Still gigging around western NC for the last 45 years or so. Guitar and vocal, originals and covers. It’s fun. I’m 66 and people still show up so that’s cool.
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My looper pedal just come back home (from work) & I made a small adjustment to the signal chain. I’ve essentially placed my chorus/vibrato at the end, although I’d prefer it before the tremolo. I just need to get a few longer patch cables & then I can move the looper to the front of the board also. All of my spares are short.
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The Blessing ML-1 Trumpet. It uses a “lightweight solder” Which made it more ideal for marching.
I bought it my freshman year of Highschool. It still sits under my bed when not in use as it has every day since bought. My case is tan with brown accents. The hot pink paint splatters . . . one time at band camp.
I worked 6-9 every Sunday stocking shelves for the cash to pay it off.
When I was done the owner of the music store cosigned my first car loan. My parents wouldn’t.
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I can make a guitar beg for mercy
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I know that feeling well 
So do the cat’s.
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Just a pedalboard update from my last update 
I think there are 3 different pedals on there from my last post. The Accountant (compressor), might only be a mini pedal, but not small in price, vintage Guyatone ‘torrid fuzz’, viny engine (sort of lo-fi chorus/vibrato modulation) & I think there’s a second isolated power supply under the board, whereas at some point I only had one and used to ‘daisy chain’.
And whilst audiophiles still hotly debate compression, there’d likely not be a single ‘rock’ based recording (some of their favs included) that hasn’t used compression in some form or another, so I often wonder if they understand what they are discussing. And if one thinks that live is ‘pure’ & ‘free’ from compression, there’s a high probability there’s compression in that setting also.
Yeah, but that’s just rock. Nope, likely country got on the bandwagon in the early days with the use of quite heavy compression as many still do.
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To add to what you’re saying: overdrive in any form (pedal, gain-y amp) is basically limiting compression. And then you have compression to smooth out picking dynamics (at the extreme, Nashville chicken pickin’ wouldn’t be a thing without the MXR Dyna Comp).
Guitarists use compression for feel and tone; compression in the mix and mastering is usually where it all goes wrong.
I wasn’t aware of the distinction until I started getting interested in the playing and recording side of things. Most “audiophiles” just think that “compression” is one-dimensionally bad.
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Indeed…it’s actually a rather complex discussion, ranging from how and where it is used & even down to the type of compression e.g FET, optical, VCA and more. And that’s likely only touching the surface.
Sure it can negatively impact dynamics, but generally, that’s not the intended purpose.
CJ Martin
1926
It was easy to date based on the serial # inside the body, almost hidden up toward the neck. Plenty of websites dedicated to Martin acoustics make it clear. It hasn’t returned with me, I sent it in to a luthier in Melbourne to give it a complete once over before bringing it back home where the likelihood of finding an experienced luthier in vintage/antique acoustics likely doesn’t exist.
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