the Orange cabinet. The end result is HUGE with very wide stereo separation when both the chorus and the delay/reverb is on. George generally tends to only use delay on solos after boosting the guitar with the GL TMB. The boost pedal is especially effective for solos and what's very cool about that pedal is that it is a very CLEAN boost...zero tone alteration, just more guitar signal slamming into the input stage of that very old amp. The purple Marshall head was the main back up in case the plexi blew at any time. We did plug it in at rehearsal and then again at the Sacramento show just to check it during soundcheck and it also kicks just as much ass...I was always asked which sounded better but I couldn't give a straight answer because the purple and the plexi are just two very different flavors...y'know? Both kick ass, but neither kicks each other's ass...however, the plexi is the tried and true...and just an all around strong, aggressive amp. The Mojave was also experimented on at rehearsal and soundcheck and Geo originally intended for me to use it to play on the songs that I played on. With the built-in attenuator cranked up on ten, the thing has the best tone. One interesting thing of note about that amp is that it has two volume knobs...two separate volumes for the bass and treble frequencies. The Fender Pro Reverb was the amp I used on River Of Love and the band seemed to like how that song sounds just like the record with the backing rhythm played through that amp. It was the Baby Scary rig.... Onto guitars... George fell in love with this very well-worn '59 Fender Esquire. What makes it different from a Telecaster is that it has just one single-coil pickup and the three position switch engages/disengages the tone knob. Anyway, it's completely bone stock original. The only thing missing is the paint and nitrocellulose finish. The thing resonates the way it does because it's just bare wood. With a visit to George's house, Billy Gibbons recognized that guitar right away, exclaiming, "I know that guitar." So that guitar has some ZZ mojo in it, on it and absorbed into it. I was so careful not to clean any of it off whenever I re-strung it. George just chose to play it because of it's tone, which is largely owed to the original pickup that is petrified in the mounting bridge. It is a very very low low output pick up. Another thing Victor Mason taught us is that low output pickups like original PAFs tend to make 100-watt amps at full crank work harder, hence that hard aggressive tone into lower wattage speakers. That Esquire just kicked ass all the way around. It has never ever been re-fretted, so it has the original low-profile Fender frets on it that causes George to dig into the guitar a little more and was more of a challenge to play. He had a lot of fun on that guitar. On hand also on this little road jaunt was the green mutt guitar...because of what it is, again, I can't disclose what it is because if you found out, we'd have to kill you. But I can tell you that this guitar just sounds the way it does largly because of the body wood being just oiled and sealed with a green colored sealer. No finish or coating of any kind is on this guitar. The ESP GL-56 was great to have too. The guys at ESP installed a Tom Holmes pickup in the bridge and it has such a ring to it. The Tom Holmes is very similar to original Gibson PAFs, with that super low output. And the playability on the neck of this guitar is just right for flying. The Tiger, Haji and Bones guitars were being serviced at the time and will be back in action for the next set of dates. Anyway, there ya have it! It was a great couple of weeks and it was great meeting a lot of you and hope to see you again the next time around... --G gerry@georgelynch.com
閃電老師~~ 我呀.. 其實一切都還算順利吧~~ Tenor Sax 持續有練習, 對這樂器也越來越喜愛 ~~ 之後會接下藝工隊撤過來的音控與錄音一職, 應該會挺有趣的吧 ~~ 只不過整個樂隊以後會如何還不知, 降編後老是聽到一些對樂隊不利的消息, 長久以來看樂隊不爽的單位或官會有動作的 !!! 樂隊說不定未來還要刺槍, 清槍等呢... 唉~ 對了.. 祝福所有GLFC的所有人新年快樂 !!!!