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Wyatt

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Everything posted by Wyatt

  1. Stratosonic, available in various years, Cherry or TV Yellow, in P-90 or HB's.
  2. 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.
  3. 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,.
  4. 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.
  5. I don't believe there are *any* aftermarket options.
  6. 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.
  7. 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.
  8. 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.
  9. Menatone Working Man's Blue (JTM-45 in a box) Menatone King of the Britains (Plexi in a Box) Marshall Bluesbreaker pedal Sansamp British
  10. 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.
  11. 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.
  12. +1 WD40 is my go-to as well for sticker gunk removal but I've never tried it on wood (It's great for metal and plastic). I agree with the "test first" advice. I'd take the pickguard off and test a spot underneath it. If it doesn't take off the paint or make stain, you should be good. Well, rarely are you dealing with wood. It's the finish on top. WD40 seems like wasted effort. Why deal with buffing off something that is designed to cling when you can use naphtha (recommend by Gibson, BTW), which evaporates without even a residue.
  13. Goo Gone will be fine on a Lotus. Never liked the stuff though, the fumes linger forever. The main active ingredient in Goo Gone is Naphtha, otherwise known as good ol' Ronsonol lighter fluid (for most of my life Zippo fluid was just naphtha as well, but the modern Zippo fluid is not). Straight naphtha will work just as well (is nitro safe as well) and evaporates super fast, so there is none of the lingering odors/fumes of goo Gone.
  14. 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.
  15. 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.
  16. 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.
  17. I have found auto paint to be really durable and easy to apply. If you want to go nitro, you really should check out the Guitar Reranch website. That site has a huge WEALTH of information. It's pretty cold nowadays where you are. You may have to wait for warmer weather, unless you have a heated garage? Heated garage doesn't work. You can't ventilate as needed and keep out the cold, which inhibits spraying. To spray nitro, you need lots of fresh air, moderate temperatures and no humidity.
  18. Closest thing I've played through is a Champ II. Exact same power amp and the preamp is 80-90% the same was well. The differences is the Champ II is Master Volume amp and designed to get some preamp overdrive going. The Bassman 20 is built a little more like a vintage amp, to get the preamp sizzling, you have to crank it, which will also get the power tubes going as well. And the Bassman 20 has a 15" speaker. Otherwise nice circuits, not my thing, but there are people who love the Rivera's, solid in the fender tone camp, but a little more rock oriented than the BF/SF amps. It's a matter of personal taste. It should be traditional eyelet-board construction, I think all rivera-era amps were. Joining the FDP is a futile, short-lived exercise, everyone gets banned at the drop of a hat.
  19. Anyone who followed my "I must be nuts" thread knows I just went through the same thing. You should keep it, for two reasons: 1) you said, "I like it a lot when I do play" 2) you said, "I do like playing it when I pick it up" Why get a used Standard anything, when you have a more unique guitar that you know you like? This is what stood out to me. It says, "it's a good guitar and plays well, but it's not a guitar I reach for and I won't miss it when it's gone."
  20. i've been sorry i ever sold any guitar who says you'll get that kinda money, anyways The reserved price says it. To the OP, the options would be to hold on and hope prices keep increasing or sell and lock in the profit. I expect it won't drop in value over time. There are very few emotion reasons to hold onto any guitar. If you want to sell, sell. They'll keep making guitars you'll want in the future as well. To hoard stuff is just a waste of money and space. I don't collect guitars, I play them. They are tools to be bought sold, and replaced. Band demands and personal preferences change and dictate what tools you need to go forward with.
  21. There's also a Floyd that actually mounts to the existing TOM and Stoptail mounts, so no mods are required. Those are really hard to find, and from what I understand, they don't offer the same range of motion as a regular Floyd, and you'd still have to put a locking nut on there, but there would be no body mods needed. They are rare and can easily pull $200+ on eBay when they show up. Floyd only made them for one or two years in the late '80's. The top is right off of a Floyd, exact same. But instead of the sustain block being screwed to the bottom, it's the dedicated baseplate (with all those springs) to fit Gibson tailpiece studs.
  22. There are hardtail Strats, they use bridges like the one below (it's the vintage version, there are also more modern ones) and have been available since the '50's. Models with TOM's aren't common. The TOM sits higher off the bodies than Fender bridgesTo use a TOM, either the TOM has to be countersunk into the body or the neck angle has to be changed. That's no big deal when gearing up to manufacturer, but builders seem to prefer to go with the stock Strat neck angle and Fender hardtail bridge.
  23. It's all technique really. There is something about one guitar or another that is throwing off your playing style. It has nothing to do with gain, distortion or anything else of the sort. I can do pull off loud, clean pinch harmonics on guitars that are hot or clean, loud or soft, electric or acoustic. It's all technique. Gain and overdrive only make it easier to here weak pinch harmonics, and if they are weak, then they could have been played better. Many people seem to find shorter scales help them, and I won't argue with that; but if they can do it on a 24 3/4" Gibson, they can do it on a 27" baritone, it just takes practice.
  24. Originally posted by pallas I had the chance to get one of these for under a $100:cry: I was painfully close but late:mad: That's what both of mine cost. I would never spend the money most places want now ($350 for a non-trem SF Champ? no way). They are great amps, but not magical. Now, after my big post supposrting the BF/SF Fenders for being the ones to buy for the signature "Fender Tone," I will state this is the greatest amp Leo designed. But is sounds far more Marshall than Fender. -Y.
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