honeyiscool

I noticed some word got censored the other day... and it surprised me because it more or less refers to a dong.

The VM is more Jazzmastery, if you like it for what it is. It's also very mod friendly.

Mascis:

Jumbo Frets

Tailpiece closer to body

Look a lot like P90 style pickups under the covers

Anodized pickguard will affect tone

Tune-O-Matic bridge

VM:

Medium Jumbo Frets

Tailpiece is Vintage Correct

Duncan Designed pickups (presumably closer to Jazzmaster pickups)

Standard pickguard

Vintage-style Bridge

There might be something to that. As much as I love Fender Mustangs, it wasn't until the fourth one that I found the one, one that felt, sounded, and looked perfect. So I had to spend some serious money to get it, but what's a little dough for a perfect guitar? I've modified the wiring and have a Mastery Bridge on it and really I feel like it's my signature guitar now.

Try some high end Jazzmasters, most models don't really do justice to the AVRI models, except some good MIJ examples. If you find a Jazz with the perfect body and neck, modify it until the rest of it is perfect. It may take some money and time and effort to get there but many players heavily associated with Jazzmasters are just as known for the modifications they've performed to theirs.

If your only problem with a 335 is that it's out of your price range, and you have multiple guitars and you've already had LPs, then isn't the natural thing to just go all in on a 335 to end it all?

Nothing's going to stop your 335 desires, yo. Only a 335 will, and then you'll know whether it actually was your perfect guitar or not. Isn't it worth it to find out, rather than skirt the issue?

Blue in the bridge is nice. I had it in a Strat with Silver mid and Gold neck. I used silver most of the time and then blue for cutting through. Worked great.

What makes you think I was implying that you didn't know that Lace makes real humbuckers?

Man, touchy much.

What's with your attitude? The point is Dually are not humbuckers because they're actually higher noise than single Sensors since you're adding two singles together with the same polarity. You can't have humbuckers if the coils are not bucking hum. If hum weren't an issue with Sensors*, Lace wouldn't make sets with a reverse middle pup, which if you've tried before, makes a big difference, even with these low-noise pickups.

*and they definitely are, to an extent. I've picked up radio signals with a vintage Blue Sensor before. The newer ones have a green grounding wire so it's less likely to happen, but they still pick up a fair amount of noise, especially if you're around fluorescent lights, where just the angle you hold the guitar can make a huge difference as to how much noise you pick up. True noiseless singles w/ a humbucking design like DiMarzio or Kinman don't do that. Regardless, with good shielding, it's not a huge problem, but I never said it was.

Lace Sensors are not noiseless. They're low-noise single coil pickups, the 60 cycle hum is pretty audible. I have reverse wired Silver in my Mustang, and it makes a huge difference as to noise cancellation. Lace Dually are not humbuckers, they're a good way to get two single coils in a humbucker route.

Lace makes real humbuckers, too, though, and most of them are low noise in split mode.

They're wired like two Lace Sensors. They even have separate grounding wires.

There's nothing humbucker about them, though. They're single coils, two of them side by side. They're not even reverse wired or anything.

It's two Lace Sensors mashed together. If you like Sensors, you now have two of them, so it's twice as cool. If you hate Sensors, you now have two pickups you hate.

Well, I come here to be entertained and to engage in conversation. I've posted a lot of music that is dear to me, and a lot of music that I've created myself. And really, the level of discussion those things generate is minimal, and really it's just a bunch of positive posts until one person decides to be a dick, and then it's a few posts squashing that out, and then it's back to the usual programming. It's fun, and sure, I appreciate the feedback, but I can get that in person where it's a lot more immediate and productive. Meanwhile, for all the dicks who seem to think it's so important to respond negatively to everything I post because of who I am and not what I say, it's more fun getting in arguments about gear because honestly nobody's feelings truly get hurt over that {censored}, so you can pretty much get into it as vicious as you like and nobody's really hurt by it, it's pretty harmless IMO. If it was possible to have balanced, critical discussions about actual forumers' playing and tone and writing in a way that didn't get real feelings hurt, we would.

I think some of that has to do with the fact that before the Internet, it was easier to secure amps made locally and Jim Marshall was the guy who was closely in contact with a lot of guys in England who wanted to make a certain kind of music and Fender wasn't.

Add a series/parallel switch to both pickups. That will give you all the jangle you need with no need.

GHS Boomers 9.5

They're my favorite strings. They'll do everything right and they bend great.

What makes a Tele twang? The guy who picks one up and decides to make it twang.

I think if you have a low watt amp w/ a closed cab but point it toward the stage and away from the audience, it pretty much accomplishes the same things, but even a 12 watt amp cranked is enough to make the guitar drown out other sounds in the front.

I am with OP in a lot of ways. When you play a gig, you can go in thinking I am ze artiste, poo poo the audience, or you can go in thinking, I'm gonna put on a good show for the audience. It's one thing if you're a band with highly original and interesting material but if it's a cover gig and you're trying to get paid, get over yourself, you're not ze artiste zat anybody gives two {censored}s about. Just put on a good show, give the kids a good time, collect the check, and go home.

105 dB isn't loud.

Don't many touring bands play with little to no stage volume these days?

[video=youtube;iZCkm7j9KlU]http://www.youtube.com/watch?v=iZCkm7j9KlU

Yeah, they have 3 full stacks, then you read this and you find out everybody is wearing an in-ear monitor and that they use iso cabs too.

I love the tone of my Tech 21 Oxford. If I got to use that, I don't need no stinkin' amps.

SPOOOOOOOOOOOOOOOOON MANNNNNNNNNN

Well I actually like most of Miles' music even well into the 80s, it just becomes more hit and miss over time, but he was still an innovator and an excellent musician to the end of his days, but I think some of that has to do with the somewhat more fundamental incompatible difficulties with, say, hip hop, and jazz. I think he did a great job blending jazz with rock, funk, and blues.

While I somewhat agree with you, I think that was exactly around the time, late 60s and early 70s, when what Miles was doing would have been perfect for a player like Jimi. He was largely doing very simple progressions, often staying on one chord for minutes at a time, drawing more on grooves and feel. John McLaughlin did not exactly sound like Mahavishnu when he played on those few early 70s records, he actually sounded a lot like he was channeling Jimi.

Sure, Jimi couldn't read sheet, but he'd played on plenty of sessions, so it's not like he required a lot of time to learn a new jam. Anything that Miles would have wanted him to play, along the lines of we comp on so and so chord and just feel each other out, Jimi would have thrived under such a setting. That's just my gut feeling. Miles was working with musicians who weren't really true jazz musicians at that time, and it shows. The bass player on that song I posted is a more of a traditional R&B player, and it shows, and he really carries the groove. It would have been lovely to hear what players like Jimi and John would have been like had they had each other in the same room.

Of course, any time outside of that narrow 3-4 year window, Jimi could not have worked with Miles Davis because there would have been too much clashing going on.