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i don't have this problem, but i don't close mic my cymbals. i use one condensor mic about the whole kit. maybe i'll try micing my crash with a 57 to see if i get the same effect. how was your mic positioned in relation to the cymbal?

i prefer fender basses.

don't forget the different shaped headstock. let's face it: headstocks sell guitars, just as name recognition does.

i remember in the late '80s going into dixie guitars, which was the premier guitar store in the atlanta area for vintage buffs. i was a teenager and knew virtually nothing about guitars, but the most expensive guitars they had (not counting the ones they kept hidden in their vault for when...

they're harder to tune than a coated ambassador, or something, but it isn't that difficult to get them in tune. i've been trying to figure out what it is about the sound of the fiberskyns on my toms that i don't like. i think i've concluded that it's the decreased attack. oddly enough, that's...

keith moon used premier. mitch mitchell, too. clem burke, also. that's all the praise premier needs.

the guitarist i play with has one. it sounds good, feels good to play, etc. he has the red one. it's from a few years ago and has moon shaped inlays. other than that i think it's the same guitar as the one in your link. he likes it enough to use it as his main guitar.

angled will probably sound better, but try both ways. if it's a huge pain in the butt to pivot your drums then you'll know your drumset is way too big.

first guitar: seagull S6 acoustic. still have it, though it has a dent in it's side. i think it was knocked over during one of our frequent cat chases. first electric: 1981 les paul standard. black. traded for '65 ludwig drums.

is "click" desirable? when i think of a bass drum, "click" is not the sound that comes to mind.

don't stuff too much crap into your bass drum or you might as well be hitting a cardboard box. you want some tone and some resonance. any muffling you put in you bass drum only needs to touch the bottom few inches of the head. tuning is a matter of experimentation and takes a lot of patience...

i've used fiberskyns on my bass drums for years and love them. easily the best bass heads i've ever used. i recently got fiberskyns for my toms, and they're ok, but i'm not as happy with them as i have been with the bass heads. if you stuff your bass drum with blankets, pillows, or other crap...

every town worth living in has non-chain guitar/music stores where you can walk in and buy a guitar. people should try to make as many of their purchases as possible from these types of stores.

i'd trade it in for a les paul (or more likely, credit towards a les paul). the point about using it in the studio to simulate a 12 string is a pretty good argument, but how often are you going to need a 12 string for your recordings? you could get a daisy or danelectro 12 string pretty cheap.

maybe not practical (or possible), but here's an idea: get a second, slightly bigger shed. put the smaller shed inside it. set up drums in smaller shed. basically, that's the "room inside a room" soundproofing method, except with sheds instead of rooms.

jeff beck is still amazing. hopefully he'll come to atlanta again. bill frisell maintains a high level of playing. nels cline gets better all the time. EVH is basically retired, so of course he isn't what he once was.

copying a sound or style is pretty easy. try writing some tunes that anyone will give a shit about. not easy.

thanks guys. i'm getting a tele soon (of course, i say that BEFORE winter heating bills kick in). i'll try the trick to keep it on if it ever falls off.

has anyone here tried a clear pinstripe on their snare? how about other non-coated heads? i'm looking for a head that will be kind of thuddy, but that will still allow ghost notes and rolls to be heard.

quick question about teles: how do you keep the plastic cap on the pickup switch from falling off? i went to the guitar center and virtually all of their teles were missing the cap.