Wyatt

Stratosonic, available in various years, Cherry or TV Yellow, in P-90 or HB's.

that's exactly my point. its POSSIBLE. yes difficult, but possible if you feel like routing and changing out the entire wiring scheme And completely marring the appearance.

I thought about this some more and got to thinking - I mean, technically you could put any kind of pickups and any kind of wiring into any kind of guitar you want... If you wanted, you could rip out those pickups, put in 2 'buckers and a single coil and just throw a normal 5-way switch in there and change the 3-way to a mini toggle to split the 'buckers. But in this case, the 513 is all about those pickups and that switching capability. Take that away and you no longer have a 513 - you just have a sweet PRS with aftermarket PUPs in it. So i guess to simply answer your question, you could put whatever pickups in there you want, but you probably will have to change the rest of the wiring, too. But, it could be done. I mean, I don't see why it couldn't. It just wouldn't be a "513." Nope, the 513 PU's are proprietary sized and routed. You would have to route the guitar to use traditional humbuckers and even have to route it to use a Strat-style single coil. And even after the route, there would be remains of the old pickup routes at the ends,.

OK...so I gotta dip these things in wax???? I dunno, Im a hammer and cold chisel kinda guy..... I can't imagine PRS 513 aren't already potted. My guess is there is something wrong with one of the coils. Well, if it's microphonic...there is something wrong with one of the coils, but I expect it may be beyond potting.

I don't believe there are *any* aftermarket options.

Arenas and stadiums. That

The Marshall JTM 45 is often written of as if it were the first high-output guitar amplifier, despite the fact that the Fender Showman was a much higher output amp and was released two years before the JTM 45. Why did the Marshall JTM 45 catch on rather than the Fender Showman? Was the Showman just widely available? Was it not available in England? Was the sound just wrong for the music of The Who? Was the breakup of the Marshall amps more desirable? The JTM45 is not high output. The JTM45 is a 30-watt amplifier. It's actually significantly lower output than the amp its copied from, the 45-watt '59-'60 5F6a Bassman. It wouldn't get high output until the JTM45/100, which would eventually lead to the Model 1959 JMP Superlead. The Marshall/Tweed Fender tone was just a thicker, easier to overdrive, more midrange-heavy tone that lead itself to rock at the time. But, it did get a big help from Jim Marshall being in the UK and being very responsive to customers where Fenders were always a rare import. The Twin and Showman would make their mark, even Hendrix had made a slow transition over to BF/SF Fenders, and most of the California-based classic rock bands would make extensive use of them.

I don't know what it is but it seems like the buyers have completely disappeared lately. In the past, I could usually sell an item within a couple of weeks, at worst. Now I've been trying to sell a couple of things for over a month and have had only two replies and both have been ridiculous low ball offers. And in general it seems like I'm seeing a lot more gear being listed for sale by others lately. It's like everyone's trying to sell and no one's buying anything. Is it just me? People tend not to spend money this time of year because the Christmas CC bills arrive. Things will stay slow until tax returns start mailing out.

EDIT -- I forgot to mention I had an '80s Champ 12 and it didn't really do much for me. I also had a '79 SF Champ that wasn't as "full" sounding as I like. Would a Champ with a 10" baffle/speaker upgrade sound significantly different? Keep in mind, unless you go through any old amp, blueprint every component for drift, possibly replaced the electrolytic caps, possible replace the tubes, and (in SF Fenders) possible replace the speaker, you haven't any clue what that amp can sound like. The reason there seems to be a lack of consensus on many amp models is because any too vintage amps can have drift up to 25% or more from each other in the way the circuit works. If the amps 25+ years old, until you account for every single resistor, cap, etc. in there, it's a crap shot. That's why I don't recommend old "bargain" amps anymore, if someone doesn't know how to go through the amp and do some maintenance, then they are on the hook for bench fees for any necessary TLC.

Menatone Working Man's Blue (JTM-45 in a box) Menatone King of the Britains (Plexi in a Box) Marshall Bluesbreaker pedal Sansamp British

That's the common position for a Kahler nut, as well as other non-Floyd locking systems. The Floyd style of mounting it in place of a regular nut came to dominate in the latter '80s. It's not a locking nut. It's a locking string retainer. I think Floyd had a patent on the locking nut or something at the time. It can be an issue, and was a competitive disadvantage that helped drive Kahler went out of business originally. The break angle it creates an cause binding issues at the nut with heavy whammy use.

The searing side is supposed to be an "infrared" grill; infrared grills convert the propane into a "infrared radiation" (there term, not mine), which burns much hotter ...allowing for a faster sear to seal the meat. Most high-end steak house chains (the kind like Morton's, Lawrey's, Shula's, The Palm, etc.) use infrared grills. The patent protection just ran out, so infrareds are popping up all over. But I can't speak for the Jenn-Air, I know Char-Broil cheats the process, and their infrared burner really isn't infrared. Jenn-Air appliances are made by Maytag (actually, they are just re-branded Maytag appliances, it's the same company), but I doubt they actually make grills, I'm guessing they outsource that work to another grill company...Brinkmann, Char-Broil, ???? With Weber, you know you are getting an even, balanced cooking surface and warranty they stand behind. Otherwise, there is a lot of brand equity in the price and they still wear out in about the same time as any other grill. Brinkmann's products are all over the place. For cheapy's to some pretty durable products. Their BBQ's are useless these days because of their 1/16" steel that won't trap heat, but some of their grills are nice. You have to make sure they over a balanced cooking surface. The last thing you want is to only be able to great steaks successfully on half of the grate. Weber is the known commodity, and they'll always be good, but may not be brilliant, the other two may need a little testing, which isn't an easy thing to do. And since it seems every company rolls out a whole different line-up of models every year, finding enough objective reviews isn't easy.

Hell yeah, I would have done that deal as well... or at least I would have gone to check it out. If my defense Wyatt, I admitted that I had never played the Bassman 20 but the OP asked about how the Bassman 20 would compare to a Deluxe and I still would suggest that a most Bassman amps that I've played through - Silverface, Blackface and Reissue - have more in common tone-wise with lower gain Marshalls than they do with the 'Fender tone' we usually expect from Silverfaces and Blackfaces. You post wasn't the only one to compare apple and orange Bassman, my comment was more general. The BF/SF Bassman heads retain the cathode-follower of the tweeds (the reverb combos did not) which is why they can be more aggressive. But otherwise it still has the scooped mids BF tone stack. The lack fo a Middle control to cut mids further is what gives the Bassman and Deluxe Reverb their reputation as being more midrange-heavy than the rest.

I've never played either a Deluxe II or a Bassman 20, but I've played plenty of Blackface and Silverface Bassmans and Deluxes both original and reissues. In general, the Deluxe is going to give you Blackface tone, but at reasonable volume levels compared to a Twin. The Bassman starts sounding quite a bit like a Marshall once you get it to break up. Having said that, according to Ampwares.com, the Bassman 20 and te Deluxe II circuits looks somewhat similar. Not identical, but similar. I'd still expect the Bassman 20 to be about vintage Marshall type breakup while a Blackface, Silver or reissue Deluxe to be about clean Fendery tones, capable of breakup, rather than BEING about breakup. Most people don't realize how similar the Bassman circuit is to earlier Marshalls. If you plug a Les Paul into a 1970 - 1985 Bassman and run almost any sort of boost in front of it, most folks would think it was a Marshall rather than a Fender. Just throwing that out there. The Bassman is definitely a cool amp, but I doubt many folks that have played through both many times intentionally cross shop the Bassman with a Deluxe. There seems to be a lot of jumping around about the name here. First off, the tweed Bassman was the basis for the Marshall JTM-45. The Tweed Fenders and BF/SF Fenders have very little in common, design-wise or tone-wise with either the tweed Bassman or a Marshall, you may think they sound like one, but they are big step away from the tweed/Marshall design and no where near as close as several tweed models. Second, this is a Bassman 20, it has absolutely nothing in common with any previous Bassman amp except the name. 100% different circuit. This was, for all practical purposes a practice bass amp based on the Champ II circuit. To tell anyone shopping for a Bassman 20 that they should buy a BF/SF Bassman head is as big a leap as recommend the Bassman 20 to anyone shopping for a BF Bassman head. Come on people just because it says "Bassman" doesn't mean it has anything to do with the rest of the line. Nor does the Tweed Bassman have anything to do with the heads that followed.

Nitro is thinner and helps the guitar "breathe," so they say. Some people (myself included) also love how it ages. It yellows over time and develops small cracks. A poly finish is like a car finish. It's very strong. It doesn't yellow. If you ding it, it cracks something like glass or plastic. I would venture to say it takes some really sensitive ears to hear the difference between the two. The last spray job I did was on a high gain guitar, so I didn't care. I've played nitro and poly strats and teles and I don't mind the poly at all. And I play clean a lot. As far as the stain goes, that's up to you. I stained a guitar with a rag and it took about two applications before the color was there. There is a procedure. If you don't fine sand and wet sand the heck out of the raw wood, the grains will lift and you won't have a smooth finish. It takes patience. As far as the clear coat of poly, I have about 7 on mine. I don't like a super thick coat. I did a thread a year or so ago on a refinishing project you can look up if you like. Hopefully you can learn from some of my mistakes! Most of the comparisons people bring up are based on myth. Polyurethane, being plastic, is porous and breathes as well. And it can be sprayed as thin as nitro, the problem was it is often sprayed heavy handed because then there is less of a change of sanding through between coats.