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OK - What is wrong with a "shredder" type guitar...


cada7

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I've noticed that the market for superstrats made of traditional woods with fixed bridges are becoming more popular (Ibanez RGA, Jackson SLS, etc.). Comfort and stronger tone (at least on paper...) is always a good thing.

 

Hot Pickups may not be as essential to high gain as they were in the 70's and 80's, but I've never heard a PAF or single coil with even a colossal amount of distortion over it that was as tight as any Ceramic overwound bridge pickup.

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I've noticed that the market for superstrats made of traditional woods with fixed bridges are becoming more popular (Ibanez RGA, Jackson SLS, etc.). Comfort and stronger tone (at least on paper...) is always a good thing.


Hot Pickups may not be as essential to high gain as they were in the 70's and 80's, but I've never heard a PAF or single coil with even a colossal amount of distortion over it that was as tight as any Ceramic overwound bridge pickup.

 

 

I don't think of the goal of distortion as being "tight". I still go back to the VH1 distortion sound as the benchmark for modern high gain, and that was a medium output alnico pickup.

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Wow! Yes the original poster is weighing in after a day of work, and the replies have been educational and insightful. Cap'n'Budda probably responded the best to the spirit of my query:

I guess I better spill a little more of my experience...

First of all, I have owned and played for nearly a year now a Showmaster Quilt Babinga Top with Pearly Gates in Bridge, Rev. Wound 59 in the bridge, 5-way strat type switching, 24 frets, rosewood f/b, 2-point floating trem., locking tuners. I have immensely enjoyed this guitar and chose it for it's playability and tone (originally tried the HH in a GC through the true AC30 and that is what sold me). I was looking for something playable for my smaller hands, and that was versatile to cover the leads I was asked to play across many varieties. In the performance setting where I play I go direct to the house from a Tonelab LE (which I edit extensively), with sometimes a few odd 'modifiers' in the signal chain, just depends. I have found that the tone is very acceptable for performance and greatly improves on my old very nicely set up MIM Squire with Lace Sensors (Gold, Gold, Blue in neck), which was fine for recording at home but just couldn't translate live. The Showmaster stays in tune pretty well too, even with a lot of bending.

As to tone matching, a little example I can give is I was asked to do a lead improv for the Smashmouth version of "Believer" and thought I'd go the rockabilly route, borrowed an Artcore (which certainly looked the part), but I actually preferred the Showmaster and wound up using it anyway...

So, indeed I was trying to understand a little bit of the definition and stigma regarding these types of guitars. Personally I also think the guitar is just plain beautiful with the natural wood finish and I typically never go for the darker browns.

Oh, and I need those extra high notes too. I have to get that E every now and then.

But... my next guitar to augment will be a Tele, I am certain.

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Many of these shred guitars are too one-dimensional, which is why I'd rather go for something like this:


guthrie3.jpg
guthrie4.jpg

You don't have to be a shredder to realize what a great guitar this is.



Oh, no! :facepalm:
Yngtchie's been spending too much time over at the Petrucci forum.
Did you trade all your gear for an Axe-FX yet?

J/K !! :thu:

The Suhrs are beautiful guitars.
But, they don't make a neck-thru.
Which is what I prefer.

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I don't think of the goal of distortion as being "tight". I still go back to the VH1 distortion sound as the benchmark for modern high gain, and that was a medium output alnico pickup.

 

 

Certainly high gain solos benefit from lower output pickups, but my point of reference is centered on high gain rhythm of old thrash. I might be wrong, but I've never heard a PAF that could cut the mustard for that kind of precision under heavy gain.

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Too many people hear with their eyes.
:rolleyes:

I've played just as many "lifeless" '50s designed guitars as the more modern designs.


Saying you can't play clean with a pointy guitar, or that a Floyd Rose eliminates sustain is just stupid.
:facepalm:
(Of course, that follows the trend of uneducated myths too often perpetuated on this forum.)


And if you find a guitar that you seriously think can "only play one kind of music", maybe you'd better keep looking. I'd also suggest practicing a bit more. :poke:




Absolutely. Much as pointy "metal" guitars aren't my bag, I do love to see them being used out of context.... I'd get a real kick out of seeing one of those Dean MLs being used for smokin Delta blues, or rockabilly.....

As has been said many times over here, most guitarists (and I certainly am included here, often) are simply ridiculously conservative in their tastes. Make that most electric guitarists: I see much more openness to new ideas and change among acoustic players, same with bass players..... wonder why we specifically six string electric players tend to be the stick in the muds?

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Floyds seem to suck tone. Shredder guitars always sound thin and cheap..which I guess doesn't matter as much when you are playing 500 notes a second. But i've yet to hear one sound as good as say the rockabilly twang of a Gretsch or the spank of a telecaster or the cool jazz tones of an archtop with a neck pickup. Maybe someone can post clips of a super-strat sounding like that and convince me.

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Floyds seem to suck tone.

 

 

This is a myth. Out of the box floyds do sound kind of bright, mostly due to the steel block on the trem. But that can be changed simply by changing the size and material of the block (a trivial mod). Otherwise they sound just like any other steel plate trem.

 

I do think they sound better flush mounted or with a trem stopper installed, but that could be said of any trem.

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Myths debunked!

Floyds do not suck tone. Cheap ones, probably, but cheap hardware on any guitar, floyded or not, is a tone sucker!

Locking tremolos are no real hassle! I can change strings on my floyd and have it tuned to pitch in the first half of a simpsons episode, which I'd put to about 10-15 minutes. Sure, I'd bet you could change a TOM guitar quicker, but is 15 minutes all that long?

Shredder guitars don't have to be pointy. My MIM Strat can shred very nicely with its retrofitted floyd and low setup.

Thin necks don't necessarily mean faster playing. Ibanez necks tire me too much. I prefer jacksons, they are a little thicker, but not "les paul" thick.

Just because a Les Paul is heavier it doesn't mean it has "more tone". It's just more of a bastard on your back.

The player matters more than the guitar. I used to play in a straight up blues bar band with an EMG loaded BC Rich warlock. I did get a few jibes mainly from people more concerned about image than what the band was doing. I'm sure I'm not the best blues player on the planet, but it seemed the crowd for the most part liked what I did. I doubt anything would have changed if I had used a Les Paul, except I probably would have gotten bored quicker.

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