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Everything posted by guitarcapo

  1. I had a 1990 Gretsch White Falcon I bought new that played nice but sounded like crap. It was one of the thinner ones with a double cutaway. Anyway back in those days there was no TV Jones so I sold it. I got a good price for it (the same $2400 I paid for it 8 years earlier) but now I just wish I hung onto it and replaced the pickups. Anyway I might buy one again if I can find that same model used and less than 2 grand.
  2. If it has to be tube...and you want awesome cleans, no way around it...you are going to need WATTS. And watts in a tube amp is going to make WEIGHT. Mainly because watts is going to demand beefier transformers and speakers to handle that power. I suggest a 100 watt head with a separate cab for weight purposes. But if it has to be a combo...and you want it cheap. Maybe something like an early 1980's Fender Concert can be had for $600. They have lots of features, are PTP wired, and are 60 watts.
  3. The whole idea behind preferring tubes to solid state happened in the 60's and early 70's when guitar players didn't like the overdrive sounds that solid state amps delivered. When you are talking about cleans and reliability...solid state is definitely better. Less noise like tube hiss. Especially ridiculous is the idea of a tube "bedroom amp"...people spending well into 4 figures for a 5 watt tube amp that's hand wired etc....Give me a Roland cube 30 for that situation any day.
  4. If you have an amp that's really biased hot that uses EL84 tubes (like your typical Blues Junior right out of the factory) What you really want to buy are EL84M (the "M" stands for military grade) Russian tubes. They are also sometimes called 6P14P tubes. https://www.ebay.com/itm/6P14P-EV-EL...s/331813686890
  5. Nice. What did you pay for it if you remember?
  6. Walnut isn't so rare that they need to use pieces with sapwood like that....and if they do decide to do it for artsy effect, they should use it on the back to match the sides and bookmatch it better.
  7. Step 1: Buy THIS on Ebay: https://www.ebay.com/itm/Sodium-Silicate-Solution-Waterglass-41-4-Oz-SHIPS-FAST-from-USA/191968947391 Step 2: Dilute it a bit with distilled water Step 3:Brush it on the spruce sound board you plan to use. Wait a few days and check out the awesomeness. Just use the wood as you normally would,,,
  8. Amp looks like a Magnatone Maestro. They're O.K. but they have Ultralinear output transformers to increase headroom and I'm not a fan compared to their later 213, 250, 280 and 260 models
  9. Could be an easy way to make a buck. https://www.ebay.com/itm/SET-OF-FOUR-4-MAGNATONE-REPLACEMENT-KNOBS-FOR-VINTAGE-250-260-280-AMPLIFIERS/283336877829
  10. I would think that since they are so fine, just wiping the fingerboard with walnut oil would be enough to rehydrate and make them disappear. If they still were an issue at that point I would wick in a drop of super thin cyanoacrylate glue over them. Then immediately sand over the wet crack with 600 grit sandpaper. Any fine ebony dust falls into the crack and combines with the CA glue making the crack vanish. Maybe then go over the area with 0000 steel wool and buff it. This trick works better with ebony because the crack becomes a solid dark vein. With ebony this is black but with rosewood you get a dark looking vein line.
  11. guitarcapo

    Old timers

    I've been on here since the late 90's But I kind of left after Trump won the election. Too depressing.
  12. The problem with any heating process is that it destroys the cell walls of the wood. Nothing beats time. Basically what is left behind is a honeycomb of cellulose and lignin. Very strong. Very light weight. Very low damping. Torrefied tops might look old with the yellowing. They might be light weight from being dried out. But the damping factor is higher and the strength isn't there.
  13. Heat the bridge. Pull it off. Clean the footprint down to bare wood. Clean the bottom of all the glue and crap. Glue it back with clamps. It's not rocket science. Wood putty and bolts are just wrong.
  14. Scalloping the braces can make a great sounding guitar when everything else lines up....but it makes shaping the sound of the guitar more unpredictable and can sometimes lead to tops that are so soft and pliable that they don't last and a neck reset is required after a few years. The practice seems to bring out bass in smaller guitars but probably isn't as beneficial to drednaughts and jumbo guitars....which is why Martin originally abandoned it in the 1940's. The guitars had got so big that scalloping wasn't as necessary and demanded more warranty work. Personally I prefer tall thinner braces on my guitar builds because they have the highest strength to weight ratio. The trick is to taper them as much as possible in the periphery of the soundboard.
  15. In my opinion someone had to have done that to the truss rod by overtightening it in a misguided attempt to lower the action.. That didn't occur spontaneously from wood settling. Maybe your son or a friend who borrowed it? That being said it CAN be repaired...and Godin should have helped you out there. It's a bit involved in that you have to loosen the rod and remove it...either by pulling it out (highly unlikely if it was glued in)...Or more likely by removing the fretboard, then removing the rod, then repairing the channel floor...replacing the rod and fretboard....and probably leveling the frets. Lots of work. I would think $200 for a luthier to do it.
  16. If you have one of those large storage freezers, just put it in there overnight the night before your trip. That way it will stay cool all day the next day in the trunk of your car.
  17. Given that a typical guitar lasts decades and a single rosewood logs can yield hundreds of fretboards I can imagine a lot more practical ways to save forest land than going after the guitar builders and resorting to crap wood. Bob Taylor noticed that only 5% of ebony lumber is uniformly black enough to be used for fingerboards. Eureka moment: Dye the wood or leave it streaked. Either sounds better than using crap and our forests just increased their yield 10x.
  18. Fralin Blues Specials. Very versatile for all styles of music. By that I mean not all twangy and and snappy greasy country sounding. Clear bright and articulate and just enough output to feed into any amp or pedal. I honestly sometimes wonder why I have so many guitars when all I need is my mahogany telecaster and these pickups to do everything.
  19. If you stained it dark it might pass for Brazilian rosewood. But you'd probably have to stain the inside too.
  20. FWIW I prefer the Tweaker to the Rebel 20. More tone shaping features. That power tube blend feature seemed very inefficient to me and didn't sound much different when I used it.
  21. Photobucket killed all your pics...damn them.
  22. Did you have any trouble gluing the cocobolo? I've read where some luthiers have trouble with it because it's "oily". They have to wipe the gluing surfaces with naphtha first? Also some complaints that the dust is very toxic to breathe. Gorgeous wood, though. I love the red. Deeper than Indian. Some Brazilian looks like that but with more defined black lines.
  23. If you are looking for great overdrive sounds, the LAST thing you want is a 100 watt amp. The reason you buy a high watt amp is to maintain clean sounds at a high volume. With a 100 watt amp, you will HAVE to use the master volume to get overdrive sounds at reasonable volumes...and master volumes suck tone. What you really want is a lower wattage amp like 15 watts or so. Lower watts like a single ended 6-10 watt amp usually sacrifices bass....and good overdrive has bass. The most common problem people using overdrive pedals run into is that they rely too heavily on the pedal for the overdrive. You really want to have your amp running reasonably hot with no master volume (or as little as possible) and then use the pedal to push the amp over into overdrive. If you turn your amp down by attenuating the master volume and preamp volume/gain....cranking up the gain on the pedal won't save things. You need a smaller amp...not a bigger one.
  24. There are expensive pedals that sound like crap and cheap pedals that sound great. That being said, there are some things I look for when buying a pedal no matter what the price: 1. Sound quality (of course) does it make the sound that you want it to and have a decent range of sounds 2. Build quality 3. Signal to noise ratio 4. True bypass 5. Digital or not? Some digital is o.k...usually more reverb and delay in my experience. Some cheap pedals I really have found that I like: -DIgitech Bad Monkey and Screamin' Blues -Danelectro Fish and Chips -Boss Delay pedals Expensive pedals I didn't think were worth half what I paid for them Keeley compressor Every Moog pedal I bought except for the phaser which was killer
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