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- friends don't let friends use soldering irons.
- the samurai worked, at the pleasure of his lord, with masters of other
arts, such as the sword maker the armour dude, and so on . . .
- this was not without reason . . .
- Given the TIME, anyone can learn how to do just about anything.
- if one understands the miracle of the anvil, relativity ain't too far
away.
- but who's gonna play the music? make the art? . . . the laughs? . . .
the kids? . . .
- assuming that the tool in quiestion is used to make music - now's the
time - as bird said . . .
- pay somebody to fix it . . . or throw it out the window or something
. . .
- living by one's wits - learning how to fix it ONLY if you have to -
seems very natural for most musicians i've ever known. Roland Kirk's
horns were taped together with that gooey white tape doctors used to
use, and bandaids, and lots of rubber bands on top of crumbledy rubber
bands that looked like they's been on the dashboard too long . . . he
HAD to do it. he couldn't SEE to tell someone else to take that, and
hook it to that, etc.
-SUGGESTION: gain control of self - at least long enough to ALLOW
self to get so "swept into the music or art of it all" that you just
plain don't ever have TIME to get distracted by the equipment hazzard.
- Juan Miguel Fangio (sp?), the world's best driver at the time, said he
would always win in a race against a driver who was also a mechanic . .
. said the mechanic would back off when he thought the car was going to
break, and since Fangio's thing was driving, not fixing, he'd ask the
car to do what HE needed.
- it didn't often break.
- and, there IS something rather satisfying about playing an instrument
provided by the MUSIC itself. It took several thousand nights carrying
around a plywood bass (DC 3's . . . Steam Trains . . .) for me to be
able to afford my German flatback . . . 40 years (and 2 wives) later
we're still best friends. And using the exact dimensions of its 300
yr. old bad self, i was able to design and build (w/Zeta Music and
Gibson Guitars) over a hundred Uprites like the one that i now play -
with quad out, midi, etc. . . . may IT still be singing in 300 years
turning !
- hardest part is to be able to switch from fixin' ("what's wrong with
this thing?") to playing ('what's right with this thing?"). . . which is
the reason for the suggestion above.
- also, there's always some young soul coming along for whom fixin' is
THE place to be . . . (in which case Mr. Jordan reccomends Bryman) . . .
mmmmmmm
- BTW if the problem is the having the thing punch a hole in the fabric
instead of fading out gradually, one can always adjust the THROW of the
pedal - just use enough layers of weatherstrip tape under the heel to
get in the way of the pedal's natural tendencies . . . the old De Armond
pedals had a set screw to do that . . .
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
future perfect wrote:
>
> Kim said....
>
> >there's no way to set the feedback range in the echoplex, but its a
>simple
> thing to
> >do by using different types of potentiometers or putting resistors in
> >series with the potentiometer.
>
> Forgive my lack of electronics knowledge, but there is a 100k pot in my
> pedal...between what 2 lugs on the pot do I wire a resistor, and what
>value
> should the resistor be to get it closer to the recommended 20k range?
> Dave Eichenberger
> *********************************************************************
> 'Future Perfect' - art music - visit our website at:
> http://www.geocities.com/SoHo/Lofts/8082
> "Truth is just an excuse for lack of imagination" - Garak