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Pope on a Rope

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  1. The treble bleed mod can get you jangle with humbuckers. With humbuckers I use a .001uF capacitor on the bridge volume pot. The neck pickup I'll use .022uF or the .001uF depending on what I feel like at the time. The 001uf cap doesn't cut the highs so much when you adjust the volume down. Set some dirt on your amp and roll back the volume on the guitar. Lowering the volume cuts and cleans up the lows leaving the dirt on the highs. It also adds a bit of a compression effect. It's certainly worth trying before changing out the pickups. Cheap and easy to undo.
  2. I'm sorry -- I think that's a bit of a specious argument: You're comparing a guitar where: 1) different saddles (granted), 2) vastly different bridge size, design, etc., 3) vastly different pickup (P90 vs Tele bridge), 4) Bridge PU mounted to body rather than bridge), Need I go on? That's so many variables, I think it's presumptuous to proclaim that the lack of twang must be attributable to the difference in saddles.... FYI, I have a modern (read MIM standard) tele with a six-saddle bridge and Alnico 3 pickups and that thing twangs like a mutherfucker when I want it to... Oh yes. I Am sorry. How presumptuous of me to post an answer based on personal observation and experience.
  3. I havent found that. I have a trad tele in every way except the bridge pickup is a p90. It does not twang. Maybe a little playing dead clean, but all my other Teles its very hard to dial the twang out. You can hear the twang unplugged BIG TIME.....Rather that trying to enhance some gossimer link to twangness. How are the saddles on the P90 guitar shaped? I suspect that they are not barrel type saddles like on your other guitars.
  4. Didn't Fender run an ad with a young Hendrix buying a tele during the Super Bowl a few years back? Not unless Fender was trying to sell Coca-Cola or Pepsi. I don't remember which it was but I know it wasn't a guitar commercial from Fender.
  5. :rolleyes:It CLEARLY says TV stand, NOT amp stand Yeah, you'll void the warranty if you use for anything else.
  6. Thanks for the replies. Both options are simple enough. I already have the 1-Spot 9v connector. I don't know why I didn't think of mounting that into the box myself. That's the only pedal I ever use that connector with.
  7. I have a Nathan East bass EQ that only takes batteries. The 9v clip broke off and if possible I'd like to convert it to use a wall wart adapter. I used it with my 1-Spot and a 9v adapter but would like to just be able to just add a typical power connector used on most pedals. Would that be as simple as just using the two leads from the 9v clip to solder a connector to them? I have to fix it anyway so I figure I'd just convert it if it is easy enough to do.
  8. "Fast Neck" is a term that has been around for about as long as the electric guitar, maybe longer. I just know it's an old school term and that it's not something some marketing twat came up with back in the eighties to sell more neon pink guitars. A "Fast neck" is simply a neck which has features that some players feel are more accommodating to the left-hand fretting techniques employed in faster styles of music. It's just a simple description you would use when shopping for or describing guitars. Like a fat necked guitar. If you prefer choking a big, fat neck you're going to go into a guitar shop and ask to see guitars with fat necks, the salesman will then direct you to the guitars with fat necks. If you're into shred or high-speed chicken pickin' you're going to ask to see guitars with fast necks. If the salesman is not some n00b who thinks fast neck is a bullshit term he's going to direct you to the guitars which tend to be favored by players who mostly play fast. I used to play mostly thumb over the top and never found thin necks to be uncomfortable. I would be thinking "How the fuck does this help you play faster? My fingers so freaking cramped and crowded on the fretboard." Later, I began to dabble in speed and playing more with my thumb on the back of the neck and utilizing more left-hand speed techniques, I then realized the advantages of a "fast neck." If you find it difficult to play on guitars with thinner necks it just means that it's not suited toward your style. It doesn't mean that "fast necks" are bullshit, fiction or marketing hype. You use what feels most comfortable for what you play. Sure, you can play fast on any guitar, but some are just more comfortable to play when it comes to speed. A comfortable guitar helps with stamina and accuracy and just makes playing that much more enjoyable.
  9. This. Marketing and myth. Ever play a classical guitar? The necks are feaking huge. Doesn't seem to slow good players down any. Why do we even need a classical guitar? Couldn't you just practice more on a campfire guitar?
  10. I think that term is more fiction than fact, probably born more from of marketing slogans than anything real. Any well setup instrument is "fast" enough. It isn't fiction. Guitars with fast necks generally have more comfortable and better upper fret access. A Gibson SG is said to have a faster neck compared to a Les Paul which in my experience I find it to be truthful. It's much more comfortable playing fast on the higher frets of my SG. You have to work harder to play fast pieces on the higher frets of guitars with big neck joints, that tends to compromise stamina and accuracy. When you spend a lot of time at the high end of the neck you want something that's not going to restrict access and motion.
  11. Use only as much pressure as is required to sound the note. You'll find that it's a lot less than you think. Then it's much easier to do vibrato (esp on bent notes). I use at least three different vibrato techniques. - wrist/forearm technique (explaned above). Great general purpose vibrato. - finger only (where you shake the whole guitar ala Clapton/Gibbons and the hand doesn't touch the neck) - gripping motion with just the fingers (when you do a fast vibrato on a short-duration note) Right. Allow as little friction against the fret as possible when doing bends or vibrato. Put all the effort into the bend or the vibrato action, not into the fret. That will also prolong the life of your frets.
  12. I would use 400 grit to sand it all down. Then 600 grit for sanding the primer coat after respraying it. Even though you used only a couple coats it will still leave visible edges and a noticeable dip if you prime over that now. You have to sand each coat back (feather), using a block to make the surface as flat as possible to prevent the edges of each coat from standing out in additional coats. You should have more primer exposed between the color coat and the bare wood.
  13. By feathered out you mean lightly sanding the areas around the sanded areas? How far should I sand them? Sand with a block until you can't feel any edges between the wood and the top layer of paint. You usually need to sand quite a bit away from the actual chip or whatever you are trying to repair. At the stage you're in now, I would feather back all the edges, rough up the rest of it and prime the whole thing again. The way you are doing it now is just a lot of extra work. It's quicker and easier just to work on the body as a whole rather than pecking at bunch of little defects. If you find defects that need attention after you prime you should use the filler over the primer. I would use polyester putty. It's meant for filling small defects and scratches and can be used over bare metal, bare wood, paint and primer. It also sands easy and does not shrink. I wouldn't use wood putty unless I was trying to match wood for a stained or another transparent finish.
  14. so sand down bigger spots? Don't see how it'd look bad. 4 coats of sand and sealer, 3 coats of primer, 3 blue coats (obviously sanding between all of these) then lay the rest of the blue over the whole guitar. Any imperfection that gets painted over will be magnified just like Angry Tele said. Those edges will stand out. the edges of the sanded areas should really be feathered out before applying sealer and primer.
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