When I first started shooting regularly, I couldn't understand the point of a .22. I thought of it more as a joke or a marginal step up from a BB gun. I was wrong. VERY VERY wrong.
.22 pistols serve a great number of functions. They are excellent diagnostic tools as well. However, more importantly, ammunition for them is inexpensive when compared with any centerfire cartridge. 550 rounds can be had for under 20$ where a lone box of .45 or .38 will set you back the same amount.
This translates to more shooting, more practice, more fun! After shooting a Beretta Neos, I was convinced I had to have a .22 pistol of my own. I did my research and ultimately narrowed it down between a Browning Buckmark and a Ruger Mark III. The Ruger won in the end.
I purchased a Ruger Mark III Hunter with a 6 7/8" barrel. I wanted something that was accurate and that could be customized. Speaking of customizing your Ruger, Volquartsen has a wonderful line of upgrade products which are priced fairly and eliminate some of the issues I believe most people have with the Mark III series pistols.
I think by all accounts, the Mark II pistol without the Loaded Chamber Indicator (LCI) and magazine disconnect is the pinnacle of the Mark series. However, I wanted a new gun so the Mark III it was. Warts and all.
I shot the gun. A lot. My thumbs were sore from loading magazines. Religiously I would clean the gun after every range trip or 500 or so rounds. Whichever came first.
Contrary to what most people say, the gun is not that difficult to take down. It is different, but not difficult. I use the hook from a safety pin to open the lever on the mainspring housing and a small wooden dowel rod to push the mainspring housing pin out of the receiver. After that, the gun is basically taken apart. I believe where people get into trouble is the reassembly which requires the hammer to be forward or else the mainspring will not close correctly and the bolt will not cycle.
Anyway, there are plenty of youtube videos of how to disassemble your Ruger. To ease the disassembly process and smooth up the internal workings of the gun, I bought a Mark II style bushing from Volquartsen (along with an extended bolt release, firing pin, extractor, disconnector, and sear). The Mark II bushing eliminates the magazine disconnect and consequently the need to insert and remove the magazine from the disassembly reassembly process.
I also removed the LCI as it got dirty and is very difficult to clean. I don't care about how it looks, but when it gets dirty, it doesn't move freely and then the gun starts to jam up. And it jammed up a lot. 3x in 10 rounds wasn't uncommon. I nearly gave up on the gun and then decided to try removing the LCI. Magically the gun never had a single jam again (and this is at least 5000+ rounds later).
After a few years of flawless performance, I decided to add another Ruger Mark III to the family and bought the competition model with the slab side barrel. I performed essentially the same modifications to this gun as with the Hunter. However, it didn't get shot nearly as often. I think it was because I didn't really care for the target grips it came with.
I decided to replace the grips with grips I bought from Handgungrips. The grips required minor fitting which I did with a drill bit in my hand and a small round file. I did not use a power tool with the drill bit! After putting on the new grips I figured I'd take the gun apart and clean it before I took it to the range.
This is where things got bad. A pin on the mainspring housing had drifter into a lip on the frame which means that the mainspring housing could not be removed without excessive force which would break the mainspring housing and possibly the grip frame. I called Ruger.
From the start, there customer service was extremely pleasant. I spoke with somebody in customer service as well as technical support and was told that my problem was not unique but was most likely an improperly staked pin from the factory and that my gun would have to be sent back to be serviced. They issued me a return and sent me a label.
I was up front with them that there were aftermarket parts in the gun. They said this would not be a problem and to enclose a letter stating the problem with the gun.
Normally before shipping a gun back, I would have removed the aftermarket parts but I had no choice but to ship it with them since I could not break the gun down. This made me very nervous. Especially since there were numerous accounts of Ruger either rejecting a gun for service based on modifications or flatly not returning the gun with the aftermarket parts. Additionally, I was worried since some of my modifications included the removal of the LCI and the magazine disconnect. Both of these are considered to be "safety" devices on the gun.
I don't keep my .22 pistols loaded nor do I carry them for any sort of reason. They are strictly range guns, so I don't need to have a visual indicator that is going to jam my gun nor a magazine disconnect. Follow the golden rule of keeping your pistol pointed in a safe direction and this is absolutely never an issue.
Despite my fears, I sent the gun in to Ruger because frankly, I had no choice. The grip frame is a factory fitted part and the mainspring wasn't going to come out without destroying it.
My letter requested they use the original parts or at the very least return them as they were after market parts.
It took Ruger 2 weeks from the date I mailed the gun to the day it came back. I consider this to be a very good turn around time. Granted Henry returned a rifle to me in under a week once but that is a rare exception. That reminds me that Henry must have the best customer service on earth. They are very pleasant to deal with. I can't speak more positively about them. But back to Ruger.
During the 2 weeks, I was reading customer service stories where people said how great Ruger was...unless you had aftermarket parts or modifications. I would get myself worked up and then just remind myself that there is nothing I can do about it.
I opened the package nervously not sure what to expect. The LCI was reinstalled and there was a bag inside of the case which contained my original Mark II bushing. They had reinstalled the magazine disconnect. However, the rest of the parts that I had sent were installed on the gun. They had a letter with it that stated something to the effect of legal liabilities required that any gun leaving their factory have all of its safeties in tact. I understand. I was pleasantly surprised though that all of my parts were in the gun. I was also sent another manual with the gun. When I had shipped it, I only shipped the gun, 1 magazine, and the plastic case it came with.
In short, I am very impressed with Ruger's customer service. They treated me right. Did I get lucky getting my parts back? Perhaps. But I was polite with them even though I was freaking out on the inside that a gun that had been shot so little and was less than a year old had developed such a catastrophic problem. My letter was also quite clear on what to do with any parts that were in the gun.
I want to the thank the good people at Ruger for taking care of me! I will continue to buy Ruger with confidence that they stand behind their product!
Monday, December 26, 2011
Saturday, November 5, 2011
Don't believe everything you hear!
I went to a gun store today and came into an all too familiar situation. The clerk thinks they know everything and the consumer is supposed to just take their word for it because they should know better. Afterall, they work around the product all day. I've often complained of this happening at guitar stores. The clerk imposes their opinions or off base beliefs on you and you stare at them dumbfounded.
I was checking out a Smith and Wesson model 19 that was nickel plated with a 4" barrel. I already have a model 19 with a 4" barrel, but mine is blued. I got it for such a steal at the time, I couldn't say no.
I did my routine of checking out a revolver. There are a lot of good resources for this online. Nearly every one I have read is a variation of the other. Educate yourself before you buy anything! New or used! I was checking the lockwork on the gun. One of the 6 chambers failed to lock when the hammer was cocked in single action. I brought this to the clerks attention and I was told, "You are babying the gun." Really?
There was no convincing this guy that a good revolver should not do that. Instead I was told to look into colt revolvers. I have owned a colt before. It was a very nice revolver. I sold it and don't miss it.
I've had similar instances when buying guns in the past. When buying a beat S&W 1917, the hammer failed to cock into single action (amongst many other issues). I was told to just pull back harder. I bought the gun for a much discounted price. Upon opening it up, it was VERY apparent that somebody had butchered the inside of the gun up in nearly every possible way. I am still tracking down parts for the gun to this day (years later).
Guitar stores do the same thing. I was once told I was ruining a Fender Twin Reverb RI because I had the reverb at 10. As if Fender would have put a control on the amp that could destroy it. How ridiculous. Where do these tales originate?
When buying an Ampeg VT40, I noticed it worked, but the output was extremely low even when the amp was cranked all of the way up. It was about as loud as one of those battery powered amplifiers. I made mention of this to the owner and he told me it was supposed to be that loud. I assured him otherwise as I currently owned a VT40 as well as a V2 (the head version of the VT40) and both of those amps could peel the paint off of the wall if you allowed them to.
So what is the point of this? I guess I am just venting. I am tired of people making up things or trying to sound like they know everything. Just admit you don't know everything. You are human. Educate yourself and learn something.
Feel free to share any such similar stories.
I was checking out a Smith and Wesson model 19 that was nickel plated with a 4" barrel. I already have a model 19 with a 4" barrel, but mine is blued. I got it for such a steal at the time, I couldn't say no.
I did my routine of checking out a revolver. There are a lot of good resources for this online. Nearly every one I have read is a variation of the other. Educate yourself before you buy anything! New or used! I was checking the lockwork on the gun. One of the 6 chambers failed to lock when the hammer was cocked in single action. I brought this to the clerks attention and I was told, "You are babying the gun." Really?
There was no convincing this guy that a good revolver should not do that. Instead I was told to look into colt revolvers. I have owned a colt before. It was a very nice revolver. I sold it and don't miss it.
I've had similar instances when buying guns in the past. When buying a beat S&W 1917, the hammer failed to cock into single action (amongst many other issues). I was told to just pull back harder. I bought the gun for a much discounted price. Upon opening it up, it was VERY apparent that somebody had butchered the inside of the gun up in nearly every possible way. I am still tracking down parts for the gun to this day (years later).
Guitar stores do the same thing. I was once told I was ruining a Fender Twin Reverb RI because I had the reverb at 10. As if Fender would have put a control on the amp that could destroy it. How ridiculous. Where do these tales originate?
When buying an Ampeg VT40, I noticed it worked, but the output was extremely low even when the amp was cranked all of the way up. It was about as loud as one of those battery powered amplifiers. I made mention of this to the owner and he told me it was supposed to be that loud. I assured him otherwise as I currently owned a VT40 as well as a V2 (the head version of the VT40) and both of those amps could peel the paint off of the wall if you allowed them to.
So what is the point of this? I guess I am just venting. I am tired of people making up things or trying to sound like they know everything. Just admit you don't know everything. You are human. Educate yourself and learn something.
Feel free to share any such similar stories.
Sunday, October 30, 2011
A new gun!
I think I'll start off with the gun stuff first since it has been a while.
I decided I wanted to carry something new instead of my Beretta 92FS. It is nothing against the Beretta. In fact, it has never failed on me and carries a lot of ammunition. All things to consider when picking a carry gun.
However, I've always been more of a wheel gun kind of guy. I wanted a revolver. But J frames don't usually do it for me as they have 5 rounds and a frame that leaves my pinky dangling in the air. My first revolver was a Smith and Wesson 686 with a 6" barrel. I figured something like that ought to do quite nicely for carry. Except I wanted a shorter barrel.
I went to the local gun store and picked out a Smith and Wesson 686 with a 4" barrel. It is a pre lock model but has the firing pin moved into the frame and the rounded butt which I am not too fond of.
I am also not crazy about the cheap rubber grips. I checked around online for some nice conversion grips from round butt to square butt in a hardwood. Hogue grips came up time and time again, but they are rather expensive at more than 100$ for a set of wood grips and nobody seems to stock them!
Then I stumbled across www.handgungrips.com. I looked around and it seemed they had exactly what I wanted for around half the price. I bought 2 sets of conversion grips and a set of grips for my Ruger Mark III Target. The grips arrived about a week and a half later and fit onto the gun perfectly! Both the Silver Black and Rosewood grips are absolutely beautiful and feel much better than the Hogue rubber grips.
I think I prefer them to the Hogue monogrip I bought for my Smith and Wesson 617 as well. They are more true to an original square butt set of grips than the Hogue mono grips. Both function well, but for the same money, I bought 2 sets of grips versus the Hogue grips.
Since purchasing the gun, it has been my primary carry. I've got 38 +p in it for now, but I think I am going to upgrade to .357 magnum with Barnes XPB bullets (such as the Corbon Thunder Ranch or DPX series).
I decided I wanted to carry something new instead of my Beretta 92FS. It is nothing against the Beretta. In fact, it has never failed on me and carries a lot of ammunition. All things to consider when picking a carry gun.
However, I've always been more of a wheel gun kind of guy. I wanted a revolver. But J frames don't usually do it for me as they have 5 rounds and a frame that leaves my pinky dangling in the air. My first revolver was a Smith and Wesson 686 with a 6" barrel. I figured something like that ought to do quite nicely for carry. Except I wanted a shorter barrel.
I went to the local gun store and picked out a Smith and Wesson 686 with a 4" barrel. It is a pre lock model but has the firing pin moved into the frame and the rounded butt which I am not too fond of.
I am also not crazy about the cheap rubber grips. I checked around online for some nice conversion grips from round butt to square butt in a hardwood. Hogue grips came up time and time again, but they are rather expensive at more than 100$ for a set of wood grips and nobody seems to stock them!
Then I stumbled across www.handgungrips.com. I looked around and it seemed they had exactly what I wanted for around half the price. I bought 2 sets of conversion grips and a set of grips for my Ruger Mark III Target. The grips arrived about a week and a half later and fit onto the gun perfectly! Both the Silver Black and Rosewood grips are absolutely beautiful and feel much better than the Hogue rubber grips.
I think I prefer them to the Hogue monogrip I bought for my Smith and Wesson 617 as well. They are more true to an original square butt set of grips than the Hogue mono grips. Both function well, but for the same money, I bought 2 sets of grips versus the Hogue grips.
Since purchasing the gun, it has been my primary carry. I've got 38 +p in it for now, but I think I am going to upgrade to .357 magnum with Barnes XPB bullets (such as the Corbon Thunder Ranch or DPX series).
Thursday, September 15, 2011
The Pick Punch!
My brother showed me the Pick Punch a few months ago. I finally got around to buying one.
At 25$ for the punch which produces a standard shaped pick (they also make one that does jazz picks but that isn't for me), it is extremely reasonably priced. It seems very well built although I had read reviews which state that the original version was a little less robust than the current incarnation. However, I also read that the manufacturer stands behind their product.
I know what you are thinking. 25$ can buy a lot of picks. Why bother getting a punch and making my own? Sure, 25$ can buy a lot of picks. That is, if you aren't fussy about what your picks are made out of. I am into thin (.50mm) Delrin picks. They are not too common. The Dunlop pink .46mm pick was my go to. But only one store locally carries it.
Delrin is not all that expensive, but yet, a pack of 72 picks costs something like 20$ on Amazon. I bought the punch and enough material to make more than 120 picks for 40$ shipped. I will never have to buy picks again! Additionally, I could have probably saved further had I purchased the Delrin from another company like McMaster Carr (although, again, the prices of the raw materials are extremely fair at Pick Punch).
One thing I would have liked to have seen was more thicknesses of the raw materials, but again, McMaster Carr has different materials and thicknesses.
All I know is, never having to buy picks again is a great feeling!
At 25$ for the punch which produces a standard shaped pick (they also make one that does jazz picks but that isn't for me), it is extremely reasonably priced. It seems very well built although I had read reviews which state that the original version was a little less robust than the current incarnation. However, I also read that the manufacturer stands behind their product.
I know what you are thinking. 25$ can buy a lot of picks. Why bother getting a punch and making my own? Sure, 25$ can buy a lot of picks. That is, if you aren't fussy about what your picks are made out of. I am into thin (.50mm) Delrin picks. They are not too common. The Dunlop pink .46mm pick was my go to. But only one store locally carries it.
Delrin is not all that expensive, but yet, a pack of 72 picks costs something like 20$ on Amazon. I bought the punch and enough material to make more than 120 picks for 40$ shipped. I will never have to buy picks again! Additionally, I could have probably saved further had I purchased the Delrin from another company like McMaster Carr (although, again, the prices of the raw materials are extremely fair at Pick Punch).
One thing I would have liked to have seen was more thicknesses of the raw materials, but again, McMaster Carr has different materials and thicknesses.
All I know is, never having to buy picks again is a great feeling!
Monday, August 22, 2011
The Ibanez Tube Screamer
Love it or hate it, when it came out, the Ibanez Tube Screamer TS808 was an innovative product which used a feedback loop with diode clipping to produce a distorted tone instead of overloading transistors. Now the method of using feedback diodes is practically standard.
Using feedback diodes to clip the signal gave a very predictable and controllable method to distort the signal. Instead of relying on the (extremely) variable gain of transistors, the amount of gain is controlled by very easily calculated formulas.
The only transistors in the design serve to buffer the input and outputs (virtually any small signal transistor will work for this and not influence the sound in any appreciable way) and operate the bistable flip flop which controls the effect switching.
The flip flop is at the heart of many modern pedals. While it is not true bypass, the buffer on the input minimizes any tone loss. In fact, it will have less tone loss than an effect pedal (such as a wah) with a non true bypass setup. This is because the input impedance of the effect is quite high while a wah pedal (without a buffer or true bypass) has a comparitively low input impedance. It is also cheaper to manufacture due to the reduced cost of transistors and tact switches than a traditional SPDT or DPDT (and now 3PDT) switch.
The original TubeScreamer was designed and manufactured by Maxxon (who now produce effects under their own name). Ibanez currently has a host of products that they market or have marketed as a Tube Screamer as well as products with different names and the same internals as a Tube Screamer. Most noteable are the TS808, TS9, TS5, TS7, and TS9DX. There are other models such as the TS808HW as well as a TS9 for bass which have come out recently.
The TS808 and the TS9 are very similar with small differences in part values here and there. Overall, the sound of the two pedals is quite similar and the easiest way to tell one from the other is the actual box design. The TS808 has a flat square style button which I personally find to be a little bit unreliable (particularly on the reissues). The TS9 on the other hand has a panel which activates a rather small tact switch underneath of it (DOD pedals used a VERY similar setup for some time). Tact switches can be replaced for pennies. The TS9DX looks like a TS9 except it has an extra knob which controls the clipping. One thing that is less obvious is the quality of the pots on the TS9 are MUCH higher than the TS9DX. Additionally, the pots are mounted onto two boards in the TS9DX so if you break a pot, be extremely careful when fitting a repacement or you will be buying a new pedal. The boards damage easily and have traces which lift off easily as well. This is not to say that the TS9DX is a bad or unreliable pedal. In fact, it is one of my favorites.
For some reason people believe that because you activate pedals with your feet, you can just kick them any old way. I have even heard people going on about BOSS pedals' bullet proof steel case design. Open up the battery door and look at the very delicate (and easily broken) switch that BOSS uses and then rethink how you abuse your pedals.
The TS5 was part of the SoundTank series. The sound tanks were small plastic enclosures (although the first few sound tanks released in blister packs were actually metal) designed to be very modestly priced. They actually sound surprisingly good AND are very quiet in terms of noise. In fact, the TS5 is much quieter with regard to noise than any other Tube Screamer I have ever used. I have own multiple TS5's in the past and they were all quieter than any TS9, TS9DX, or TS808 I had used. The tone of the TS5 was also mildly cleaner.
The TS7 was a part of the ToneLok series. The initial run of Tube Screamers from this series came in a green alloy case and eventually they were switched to a grey alloy. I do not like these pedals. They are built to be cheap and sound it. The enclosures are squeaky and prone to breaking. Fortunately, they have been discontinued and a return to the 9 series and their enclosures has been Ibanez's current offering of pedals.
Some of these models may use different values or ICs but all more or less sound as though they came from the same family. I have seen some Tube Screamers with metal film resistors (which supposedly have less thermal noise than carbon film) as well as different chips. The TS9 and the TS9DX for example do not use the same IC. The sound difference is noticeable to a discerning ear and both are recognizeable as Tube Screamers. I have also heard an early reissue versus later reissue where the later reissue was much much brighter than the earlier model. I can't really account for it (other than age and parts drift), but again, both were easily said to be Tube Screamers. As a whole, the Tube Screamer family all pretty much sound the same or close enough to each other than whichever one suits your needs best is the one that works.
I personally like the 9 series best because the enclosure is the strongest, doesn't use a goofy switch, and doesn't use a goofy adapter.
You can find more detailed circuit analysis online as well as mods, but what I'd really like to talk about now that I have given a bit of a background on the pedal is how to revive a dead Tube Screamer.
Firstly, never overlook the obvious. Always check your batteries, your adapters, cables, volume (on the guitar and amp), make sure your amp is plugged in, etc. Sometimes it is the obvious things that slip past us the easiest. If you are unsure of your setup, remove as much of it as possible until you are down to the guitar, a cord running into the effect, the effect, a cord running out of the effect, and the amplifier. You may have other trouble that you are falsely attributing to the Tube Screamer. In fact, make sure it is operating its own dedicated power supply be it a battery or adapter. Have a friend try it as well to verify that you aren't forgetting something obvious. This could save you a lot of trouble later on.
Here are some common problems with Tube Screamers and how to remedy them. Note, most of the issues here are talked about assuming you have a TS9, TS9DX, or TS808 (as they all share the same main board). These techniques can be applied to any of the Tube Screamers, but the pedal disassembly, and part locations may be different.
Does not work with a battery but works with an adapter - The adapter jack is broken. This is usually caused by somebody using the wrong adapter and forcing it into the jack. This in turn causes the switching adapter jack to become sprung and not short out when no adapter is used. Hopefully if somebody did this, they at least used a properly rated adapter or else you may have other issues. Sometimes the adapter jack is so badly mangled that the pedal won't work with an adapter either or will be intermittent. The solution is to replace the adapter jack or if you never use the adapter to short the adapter jack internally and use the pedal with batteries only. My advice, repair it correctly so as not to damage resale value should you decice to go that route.
Also, look for broken circuit boards around the ground lug (which helps hold the board down to the enclosure). This is common when the adapter jack is forced. To repair this break, take a piece of solid wire and strip all of the insulation off. Bend it around into a circle. and solder it over the ground lug pads. For additionaly reinforcement of the board, you can carefully use super glue or epoxy to mend the crack. Using glue may not be necessary depending on the size of the crack.
The effect does not work at all or only the clean sound comes through - This is almost always caused by using the wrong adapter but there are exceptions to this. Sometimes a bad switch simply will not switch leading you to believe that the effect is not working. The first place to look is at the protection diode. This is the diode located closest to the adapter jack and the ground lug. It is a larger diode that is used to shunt an adapter with the wrong polarity to gound. This will not protect against using an AC adapter nor will it protect against using too high a voltage adapter. If your adapter is putting out more than 10 volts, do not use it. A brand new alkaline 9 volt battery will actually put out closer to 10 volts.
What happens when you plug in the wrong polarity adapter? The diode begins to conduct around .6 volts. As far as the adapter is concerned, it sees a dead short and begins to draw infinite current (or whatever current it can draw before it overheats and destroys itself). Once this happens, it is a contest to see which will destroy itself first, the diode or the adapter. If the diode goes first, two things can happen, the diode can become open or the diode can short. Both are bad and both should lead to the immediate replacement of this diode. If the diode shorts, the pedal will never turn on as it will never get power. The batteries will also get hot as will the adapters. If the diode is open, the pedal is no longer protected. Damage is also likely to have occurred elsewhere.
The diode can be replaced with just about any diode but the 1N4007 is a pretty standard pick as it is robust enough to handle a shorted situation from an adapter for a brief moment without blowing. Observe correct polarity when replacing this part.
Additionally, you may need to replace the IC in the pedal. There is a lot of hype around the JRC4558D. These were originally made by Japan Radio Corporation. They are now being made by the New Japan Radio Corporation (NJRC) and are basically the same part. For extended options, you could put a socket in and try different chips and pick which sounds best to your ears. If you can find a chip with a marking 4558DD, the double D is an extra low noise variant.
If an AC supply was used, you will almost definitely need to replace the power filtering capactor. This should be pretty obvious as they literally explode when the wrong polarity is used as they short out. There may be a stringy substance that looks kind of like the insides of a cigarette filter hanging around an electrolytic capacitor. That is the one you want to replace.
In dealing with shorted supplies, I never had to replace any other parts than those 3 to get a Tube Screamer working again.
However, there are still other problems...like that pesky switch...
The effect does not switch - You have no reason to suspect a bad chip or anything of the like but the effect won't switch. How do you test to find out if you have a bad switch? On a TS9 open the battery door. Remove the battery foam. It pulls out. Most of the time it will fall apart, but if you are careful and take your time, you might be able to get it out without completely destroying it. There will be a small board beneath the foam. This board has two wires running to it connected to a momentary tact switch. Take a screwdriver and short the two leads or the tact switch itself. If the effect switches, you have a bad switch. Just about any good quality tact switch of the correct size will work.
This switch is not under foam on the 5 series pedals. They also use a much different switch. This switch is the same as SOME but not all of the switches on the 7 series. From what I understand, this has to do with country of origin of the pedal. These switches may be available online or perhaps with some clever improvising or rehousing, the pedal can be revived.
Another thing that can cause the effect not to switch is either a short or a cold solder joint in the flip flop section of the board. The resistors that have the ceramic caps tied to them are a good place to look for cold solder joints. Any close pads may also have too much solder and might be shorting them. Check carefully. Use a magnifying glass if need be. Obviously, if the effect was once working, I'd check for cold joints and not worry to much about shorted pads as that would have been a day 1 observation.
The light changes but the effect is either always clean or always dirty - You have a short in the flip flop section of the board or one of the FETs used to isolate the input and output of the effect are not getting powered correctly. Touch up all of the solder joints in that region with some fresh solder. Check any pads that might be close for solder bridges.
The tone control makes a lot of noise when it is above or below the 12 o'clock position - I have only ever seen this once, but the solution was replacing the bad tantalum capacitor for the tone control. This was a frustrating problem as I had never encountered a bad tantalum capacitor before. Be sure to observe correct polarity when replacing it and have another tantalum capacitor handy as they are very small physically and have high capacitance values that you will not be able to get a poly film style cap to fit and have the correct value.
If all else fails, you could always do what most people end up doing anyway, and return your pedal to a Guitar Center or Sam Ash type of store. These stores do a lot of business with Ibanez. Consequently, Ibanez does not even question their returns and will credit them. This translates to you getting a new pedal at little or no cost. You can decide on the morality of it.
I'm sure I missed something so if you have a unique situation, feel free to message me or post a comment and I will be sure to respond.
Using feedback diodes to clip the signal gave a very predictable and controllable method to distort the signal. Instead of relying on the (extremely) variable gain of transistors, the amount of gain is controlled by very easily calculated formulas.
The only transistors in the design serve to buffer the input and outputs (virtually any small signal transistor will work for this and not influence the sound in any appreciable way) and operate the bistable flip flop which controls the effect switching.
The flip flop is at the heart of many modern pedals. While it is not true bypass, the buffer on the input minimizes any tone loss. In fact, it will have less tone loss than an effect pedal (such as a wah) with a non true bypass setup. This is because the input impedance of the effect is quite high while a wah pedal (without a buffer or true bypass) has a comparitively low input impedance. It is also cheaper to manufacture due to the reduced cost of transistors and tact switches than a traditional SPDT or DPDT (and now 3PDT) switch.
The original TubeScreamer was designed and manufactured by Maxxon (who now produce effects under their own name). Ibanez currently has a host of products that they market or have marketed as a Tube Screamer as well as products with different names and the same internals as a Tube Screamer. Most noteable are the TS808, TS9, TS5, TS7, and TS9DX. There are other models such as the TS808HW as well as a TS9 for bass which have come out recently.
The TS808 and the TS9 are very similar with small differences in part values here and there. Overall, the sound of the two pedals is quite similar and the easiest way to tell one from the other is the actual box design. The TS808 has a flat square style button which I personally find to be a little bit unreliable (particularly on the reissues). The TS9 on the other hand has a panel which activates a rather small tact switch underneath of it (DOD pedals used a VERY similar setup for some time). Tact switches can be replaced for pennies. The TS9DX looks like a TS9 except it has an extra knob which controls the clipping. One thing that is less obvious is the quality of the pots on the TS9 are MUCH higher than the TS9DX. Additionally, the pots are mounted onto two boards in the TS9DX so if you break a pot, be extremely careful when fitting a repacement or you will be buying a new pedal. The boards damage easily and have traces which lift off easily as well. This is not to say that the TS9DX is a bad or unreliable pedal. In fact, it is one of my favorites.
For some reason people believe that because you activate pedals with your feet, you can just kick them any old way. I have even heard people going on about BOSS pedals' bullet proof steel case design. Open up the battery door and look at the very delicate (and easily broken) switch that BOSS uses and then rethink how you abuse your pedals.
The TS5 was part of the SoundTank series. The sound tanks were small plastic enclosures (although the first few sound tanks released in blister packs were actually metal) designed to be very modestly priced. They actually sound surprisingly good AND are very quiet in terms of noise. In fact, the TS5 is much quieter with regard to noise than any other Tube Screamer I have ever used. I have own multiple TS5's in the past and they were all quieter than any TS9, TS9DX, or TS808 I had used. The tone of the TS5 was also mildly cleaner.
The TS7 was a part of the ToneLok series. The initial run of Tube Screamers from this series came in a green alloy case and eventually they were switched to a grey alloy. I do not like these pedals. They are built to be cheap and sound it. The enclosures are squeaky and prone to breaking. Fortunately, they have been discontinued and a return to the 9 series and their enclosures has been Ibanez's current offering of pedals.
Some of these models may use different values or ICs but all more or less sound as though they came from the same family. I have seen some Tube Screamers with metal film resistors (which supposedly have less thermal noise than carbon film) as well as different chips. The TS9 and the TS9DX for example do not use the same IC. The sound difference is noticeable to a discerning ear and both are recognizeable as Tube Screamers. I have also heard an early reissue versus later reissue where the later reissue was much much brighter than the earlier model. I can't really account for it (other than age and parts drift), but again, both were easily said to be Tube Screamers. As a whole, the Tube Screamer family all pretty much sound the same or close enough to each other than whichever one suits your needs best is the one that works.
I personally like the 9 series best because the enclosure is the strongest, doesn't use a goofy switch, and doesn't use a goofy adapter.
You can find more detailed circuit analysis online as well as mods, but what I'd really like to talk about now that I have given a bit of a background on the pedal is how to revive a dead Tube Screamer.
Firstly, never overlook the obvious. Always check your batteries, your adapters, cables, volume (on the guitar and amp), make sure your amp is plugged in, etc. Sometimes it is the obvious things that slip past us the easiest. If you are unsure of your setup, remove as much of it as possible until you are down to the guitar, a cord running into the effect, the effect, a cord running out of the effect, and the amplifier. You may have other trouble that you are falsely attributing to the Tube Screamer. In fact, make sure it is operating its own dedicated power supply be it a battery or adapter. Have a friend try it as well to verify that you aren't forgetting something obvious. This could save you a lot of trouble later on.
Here are some common problems with Tube Screamers and how to remedy them. Note, most of the issues here are talked about assuming you have a TS9, TS9DX, or TS808 (as they all share the same main board). These techniques can be applied to any of the Tube Screamers, but the pedal disassembly, and part locations may be different.
Does not work with a battery but works with an adapter - The adapter jack is broken. This is usually caused by somebody using the wrong adapter and forcing it into the jack. This in turn causes the switching adapter jack to become sprung and not short out when no adapter is used. Hopefully if somebody did this, they at least used a properly rated adapter or else you may have other issues. Sometimes the adapter jack is so badly mangled that the pedal won't work with an adapter either or will be intermittent. The solution is to replace the adapter jack or if you never use the adapter to short the adapter jack internally and use the pedal with batteries only. My advice, repair it correctly so as not to damage resale value should you decice to go that route.
Also, look for broken circuit boards around the ground lug (which helps hold the board down to the enclosure). This is common when the adapter jack is forced. To repair this break, take a piece of solid wire and strip all of the insulation off. Bend it around into a circle. and solder it over the ground lug pads. For additionaly reinforcement of the board, you can carefully use super glue or epoxy to mend the crack. Using glue may not be necessary depending on the size of the crack.
The effect does not work at all or only the clean sound comes through - This is almost always caused by using the wrong adapter but there are exceptions to this. Sometimes a bad switch simply will not switch leading you to believe that the effect is not working. The first place to look is at the protection diode. This is the diode located closest to the adapter jack and the ground lug. It is a larger diode that is used to shunt an adapter with the wrong polarity to gound. This will not protect against using an AC adapter nor will it protect against using too high a voltage adapter. If your adapter is putting out more than 10 volts, do not use it. A brand new alkaline 9 volt battery will actually put out closer to 10 volts.
What happens when you plug in the wrong polarity adapter? The diode begins to conduct around .6 volts. As far as the adapter is concerned, it sees a dead short and begins to draw infinite current (or whatever current it can draw before it overheats and destroys itself). Once this happens, it is a contest to see which will destroy itself first, the diode or the adapter. If the diode goes first, two things can happen, the diode can become open or the diode can short. Both are bad and both should lead to the immediate replacement of this diode. If the diode shorts, the pedal will never turn on as it will never get power. The batteries will also get hot as will the adapters. If the diode is open, the pedal is no longer protected. Damage is also likely to have occurred elsewhere.
The diode can be replaced with just about any diode but the 1N4007 is a pretty standard pick as it is robust enough to handle a shorted situation from an adapter for a brief moment without blowing. Observe correct polarity when replacing this part.
Additionally, you may need to replace the IC in the pedal. There is a lot of hype around the JRC4558D. These were originally made by Japan Radio Corporation. They are now being made by the New Japan Radio Corporation (NJRC) and are basically the same part. For extended options, you could put a socket in and try different chips and pick which sounds best to your ears. If you can find a chip with a marking 4558DD, the double D is an extra low noise variant.
If an AC supply was used, you will almost definitely need to replace the power filtering capactor. This should be pretty obvious as they literally explode when the wrong polarity is used as they short out. There may be a stringy substance that looks kind of like the insides of a cigarette filter hanging around an electrolytic capacitor. That is the one you want to replace.
In dealing with shorted supplies, I never had to replace any other parts than those 3 to get a Tube Screamer working again.
However, there are still other problems...like that pesky switch...
The effect does not switch - You have no reason to suspect a bad chip or anything of the like but the effect won't switch. How do you test to find out if you have a bad switch? On a TS9 open the battery door. Remove the battery foam. It pulls out. Most of the time it will fall apart, but if you are careful and take your time, you might be able to get it out without completely destroying it. There will be a small board beneath the foam. This board has two wires running to it connected to a momentary tact switch. Take a screwdriver and short the two leads or the tact switch itself. If the effect switches, you have a bad switch. Just about any good quality tact switch of the correct size will work.
This switch is not under foam on the 5 series pedals. They also use a much different switch. This switch is the same as SOME but not all of the switches on the 7 series. From what I understand, this has to do with country of origin of the pedal. These switches may be available online or perhaps with some clever improvising or rehousing, the pedal can be revived.
Another thing that can cause the effect not to switch is either a short or a cold solder joint in the flip flop section of the board. The resistors that have the ceramic caps tied to them are a good place to look for cold solder joints. Any close pads may also have too much solder and might be shorting them. Check carefully. Use a magnifying glass if need be. Obviously, if the effect was once working, I'd check for cold joints and not worry to much about shorted pads as that would have been a day 1 observation.
The light changes but the effect is either always clean or always dirty - You have a short in the flip flop section of the board or one of the FETs used to isolate the input and output of the effect are not getting powered correctly. Touch up all of the solder joints in that region with some fresh solder. Check any pads that might be close for solder bridges.
The tone control makes a lot of noise when it is above or below the 12 o'clock position - I have only ever seen this once, but the solution was replacing the bad tantalum capacitor for the tone control. This was a frustrating problem as I had never encountered a bad tantalum capacitor before. Be sure to observe correct polarity when replacing it and have another tantalum capacitor handy as they are very small physically and have high capacitance values that you will not be able to get a poly film style cap to fit and have the correct value.
If all else fails, you could always do what most people end up doing anyway, and return your pedal to a Guitar Center or Sam Ash type of store. These stores do a lot of business with Ibanez. Consequently, Ibanez does not even question their returns and will credit them. This translates to you getting a new pedal at little or no cost. You can decide on the morality of it.
I'm sure I missed something so if you have a unique situation, feel free to message me or post a comment and I will be sure to respond.
Sunday, August 14, 2011
This is really more about guitars than guns anymore...
I have been debating changing this to a guitar only profile, but I know the moment I do, I will want to make some sort of gun update. I just haven't been in a gun space at all. I haven't even been shooting in a few months. I have been way more wrapped up in the wonderful world of guitar.
80/20 - For as long as I can remember, I have been playing 80/20 strings on my acoustic guitars. I could never put my finger on it but they always sounded a little brighter and more jangly than phosphor bronze and I felt like their life was a little better as well.
As my friends are all aware, I have an obsession with brass nuts on my guitars. My plan is to eventually have all of my guitars converted over. The harder material results in a better tone in my opinion. Yes tone is subjective, but bear in mind that older instruments used to have ivory and bone nuts because the material was somewhat dense. Compare that to a piece of plastic and you will be surprised at how much difference it makes.
During the course of my research of brass, I started seeing people listing "Bell Brass" as a material they used. What is bell brass!? Bell brass is a misnomer. It doesn't exist. What they actually mean (or are cleverly deceiving you into believing they are talking about) is bell bronze. Bronze, like brass, is a copper alloy but instead of zinc, it is mixed with tin. Bell bronze is a ratio of 80% copper to 20% tin. This is where 80/20 comes from. This also explains why they are brighter. They are bell bronze instead of phosphor bronze. I am not suggesting that 80/20 strings are right for everybody, but if your guitar is a dark sounding guitar, you may want to give them a try.
Bell bronze is also used in high end cymbals.
"Tremolo" Blocks - In the course of additional research I came across a website selling a replacement trem block for a strat (or just about any floyd rose style guitar) made of brass, steel, or titanium. Tremolo is another misnomer for vibrato. We can thank Leo Fender for this one.
So what is the difference? Tremolo is a frequency based shift in volume while vibrato is a shift in the pitch of the note. Both are used interchangeably but they are not the same. If pitch is involved, it is vibrato. If volume is involved it is tremolo.
The trem block (calling it a trem block irks me to no end) has a rather dramatic effect on the sound of the guitar. This is because the density of the block will actually change how the guitar sounds.
Have you ever noticed how a heavier guitar sounds darker than a lighter guitar? This is because the lighter guitar can more easily resonate the higher notes which have less mechanical energy than the lower notes. This is true of all guitars. Having a heavier block will sound darker.
BUT...there is more. Some materials have the ability to absorb the signal rather than transfer it. This has to do with the elasticity of the material itself. A material which has a particularly high elasticity will not sound as "clear" as a more dense and hard material.
Most import guitars (and even some non import) use zinc alloy blocks because they are cheaper. The original blocks Fender made were steel. So how do you know which is which? Looking at them really doesn't tell you much, but a magnet will let you know quickly and easily.
The difference is quite noticeable. Even acoustically, an electric guitar with a steel block will sound better. I have not tried a brass block yet, but plan on it.
Bear in mind that the block size is not the same for every guitar and not every manufacturer of blocks sells for every model.
Additionally, the actual materials used (there are a lot of alloys that can be called steel or brass that are very different from each other) are not all the same. Costs vary from as little as 25$ or so up to 75$ or more.
All Original? - A friend of mine is selling an old Ampeg Gemini II. They, by their own admission, don't know too much about it and asked me to help field some questions they were receiving from potential buyers.
One of the questions was, "Does it have the original tubes?" For some reason that question almost infuriated me (yes I am quick to rage). What difference does that make? The amp is 40+ years old. Why not ask, "Does your guitar have the factory strings on it?" "Does your car have the same tires on it after 40 years?" Routine maintenance includes tubes, changing power cords, recapping power supplies, etc. I fail to see how having a suspect part in an amp will increas its value to anybody.
It is a damned if you do and damned if you don't situation.
Does it have all of the original tubes? Yes. Then I am going to need to retube it.
Does it have all of the original tubes? No. Then it isn't worth as much.
Believe it or not, when tube amps were in their prime, tubes were sold everywhere and people didn't make a habit of keeping bad tubes around. Vintage equipment was unheard of. It was called used. So when somebody changed the tubes in their amp, they didn't keep the old bad ones around thinking it might make for a better collector's piece in 20 years.
If you don't know what to look for when buying an amp, don't ask stupid questions. Take somebody who might know with you. Not once have I ever not bought an amp because the original tubes weren't in it. In fact, I don't think I have ever bought a used amp with the original tubes in it.
Yet these people who clearly don't know any better would rather have an amp or guitar "ALL ORIGINAL" but in unworking or unplayable condition than have something that works and had a part that wasn't given any more thought than cost from the start replaced. It isn't like Fender or Ampeg picked the caps and resistors they did because they were the best of the best. They picked them because they were cheap and tubes were most likely no different.
Maintained is not the same as modified. Some modified equipment is done quite professionally and a lot of it is butchered. Nobody likes to see the latter. But why not judge a piece of equipment for how it sounds instead of how much it is worth to a collector?
80/20 - For as long as I can remember, I have been playing 80/20 strings on my acoustic guitars. I could never put my finger on it but they always sounded a little brighter and more jangly than phosphor bronze and I felt like their life was a little better as well.
As my friends are all aware, I have an obsession with brass nuts on my guitars. My plan is to eventually have all of my guitars converted over. The harder material results in a better tone in my opinion. Yes tone is subjective, but bear in mind that older instruments used to have ivory and bone nuts because the material was somewhat dense. Compare that to a piece of plastic and you will be surprised at how much difference it makes.
During the course of my research of brass, I started seeing people listing "Bell Brass" as a material they used. What is bell brass!? Bell brass is a misnomer. It doesn't exist. What they actually mean (or are cleverly deceiving you into believing they are talking about) is bell bronze. Bronze, like brass, is a copper alloy but instead of zinc, it is mixed with tin. Bell bronze is a ratio of 80% copper to 20% tin. This is where 80/20 comes from. This also explains why they are brighter. They are bell bronze instead of phosphor bronze. I am not suggesting that 80/20 strings are right for everybody, but if your guitar is a dark sounding guitar, you may want to give them a try.
Bell bronze is also used in high end cymbals.
"Tremolo" Blocks - In the course of additional research I came across a website selling a replacement trem block for a strat (or just about any floyd rose style guitar) made of brass, steel, or titanium. Tremolo is another misnomer for vibrato. We can thank Leo Fender for this one.
So what is the difference? Tremolo is a frequency based shift in volume while vibrato is a shift in the pitch of the note. Both are used interchangeably but they are not the same. If pitch is involved, it is vibrato. If volume is involved it is tremolo.
The trem block (calling it a trem block irks me to no end) has a rather dramatic effect on the sound of the guitar. This is because the density of the block will actually change how the guitar sounds.
Have you ever noticed how a heavier guitar sounds darker than a lighter guitar? This is because the lighter guitar can more easily resonate the higher notes which have less mechanical energy than the lower notes. This is true of all guitars. Having a heavier block will sound darker.
BUT...there is more. Some materials have the ability to absorb the signal rather than transfer it. This has to do with the elasticity of the material itself. A material which has a particularly high elasticity will not sound as "clear" as a more dense and hard material.
Most import guitars (and even some non import) use zinc alloy blocks because they are cheaper. The original blocks Fender made were steel. So how do you know which is which? Looking at them really doesn't tell you much, but a magnet will let you know quickly and easily.
The difference is quite noticeable. Even acoustically, an electric guitar with a steel block will sound better. I have not tried a brass block yet, but plan on it.
Bear in mind that the block size is not the same for every guitar and not every manufacturer of blocks sells for every model.
Additionally, the actual materials used (there are a lot of alloys that can be called steel or brass that are very different from each other) are not all the same. Costs vary from as little as 25$ or so up to 75$ or more.
All Original? - A friend of mine is selling an old Ampeg Gemini II. They, by their own admission, don't know too much about it and asked me to help field some questions they were receiving from potential buyers.
One of the questions was, "Does it have the original tubes?" For some reason that question almost infuriated me (yes I am quick to rage). What difference does that make? The amp is 40+ years old. Why not ask, "Does your guitar have the factory strings on it?" "Does your car have the same tires on it after 40 years?" Routine maintenance includes tubes, changing power cords, recapping power supplies, etc. I fail to see how having a suspect part in an amp will increas its value to anybody.
It is a damned if you do and damned if you don't situation.
Does it have all of the original tubes? Yes. Then I am going to need to retube it.
Does it have all of the original tubes? No. Then it isn't worth as much.
Believe it or not, when tube amps were in their prime, tubes were sold everywhere and people didn't make a habit of keeping bad tubes around. Vintage equipment was unheard of. It was called used. So when somebody changed the tubes in their amp, they didn't keep the old bad ones around thinking it might make for a better collector's piece in 20 years.
If you don't know what to look for when buying an amp, don't ask stupid questions. Take somebody who might know with you. Not once have I ever not bought an amp because the original tubes weren't in it. In fact, I don't think I have ever bought a used amp with the original tubes in it.
Yet these people who clearly don't know any better would rather have an amp or guitar "ALL ORIGINAL" but in unworking or unplayable condition than have something that works and had a part that wasn't given any more thought than cost from the start replaced. It isn't like Fender or Ampeg picked the caps and resistors they did because they were the best of the best. They picked them because they were cheap and tubes were most likely no different.
Maintained is not the same as modified. Some modified equipment is done quite professionally and a lot of it is butchered. Nobody likes to see the latter. But why not judge a piece of equipment for how it sounds instead of how much it is worth to a collector?
Saturday, July 9, 2011
Fender's Highway One Stratocaster
Another gunless weekend, but lately that has just been how it is. I have literally been scouring every local music shop in hopes of finding something while searching for nothing in particular.
What I've noticed is that nearly every shop carries guitars in 5 colors - white, black, sunburst, red, and blue. Personally, I get excited when I see a guitar in a nice daphne or sonic blue, fiesta red, surf green! Just anything other than the standard.
I had this strange feeling the other day when I saw a nice Gibson semi-hollow guitar. I wanted it. I haven't felt that way in a long time. And over a Gibson? That almost never happens. I think the start of a quest has begun. Now I need to find the model for me. Gibson has made so many models over the years. Plus I think I am over my hatred of the humbucking pickup. I get it now...well again. I used to understand before I knew any better.
Having worked with Perri Ink and Boogie Bodies, I get it again! Just like single coils, humbuckers can have life or be dull toneless pickups. It is about picking and choosing.
Nearly all of the local stores were exhausted when I remembered that another big box store started carrying musical instruments a few years ago...Can you guess which one? I decided to take a stop inside. I was pleasantly surprised by a wall of nice guitars, staff that left me alone, and Fender guitars which had been marked down. This was most likely due to the fact that they had 2007 serial numbers meaning they had probably sat in the store for 3 years without being purchased.
I was never a "strat man". I've always wanted to be. The format is so cool! 3 single coil pickups, vibrato that mostly works, tons of modification possibilities! I've owned strats in the past. Quite a number of them actually. And what usually ends up happening is they get sold because they don't ever quite feel right. In the end, I usually end up regretting selling my strats and end up buying another for twice as much money.
Additionally, I have been lusting for rosewood finger boards again. The only rosewood finger board I have on an electric guitar is on my Jazzmaster AVRI. Since I play so much acoustic guitar anymore, it just feels more natural to me.
So I pick up this strat and notice it is marked a little over 500$ and peak at the back of the headstock to see country of origin and am surprised by the made in the USA note. I had to pick it up! I payed more than that more than 10 years ago for my first American Standard Telecaster in 1999. It played okay and felt a lot like any other American standard guitar...So what is the deal then?
It was Fender's Highway One Stratocaster. Their lowest price point American made guitar. They feature 3 Alnico 3 pickups (with no stagger on the magnets), a nitrocellulose lacquer finish, and a large CBS style headstock. There are apparently other incarnations of this model with different pickup configurations and models which are known as "pre upgrade" models which some people prefer and some do not.
Up until this point, I hadn't even plugged the guitar in. Most of the time, I don't find it necessary but I was still pretty intrigued by this guitar. I gave it my usual visual inspection and noticed some dents and dings...Most likely from sitting in the store for 3 years. I also spotted one of the straightest and nicest fret jobs I have seen on an off the shelf Fender to date. I am not sure if the staff at the store set the guitar up or what, but the neck was set extremely well. The bridge was a sitting a little high, but an easy fix.
I decided to plug the guitar in. I chose a 1965 Deluxe Reverb RI. Here is a cool trick for all vintage 2 channel Fender amps with reverb. Plug into the non reverb channel...This channel will have less tone sucking. The reverb circuit has huge tonal losses and large series resistance which makes it sound less bright and dull when compared to the normal channel with equivalent settings. Anyway, as for the trick, crank the reverb on the reverb channel to 10. Be sure the tubes for the reverb circuit are not microphonic or otherwise resonant or else this will probably make you sorry. Now turn the amp up on the normal channel and play. You will hear reverb. This is because the reverb tank is being naturally vibrated by the amp cabinet. The reverb will not be real loud and in your face, but it will be much more musical.
I was pretty happy with how the guitar sounded. I had read reviews later that night which mentioned how the guitar was too hot to have a vintage sound. I disagree. I think people's reference is probably skewed. I have had some custom pickups wound by Ken at Angeltone to 50's spec and these pickups really reminded me of those. Early Fender pickups were almost always generally hotter and later years usually made them less hot.
I was able to get some nice tones regardless of my impression of the pickups. Another quirk I found is the middle tone control was left off of the middle pickup and put on the bridge pickup. I will end up rewiring later. I think the Delta Tone style controls are the best. No load at 10 and otherwise normal when turned down. My American Standard Telecaster has this setup from the factory and it is great!
While playing the guitar, I spotted its older brother in the corner. Another Highway One Stratocaster in the same honey blonde finish. I played it and compared the two. Both played exceptionally well. The necks were both extremely straight with no twisting or buckling of the frets. Both were also from 2007. It showed the same sort of bumps and bruises of any 3 year old guitar getting played by whoever walks through the door.
I asked about a discount for the scrapes and was pleasantly surprised when I got one. It wasn't much off but it put the guitars at 500$ even. I took both! You can imagine my surprise when they gave me gig bags with each guitar and 2 free packs of strings of my choice so long as the cost didn't go over 20$!
I am still honeymooning, but I have a few criticisms that I knew going into the guitars. Firstly, I don't like blonde finishes where the wood grain makes it apparent that you have like 3 pieces of wood glued together. Both of these guitars have that. It isn't a big deal, but it is a little pet peeve. Just the same as when Gibson purposely does not line up the grain of book matched tops. I am also not crazy about the "modern c shape" necks as they are a little thin. I tend to like meatier necks. However, that doesn't seem to be too common anymore as most companies use smaller necks.
I was surprised that the large frets didn't really bother me. I expected to hate them, but I wasn't really bothered by them. Perhaps it isn't large frets that bother me so much as large frets on poorly fretted guitars.
The 9.5" radius isn't too bad either. I think it works for a strat and makes the non staggered pickups make sense. Perhaps I am reading into this a little bit much though.
Now if only the people working at the store would have checked the gig bags. I asked to make sure they included the fender kits with the manuals and tools and whammy bars. I was told yes. One bag had a strat kit. The other had a tele kit. Additionally, the strat kit was for a strat with a cream colored pickguard so the knob on the whammy bar was cream instead of white. Not a big deal, but it is that sort of attention to detail that is missing.
In other guitar related news, I have not one...but TWO circuit boards for the Fernandes FSK-401 Sustainer on the way to replace the one I managed to crack a while ago. I didn't intend to buy two. But sometimes things just happen to work out that way. A quick note for anybody going this route, if you have to order replacement parts, try with the manufacturer before the distributor. They distributor will mark up the cost above the manufacturers cost. The like to make money all along the way.
I realize the circuit isn't the complex part. I probably could have wired something up to work. But I just don't feel that motivated. However, now I will have a second board and no driver. I have been considering cannibalizing a pickup and making a new driver. It doesn't look too hard. I just need to find the right gauge magnet wire.
Another fun project on the horizon is an Alembic active pickup set for a Telecaster I have. It needs one of the knobs and a trim pot repaired. I emailed Alembic about it today to see if they still stock the parts or if I need to get them from Mouser or elsewhere. I remember the pickups sounding really good in the junk tele they were in. I hope my memory serves me correctly. I thought it was interesting that Alembic claims to be the first active electronics company for guitar. On their site, they say they started back in 1969! Impressive!
Some wah parts I ordered from www.dandyjob.com came in as well. I have 2 broken crybaby wahs that I plan to fix and toy with.
All of these projects and I always wonder how I have so much to work on!?
What I've noticed is that nearly every shop carries guitars in 5 colors - white, black, sunburst, red, and blue. Personally, I get excited when I see a guitar in a nice daphne or sonic blue, fiesta red, surf green! Just anything other than the standard.
I had this strange feeling the other day when I saw a nice Gibson semi-hollow guitar. I wanted it. I haven't felt that way in a long time. And over a Gibson? That almost never happens. I think the start of a quest has begun. Now I need to find the model for me. Gibson has made so many models over the years. Plus I think I am over my hatred of the humbucking pickup. I get it now...well again. I used to understand before I knew any better.
Having worked with Perri Ink and Boogie Bodies, I get it again! Just like single coils, humbuckers can have life or be dull toneless pickups. It is about picking and choosing.
Nearly all of the local stores were exhausted when I remembered that another big box store started carrying musical instruments a few years ago...Can you guess which one? I decided to take a stop inside. I was pleasantly surprised by a wall of nice guitars, staff that left me alone, and Fender guitars which had been marked down. This was most likely due to the fact that they had 2007 serial numbers meaning they had probably sat in the store for 3 years without being purchased.
I was never a "strat man". I've always wanted to be. The format is so cool! 3 single coil pickups, vibrato that mostly works, tons of modification possibilities! I've owned strats in the past. Quite a number of them actually. And what usually ends up happening is they get sold because they don't ever quite feel right. In the end, I usually end up regretting selling my strats and end up buying another for twice as much money.
Additionally, I have been lusting for rosewood finger boards again. The only rosewood finger board I have on an electric guitar is on my Jazzmaster AVRI. Since I play so much acoustic guitar anymore, it just feels more natural to me.
So I pick up this strat and notice it is marked a little over 500$ and peak at the back of the headstock to see country of origin and am surprised by the made in the USA note. I had to pick it up! I payed more than that more than 10 years ago for my first American Standard Telecaster in 1999. It played okay and felt a lot like any other American standard guitar...So what is the deal then?
It was Fender's Highway One Stratocaster. Their lowest price point American made guitar. They feature 3 Alnico 3 pickups (with no stagger on the magnets), a nitrocellulose lacquer finish, and a large CBS style headstock. There are apparently other incarnations of this model with different pickup configurations and models which are known as "pre upgrade" models which some people prefer and some do not.
Up until this point, I hadn't even plugged the guitar in. Most of the time, I don't find it necessary but I was still pretty intrigued by this guitar. I gave it my usual visual inspection and noticed some dents and dings...Most likely from sitting in the store for 3 years. I also spotted one of the straightest and nicest fret jobs I have seen on an off the shelf Fender to date. I am not sure if the staff at the store set the guitar up or what, but the neck was set extremely well. The bridge was a sitting a little high, but an easy fix.
I decided to plug the guitar in. I chose a 1965 Deluxe Reverb RI. Here is a cool trick for all vintage 2 channel Fender amps with reverb. Plug into the non reverb channel...This channel will have less tone sucking. The reverb circuit has huge tonal losses and large series resistance which makes it sound less bright and dull when compared to the normal channel with equivalent settings. Anyway, as for the trick, crank the reverb on the reverb channel to 10. Be sure the tubes for the reverb circuit are not microphonic or otherwise resonant or else this will probably make you sorry. Now turn the amp up on the normal channel and play. You will hear reverb. This is because the reverb tank is being naturally vibrated by the amp cabinet. The reverb will not be real loud and in your face, but it will be much more musical.
I was pretty happy with how the guitar sounded. I had read reviews later that night which mentioned how the guitar was too hot to have a vintage sound. I disagree. I think people's reference is probably skewed. I have had some custom pickups wound by Ken at Angeltone to 50's spec and these pickups really reminded me of those. Early Fender pickups were almost always generally hotter and later years usually made them less hot.
I was able to get some nice tones regardless of my impression of the pickups. Another quirk I found is the middle tone control was left off of the middle pickup and put on the bridge pickup. I will end up rewiring later. I think the Delta Tone style controls are the best. No load at 10 and otherwise normal when turned down. My American Standard Telecaster has this setup from the factory and it is great!
While playing the guitar, I spotted its older brother in the corner. Another Highway One Stratocaster in the same honey blonde finish. I played it and compared the two. Both played exceptionally well. The necks were both extremely straight with no twisting or buckling of the frets. Both were also from 2007. It showed the same sort of bumps and bruises of any 3 year old guitar getting played by whoever walks through the door.
I asked about a discount for the scrapes and was pleasantly surprised when I got one. It wasn't much off but it put the guitars at 500$ even. I took both! You can imagine my surprise when they gave me gig bags with each guitar and 2 free packs of strings of my choice so long as the cost didn't go over 20$!
I am still honeymooning, but I have a few criticisms that I knew going into the guitars. Firstly, I don't like blonde finishes where the wood grain makes it apparent that you have like 3 pieces of wood glued together. Both of these guitars have that. It isn't a big deal, but it is a little pet peeve. Just the same as when Gibson purposely does not line up the grain of book matched tops. I am also not crazy about the "modern c shape" necks as they are a little thin. I tend to like meatier necks. However, that doesn't seem to be too common anymore as most companies use smaller necks.
I was surprised that the large frets didn't really bother me. I expected to hate them, but I wasn't really bothered by them. Perhaps it isn't large frets that bother me so much as large frets on poorly fretted guitars.
The 9.5" radius isn't too bad either. I think it works for a strat and makes the non staggered pickups make sense. Perhaps I am reading into this a little bit much though.
Now if only the people working at the store would have checked the gig bags. I asked to make sure they included the fender kits with the manuals and tools and whammy bars. I was told yes. One bag had a strat kit. The other had a tele kit. Additionally, the strat kit was for a strat with a cream colored pickguard so the knob on the whammy bar was cream instead of white. Not a big deal, but it is that sort of attention to detail that is missing.
In other guitar related news, I have not one...but TWO circuit boards for the Fernandes FSK-401 Sustainer on the way to replace the one I managed to crack a while ago. I didn't intend to buy two. But sometimes things just happen to work out that way. A quick note for anybody going this route, if you have to order replacement parts, try with the manufacturer before the distributor. They distributor will mark up the cost above the manufacturers cost. The like to make money all along the way.
I realize the circuit isn't the complex part. I probably could have wired something up to work. But I just don't feel that motivated. However, now I will have a second board and no driver. I have been considering cannibalizing a pickup and making a new driver. It doesn't look too hard. I just need to find the right gauge magnet wire.
Another fun project on the horizon is an Alembic active pickup set for a Telecaster I have. It needs one of the knobs and a trim pot repaired. I emailed Alembic about it today to see if they still stock the parts or if I need to get them from Mouser or elsewhere. I remember the pickups sounding really good in the junk tele they were in. I hope my memory serves me correctly. I thought it was interesting that Alembic claims to be the first active electronics company for guitar. On their site, they say they started back in 1969! Impressive!
Some wah parts I ordered from www.dandyjob.com came in as well. I have 2 broken crybaby wahs that I plan to fix and toy with.
All of these projects and I always wonder how I have so much to work on!?
Monday, July 4, 2011
Tuner Reviews
Sick and tired of junky tuners, I decided it was time to upgrade.
I purchased 3 new units in 3 different price points and decided to review each one and talk about their features a little bit. I am not going to get too in depth with things such as operation as there are other reviews which do this. Instead I will try and talk about things that I felt made each of these tuners unique.
I have had a lot of different experiences with tuners from the past. I always liked my little hand held Korg tuner which was reliable and I also have a Boss analog needle tuner that I am fond of. However, I feel the Korg isn't quite a professional level tuner and the Boss is fragile as are all analog needle gauges.
Fortunately, things aren't the same as they were in years past. With all of the competition in the guitar market, you almost have to try to buy a bad tuner. So if they all do the job pretty good, what is the difference?
First up, I bought a Snark SN-1. The SN-1 is a clamp on headstock style chromatic tuner that have become rather popular over the past few years. These things have always fascinated me so I finally decided to try one myself. I happened to like how easily the tuner face was adjustable so I could see it from any direction. I also liked the nice bright screen. I figured for quick tuning, this would be my go to.
I was unable to find any information which mentioned how accurate the tuner was. I can say that from using it, I was definitely in tune.
The tuner also has some sort of silent metronome feature which seems gratuitous and silly to me. However, that isn't nearly as silly to me as the transposing feature on it. With it you can transpose UP but not down. This reminds me of the "Key" "feature" on my horrible Seiko tuner (they should have stuck to making watches!). It is illogical and stupid. It is a chromatic tuner! Why is this feature on there!?
Retail cost was 29$ as the Snark site suggests. The tuner comes with a battery but it is an oddball so if this were my only tuner, I might keep another one around. All things considered, I think this is a great tuner which works equally well on acoustic and electric guitars (despite having no microphone - the SN-2 does however have a microphone) and doesn't require any sort of additional equipment like a cable or pickup to function. It costs as much as any other entry level tuner and works at least as well without any hassle.
Next up is the TC Electronics Polytune. Polytuning? What on earth is that!? Wouldn't it be neat to be able to just strum all 6 strings on the guitar at once and tune them all quickly? With the TC Electronics Polytune, you can!! I was skeptical at first so I had to check one out.
Apparently, this is not the only polyphonic tuner on the market. I also looked at a Digitech HT-6 and have to admit that I was unimpressed with the size of and general aesthetic appearance of their pedal. The Polytune comes in a nice MXR sized case and features true bypass (or so they claimed, I have learned it is often best not to take the rabbit out of the hat). This is an electric guitar only tuner. I haven't tried it with an acoustic guitar with a pickup, but have to imagine it would probably work equally as well. It has no microphone.
From what I can tell, this thing is pretty high tech. TC Electronics' website says there will be new software available for it soon allowing for drop D tunings. New software!? It is basically a small computer that is out to help you tune up! There is a small USB port on the back of the tuner.
The display is easy to understand and the tuner has a .5 cent accuracy. This tuner does allow for dropped tunings and is a chromatic tuner if you are tuning each string individually.
I am impressed. It does what it claims to do and allows for quick tuning. At 99$, this is competitively priced with any other pedal tuner on the market. A skeptic has been converted!
I apologize for my thoughts on the TC Electronics Polytune being so disorganized. It has literally taken me days to process all of this information myself. It is like learning how to tune a guitar all over again.
Last up is the Peterson StroboFlip virtual strobe tuner. Having never used a strobe tuner before, there was a lot to get used to. The manual is an actual book! I am glad it was however, it answered all of my questions as I read it from cover to cover.
This tuner is accurate to .1 cent. This is a blessing and a curse. Fine tuning can take quite a bit of time to accomplish. So this isn't exactly a fast tuner. I bought mine more for setting intonation. However, I learned it had some really unique features such as adjustable temperments and sweetened tunings to accomodate for standard temperments.
It works equally well with electric and acoustic instruments as it has a clip on pickup for acoustic instruments. Assuming you have read the manual, the display is easy to understand.
I also liked that it came with an AC adapter.
At 200$, you will be pressed to find a more accurate tuner on the market.
I purchased 3 new units in 3 different price points and decided to review each one and talk about their features a little bit. I am not going to get too in depth with things such as operation as there are other reviews which do this. Instead I will try and talk about things that I felt made each of these tuners unique.
I have had a lot of different experiences with tuners from the past. I always liked my little hand held Korg tuner which was reliable and I also have a Boss analog needle tuner that I am fond of. However, I feel the Korg isn't quite a professional level tuner and the Boss is fragile as are all analog needle gauges.
Fortunately, things aren't the same as they were in years past. With all of the competition in the guitar market, you almost have to try to buy a bad tuner. So if they all do the job pretty good, what is the difference?
First up, I bought a Snark SN-1. The SN-1 is a clamp on headstock style chromatic tuner that have become rather popular over the past few years. These things have always fascinated me so I finally decided to try one myself. I happened to like how easily the tuner face was adjustable so I could see it from any direction. I also liked the nice bright screen. I figured for quick tuning, this would be my go to.
I was unable to find any information which mentioned how accurate the tuner was. I can say that from using it, I was definitely in tune.
The tuner also has some sort of silent metronome feature which seems gratuitous and silly to me. However, that isn't nearly as silly to me as the transposing feature on it. With it you can transpose UP but not down. This reminds me of the "Key" "feature" on my horrible Seiko tuner (they should have stuck to making watches!). It is illogical and stupid. It is a chromatic tuner! Why is this feature on there!?
Retail cost was 29$ as the Snark site suggests. The tuner comes with a battery but it is an oddball so if this were my only tuner, I might keep another one around. All things considered, I think this is a great tuner which works equally well on acoustic and electric guitars (despite having no microphone - the SN-2 does however have a microphone) and doesn't require any sort of additional equipment like a cable or pickup to function. It costs as much as any other entry level tuner and works at least as well without any hassle.
Next up is the TC Electronics Polytune. Polytuning? What on earth is that!? Wouldn't it be neat to be able to just strum all 6 strings on the guitar at once and tune them all quickly? With the TC Electronics Polytune, you can!! I was skeptical at first so I had to check one out.
Apparently, this is not the only polyphonic tuner on the market. I also looked at a Digitech HT-6 and have to admit that I was unimpressed with the size of and general aesthetic appearance of their pedal. The Polytune comes in a nice MXR sized case and features true bypass (or so they claimed, I have learned it is often best not to take the rabbit out of the hat). This is an electric guitar only tuner. I haven't tried it with an acoustic guitar with a pickup, but have to imagine it would probably work equally as well. It has no microphone.
From what I can tell, this thing is pretty high tech. TC Electronics' website says there will be new software available for it soon allowing for drop D tunings. New software!? It is basically a small computer that is out to help you tune up! There is a small USB port on the back of the tuner.
The display is easy to understand and the tuner has a .5 cent accuracy. This tuner does allow for dropped tunings and is a chromatic tuner if you are tuning each string individually.
I am impressed. It does what it claims to do and allows for quick tuning. At 99$, this is competitively priced with any other pedal tuner on the market. A skeptic has been converted!
I apologize for my thoughts on the TC Electronics Polytune being so disorganized. It has literally taken me days to process all of this information myself. It is like learning how to tune a guitar all over again.
Last up is the Peterson StroboFlip virtual strobe tuner. Having never used a strobe tuner before, there was a lot to get used to. The manual is an actual book! I am glad it was however, it answered all of my questions as I read it from cover to cover.
This tuner is accurate to .1 cent. This is a blessing and a curse. Fine tuning can take quite a bit of time to accomplish. So this isn't exactly a fast tuner. I bought mine more for setting intonation. However, I learned it had some really unique features such as adjustable temperments and sweetened tunings to accomodate for standard temperments.
It works equally well with electric and acoustic instruments as it has a clip on pickup for acoustic instruments. Assuming you have read the manual, the display is easy to understand.
I also liked that it came with an AC adapter.
At 200$, you will be pressed to find a more accurate tuner on the market.
Saturday, June 25, 2011
Guitar updates...
It has been a little while since I last posted.
I had the chance to install a Fernandes Sustainer FS401 into a guitar. There are a lot pros and cons to this unit. The sound is obviously the big pro. However, I was not too happy with the quick disconnect clips for the electronics. I found it easier to snip them all off and solder the wires directly to the board. I have a whole lot more I could say about the unit, but I will reserve my thoughts until I have dealt with them a bit more (which it looks like is going to happen in the future).
I also completed a 12 position varitone prototype a few weeks ago. It had 12 positions and each position had 2 inductor settings. It was really educational. I don't think in the future I'd use a 12 position switch as a lot of the positions sounded so similar it was almost silly. Additionally, I liked the lower induction values as they had a stronger effect on the sound. Perhaps that is why Wah pedals typically use something in the 500mH range. The inductance values I went with were approximately 1.5H and 6H.
Today I entered the world of high quality tuners as well. I decided it is time to really step from a few decent tuners (Korg and Boss) to a Peterson VSF StroboFlip. It should be here this coming week. I just couldn't bring myself to buying it from the local Sam Ash after overhearing a conversation between a new to guitar customer and the employee trying (and succeeding) to sell the maintenance package on a guitar.
I will summarize by saying that the clerk fabricated a lot of things just to sell this maintenance package. This isn't the first time I have heard Sam Ash employees just spouting off without any real knowledge. This all reminds me to start doing some DIY posts so hopefully people will get educated and know that doing your own maintenance work is not impossible or even difficult.
I had the chance to install a Fernandes Sustainer FS401 into a guitar. There are a lot pros and cons to this unit. The sound is obviously the big pro. However, I was not too happy with the quick disconnect clips for the electronics. I found it easier to snip them all off and solder the wires directly to the board. I have a whole lot more I could say about the unit, but I will reserve my thoughts until I have dealt with them a bit more (which it looks like is going to happen in the future).
I also completed a 12 position varitone prototype a few weeks ago. It had 12 positions and each position had 2 inductor settings. It was really educational. I don't think in the future I'd use a 12 position switch as a lot of the positions sounded so similar it was almost silly. Additionally, I liked the lower induction values as they had a stronger effect on the sound. Perhaps that is why Wah pedals typically use something in the 500mH range. The inductance values I went with were approximately 1.5H and 6H.
Today I entered the world of high quality tuners as well. I decided it is time to really step from a few decent tuners (Korg and Boss) to a Peterson VSF StroboFlip. It should be here this coming week. I just couldn't bring myself to buying it from the local Sam Ash after overhearing a conversation between a new to guitar customer and the employee trying (and succeeding) to sell the maintenance package on a guitar.
I will summarize by saying that the clerk fabricated a lot of things just to sell this maintenance package. This isn't the first time I have heard Sam Ash employees just spouting off without any real knowledge. This all reminds me to start doing some DIY posts so hopefully people will get educated and know that doing your own maintenance work is not impossible or even difficult.
Sunday, March 13, 2011
New things on the horizon
I recently acquired a Mauser made P-38. This was the German sidearm in World War II. It uses 9mm Luger ammunition and has an 8 round magazine. The insides are similar to a Beretta in the sense that it has a wedge shaped locking block, but the dual recoil springs are unique.
In my hands it feels pretty natural unlike the Romanian TT33 I used to own. However, the double action trigger pull is about the worst I have ever felt ever. The single action trigger pull is much more manageable.
Unfortunately, I haven't had a chance to take it to the range yet.
I also picked up a 1934 Izhevsk Mosin Nagant 91/30 rifle. This is my second Mosin rifle. This one has a hex receiver and a very clean bore. It also has a laminate stock and enough cosmoline to preserve 6 rifles lodged inside of it.
I am not sure if I am going to attempt to scope it or put mojo peep sights on it like I did with my other Mosin rifle.
A coworker of mine does welding and I discussed the idea of him turning down and welding my bolts as well. There are a lot of options and since 77 million of these rifles were made, they are cheap and you don't even have to feel bad about any modifications.
For anybody not aware, the Mosin rifle uses the 7.62x54R cartridge which is almost equivalent to a 30.06 cartridge. Surplus ammo is still cheap (440 rounds for ~100$). The ammunition is jacketed soft steel core ammo. This caliber is still seen on battelfields.
I had a dream the other night that zombies (yes I know ZOMBIES?) were swarming my house and slowly finding there way in. Only me and my girlfriend were left alive and in a hurried panic we took all of our guns out and began to load them as fast as possible. Unfortunately, both of my large caliber rifles (I only had 1 Mosin at the time of the dream) have a 5 round capacity and are not magazine fed rifles. It occurred to me that I could not load my rifles fast enough to deal with the impending doom that was beginning to stress the door which was my last line of defense. I woke up right as the door began to give in.
When I woke, my mind began to race and I realized I needed something magazine fed. But I also wanted a bolt action rifle as I am partial to them. For that matter, there were a lot of other features I always wanted on one rifle.
I wanted controlled feed. Who knows when I might need to take a shot while hanging upsidedown or something (yes there is a bit of sarcasm in there)?
I also wanted peep sights. The first time I used peep sights, I was hooked. They are so intuitive. It is no wonder military weapons use them.
I wanted all of this in one package chambered for .308 Winchester or 30.06. My initial search turned up only a few options. Usually iron sights were an afterthought. Magazine capacity was relatively low as well.
Then I stumbled onto the Ruger Gunsite Scout.
This carbine style rifle is chambered in .308 only and comes with a 10 round detachable steel magazine. It has a threaded barrel with a flash suppressor and a forward rail as well as a drilled and tapped receiver which can accomodate a scope if you are willing to remove the rear sight. It is based off of Ruger's model 77 action which is based on a Mauser action.
I put my order in for one and am now in that excited waiting phase. However, I am not too excited that extra magazines are 70$! I also would have preferred a wooden stock, but the stock it comes with actually isn't that bad. I have a Martin Alternative X guitar which has almost the same patterning on the neck.
Hopefully I will remember to do a full review of it when it finally arrives.
In my hands it feels pretty natural unlike the Romanian TT33 I used to own. However, the double action trigger pull is about the worst I have ever felt ever. The single action trigger pull is much more manageable.
Unfortunately, I haven't had a chance to take it to the range yet.
I also picked up a 1934 Izhevsk Mosin Nagant 91/30 rifle. This is my second Mosin rifle. This one has a hex receiver and a very clean bore. It also has a laminate stock and enough cosmoline to preserve 6 rifles lodged inside of it.
I am not sure if I am going to attempt to scope it or put mojo peep sights on it like I did with my other Mosin rifle.
A coworker of mine does welding and I discussed the idea of him turning down and welding my bolts as well. There are a lot of options and since 77 million of these rifles were made, they are cheap and you don't even have to feel bad about any modifications.
For anybody not aware, the Mosin rifle uses the 7.62x54R cartridge which is almost equivalent to a 30.06 cartridge. Surplus ammo is still cheap (440 rounds for ~100$). The ammunition is jacketed soft steel core ammo. This caliber is still seen on battelfields.
I had a dream the other night that zombies (yes I know ZOMBIES?) were swarming my house and slowly finding there way in. Only me and my girlfriend were left alive and in a hurried panic we took all of our guns out and began to load them as fast as possible. Unfortunately, both of my large caliber rifles (I only had 1 Mosin at the time of the dream) have a 5 round capacity and are not magazine fed rifles. It occurred to me that I could not load my rifles fast enough to deal with the impending doom that was beginning to stress the door which was my last line of defense. I woke up right as the door began to give in.
When I woke, my mind began to race and I realized I needed something magazine fed. But I also wanted a bolt action rifle as I am partial to them. For that matter, there were a lot of other features I always wanted on one rifle.
I wanted controlled feed. Who knows when I might need to take a shot while hanging upsidedown or something (yes there is a bit of sarcasm in there)?
I also wanted peep sights. The first time I used peep sights, I was hooked. They are so intuitive. It is no wonder military weapons use them.
I wanted all of this in one package chambered for .308 Winchester or 30.06. My initial search turned up only a few options. Usually iron sights were an afterthought. Magazine capacity was relatively low as well.
Then I stumbled onto the Ruger Gunsite Scout.
This carbine style rifle is chambered in .308 only and comes with a 10 round detachable steel magazine. It has a threaded barrel with a flash suppressor and a forward rail as well as a drilled and tapped receiver which can accomodate a scope if you are willing to remove the rear sight. It is based off of Ruger's model 77 action which is based on a Mauser action.
I put my order in for one and am now in that excited waiting phase. However, I am not too excited that extra magazines are 70$! I also would have preferred a wooden stock, but the stock it comes with actually isn't that bad. I have a Martin Alternative X guitar which has almost the same patterning on the neck.
Hopefully I will remember to do a full review of it when it finally arrives.
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