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Posted: Tue Sep 16, 2008 2:47 pm
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orvilleowner wrote:
Has the "weakness" issue been solved?


Yes, fortunately it is solved :) There is nothing wrong with the guitar. It needs to be boosted a lot. That's it :)


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Posted: Tue Sep 16, 2008 2:56 pm
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Yngwiejr

Try it with just the TS9 into the fx return, you may be very suprised at the results. Ive tried it with a few drive pedals, its a very solid tone. Also if you get a marshall MS2 1 watt belt buckle amp and wire a lead stereo plug one end and mono the other you can use that the same way. It gives a very ACDC on steroids sound.

Do you think yngwie uses the JTM at home for home recording, it would explain alot about his lead sound on his abums. Distorted but clear too.

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Posted: Tue Sep 16, 2008 3:11 pm
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Sure Yngwie is not using JTM for recording. I was talking about his setup for practicing only. I am not sure what amp he uses for practicing but I read that in the G3 video he is using a Marshall MG15DF-X for practicing :)

I am trying to boost my line 6 X3 also and using fx return with it.

I have a Fender MD-20 mini deluxe. It is also 1 watt. I will try that with it ;)

Thanks for the advices.


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Posted: Tue Sep 16, 2008 8:52 pm
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I also just bought a YJM on Sunday and it's my 3rd one.
Those pickups are not hot. Keep tweaking your amp and adjusting the pickup height and you'll find a good tone - but it will not sound like your Jem ever.

The YJM sounds best with a good overdriven amp like a Marshall with a master volume and the gain up around 7- bass on 10, mids on 5 and treble just on '3' is how I get my tone.

Great guitar.


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Posted: Wed Sep 17, 2008 7:42 am
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Yngwie.jr wrote:
You are advicing ultra low action but Yngwie plays with high action strings if I am not wrong. He says low action kills the sustain.


Really? Well how astonishing. That makes absolutely no sense to me, but it sounds like you very much know what you are talking about as far as Yngwie's gear is concerned, so I'm sure you are right. I'll try to remember that if I ever see another Malmsteen Sig in a shop and examine that point further. Very curious.

By the way, I've been reading Nikininja's posts on the JTM. Brilliant stuff: you'd have to read a guitar magazine for years to glean experience like that. It's what this Forum is all about, isn't it?

Knockout - C


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Posted: Wed Sep 17, 2008 6:32 pm
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Strat God wrote:
I also just bought a YJM on Sunday and it's my 3rd one.
Those pickups are not hot. Keep tweaking your amp and adjusting the pickup height and you'll find a good tone - but it will not sound like your Jem ever.

The YJM sounds best with a good overdriven amp like a Marshall with a master volume and the gain up around 7- bass on 10, mids on 5 and treble just on '3' is how I get my tone.

Great guitar.


I saw your guitar pics in your post. Great pics. Also read that it's your 3rd Yngwie strat :) Strong fan of Yngwie :D Nice to meet you.

I will try your advices about the tone. Thanks for the share.


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Posted: Wed Sep 17, 2008 6:43 pm
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Ceri wrote:
Yngwie.jr wrote:
You are advicing ultra low action but Yngwie plays with high action strings if I am not wrong. He says low action kills the sustain.


Really? Well how astonishing. That makes absolutely no sense to me, but it sounds like you very much know what you are talking about as far as Yngwie's gear is concerned, so I'm sure you are right. I'll try to remember that if I ever see another Malmsteen Sig in a shop and examine that point further. Very curious.

By the way, I've been reading Nikininja's posts on the JTM. Brilliant stuff: you'd have to read a guitar magazine for years to glean experience like that. It's what this Forum is all about, isn't it?

Knockout - C


Thanks Ceri. I have seen and read lots of stuff about Yngwie :) Yep I know quite a lot about Yngwie but some of them can be sensational news by his fans which can not be true. I am sharing the informations only which I heard from Yngwie himself on a video or in an interview.

And I am totally agree with your comments about this forum. There are lots of experienced people in here. I am so glad to be a member of this forum. I am learning a lot here.

Play louder :)


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Posted: Wed Sep 17, 2008 8:21 pm
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The impression I have regarding Yngwie's action (from interviews I have read) is that it is not low. So it would probably be considered "medium" (or at spec) and not really high.

Another thing I remember reading in a recent Vintage Guitar magazine interview is that he disconnects the tone controls!

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Posted: Wed Sep 17, 2008 9:31 pm
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orvilleowner wrote:
The impression I have regarding Yngwie's action (from interviews I have read) is that it is not low. So it would probably be considered "medium" (or at spec) and not really high.

Another thing I remember reading in a recent Vintage Guitar magazine interview is that he disconnects the tone controls!


Actually I read it on many interwiews and watched in many videos, and it was called "high action" by himself. That is why I am calling it as high action. But high aciton is changeable for everyone. I mean if someone used to play with very low action may be middle action can be called high action by him or her. It depends on what you get used to I guess.

I copied a part from his interview with the Guitar.com

"Guitar.com: How are your guitars set up?

Malmsteen: I've used Fender Super Bullets for years now. I use a strange gauge — .008, .011, .014, .026, .036, .048. Throughout the years, I found that if the wound strings are too thin, it really affects the sound and you don't get that massive thick sound. But the high strings never sound better when they're thicker. The action on my guitars is very very high. Everybody thinks that since I'm playing those fast things, the action is low. But that is what I think makes the guitar sing — not the thickness of the strings — because it allows it to breathe more. I always tune my guitar a half step down, except for the jam in G3. For that, I was in standard tuning. I also use extremely heavy picks. I use Dunlop 1.5 mm, which they are so kind to make in white for me. If you buy them in the stores it would be purple. "

This is the link for the inteview.

http://www.musiciansfriend.com/document?doc_id=92410

You are right about the tone controls. We talked about them in earlier posts.

Thanks


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Posted: Sun Sep 21, 2008 9:46 am
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Returning to this thread because I just stumbled upon what Dan Erlewine has to say about Yngwie's guitar on pages 213-214 of the Guitar Player Repair Guide:

Dan Erlewine wrote:
When playing with a scalloped fingerboard, you have to develop a whole new touch in order to keep from pressing the strings too hard and going out of tune. I found that this light touch was easy to get used to. My fingering hand became so relaxed that I was able to play much faster and smoother, since my fingertips were no longer fighting the fingerboard wood in order to press the string onto the fret. This seems to be in direct opposition to Yngwie's view that "it's much harder to play fast with a scalloped fingerboard because the string action has to be much higher." I don't know why he says this.


Etc - much more.

from all the evidence on this and the other thread it is clear that Malmsteen does indeed use a relatively high action. I'm at least pleased to see that if I didn't understand why that was (see earlier in this thread) then at any rate I am in good company! I still don't understand it...

Dan has plenty more to say about the benefits of scalloped 'boards: relaxed fingers, faster technique in hammer-ons and particularly pull-offs, bending by pressing down, sometimes with whole chords, violin-type vibrato, easier sweep picking, and to my surprise easier two-hand tapping. He also detects an improved tone - again, surprising.

So there we have it from the top. I'm almost inspired to go and give a scalloped neck a second chance...

Cheers - C


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Posted: Sun Sep 21, 2008 10:11 am
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Dan Erlewine wrote:
When playing with a scalloped fingerboard, you have to develop a whole new touch in order to keep from pressing the strings too hard and going out of tune. I found that this light touch was easy to get used to.


I don't actually understand this: playing a scalloped fingerboard requires a lighter touch? My playing time on scalloped boards is quite short, but I think both scalloped and standard boards require a light touch. If you are pressing with a heavy touch on either board, you will be out of tune.

Check out any guitar playing instruction material and you'll find they recommend just enough pressure to make the tone ring solidly; the type of fingerboard doesn't matter. I laugh when I read that guys claim they are pressing the string to the wood. First off, it's real hard to press the string to the wood (try it on, say, the third fret, with your finger and pressing with the pick) and it's impossible to do on the higher, narrowly-spaced frets. Secondly, if you do, the note is quite sharp.

Maybe the gain with a scalloped board is that your fingertip doesn't hit the wood. Does that enable one to play faster? One thing for sure, the feeling is quite different!

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Posted: Sun Sep 21, 2008 10:55 am
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orvilleowner wrote:
I laugh when I read that guys claim they are pressing the string to the wood. First off, it's real hard to press the string to the wood (try it on, say, the third fret, with your finger and pressing with the pick) and it's impossible to do on the higher, narrowly-spaced frets. Secondly, if you do, the note is quite sharp.


Oh dear, you'll be laughing at me then. Sounds for sure that you have a much lighter touch than I do. I have an old rosewood 'board neck lying around that has big dips worn into the wood where my fingers have pressed the strings hard to the timber - especially behind the lower frets. Looking at some famous players' necks, I ain't the only one.

Yet I actually count myself a relatively light player as regards how I strike the string; it's just I fret pretty firmly.

The only time I tried out an Yngwie it felt like fretting onto springs without the timber underneath, and my intonation went all over the place. Maybe I just have fundamentally bad technique in this area: from what Dan Erlewine wrote perhaps I'd actually benefit from having to adjust to a scalloped neck.

But for all the advantages he lists I notice that he doesn't say he's scalloped the necks on all his guitars, or even that he regularly plays an Yngwie.

The one bit of it all I still don't understand is the high action. Like Dan says, seems to run counter to the idea of lightness of touch. Waiting to hear what someone who actually uses that guitar has to say about that...

Cheers - C


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Posted: Sun Sep 21, 2008 12:02 pm
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I don't think there's anything wrong with your Malmsteen strat (apart from the low E :wink: ).

They all seem "weak" at first... that's because you have to put an overdrive pedal in front of them. This enables you to get the round Malmsteen sound. It's a completely different approach to the high gain pickup one, but one that gives a brilliant sound IMO.

Get a good distortion sound on a tube amp and add that overdrive... oh, don't forget to put in some delay too and you'll get a great sound.


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Posted: Sun Sep 21, 2008 1:10 pm
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Ceri wrote:
Oh dear, you'll be laughing at me then. Sounds for sure that you have a much lighter touch than I do. I have an old rosewood 'board neck lying around that has big dips worn into the wood where my fingers have pressed the strings hard to the timber - especially behind the lower frets. Looking at some famous players' necks, I ain't the only one.


I have seen some old, well worn fingerboards ... and if you notice the big dips aren't under the strings, they are where the fingertips and fingernails hit the wood of the fingerboard (between the strings).

I still challenge you to check: your fingertips & nails may touch the board, but the string doesn't! You should notice that it is very hard to actually press the string itself to the wood. Try it using a pick to push down the string. Listen to how sharp the note is when you do this. There's no way you do that while actually playing.

I won't laugh ...

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Posted: Sun Sep 21, 2008 2:56 pm
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orvilleowner wrote:
Ceri wrote:
Oh dear, you'll be laughing at me then. Sounds for sure that you have a much lighter touch than I do. I have an old rosewood 'board neck lying around that has big dips worn into the wood where my fingers have pressed the strings hard to the timber - especially behind the lower frets. Looking at some famous players' necks, I ain't the only one.


I have seen some old, well worn fingerboards ... and if you notice the big dips aren't under the strings, they are where the fingertips and fingernails hit the wood of the fingerboard (between the strings).

I still challenge you to check: your fingertips & nails may touch the board, but the string doesn't! You should notice that it is very hard to actually press the string itself to the wood. Try it using a pick to push down the string. Listen to how sharp the note is when you do this. There's no way you do that while actually playing.

I won't laugh ...


You are right orvilleovner. Strings do not touch to the fretboard and you have to push the string very hard indeed to do that with a standard fretboard. But your fingers touch to the fretboard and it causes a friction on bends. It is more easy to do the bends with the scalloped fretboard.

I said the same before aslo I didn't see any difference except bends and also mentioned that it is harder for me to do hammer ons and pull offs.

Thanks


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