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GAS Man

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Everything posted by GAS Man

  1. Most I ever paid for a guitar was $4500 for a $6000 MA-priced guitar. I'll never do that again because playing a guitar that pricey is just a bit beyond my comfort zone for an every day player. But then again, maybe you're not as neurotic as me.
  2. Okay, some may know I'm a self admitted GAS'r and rarely have exhibited restraint, but there was one guitar that I thought was awesome looking, but so far from my taste in guitar tones/music, that I never did pull the trigger, but I was on the verge a couple times of getting one of these. I damn near bought one just to see it hanging on the wall, but managed to resist. Maybe because I once owned a Jackson Randy Rhoads, nice guitar MIJ with neck thru and p'ups so hot they wowed me, but I was neglecting it and traded it off. I'm just not a stand and play metal guy. I was probably also concerned that since I'd have to play it classical style if I was seated in my lounger, that I could have snagged my scrotum on some of those barbs.
  3. I'm a bit of a world class GAS'r, and that's not brag, just sad fact. While that used to garner bragging rights here on HCEG, the culture here has wisely changed, so I don't often discuss it much in detail anymore on these boards. And I'd say I agree with pretty much everything in that article. Where I differ though is that folks can have a few dozen guitars and still have perfectly good rationale for having collections of that size, let's face it, just about every guitar has some nuance of feel, voice and action that can make it somewhat unique and therefore desirable to be able to access for your enjoyment. And that can even come from the voice of fairly cheap guitars. If that weren't true, nobody would own Dano's. I've often said, better than blowing your bucks on hookers and crack. But once you get above the 2 or 3 dozen guitars, they start to weigh you down physically and mentally. New guitars are fresh and exciting, guitars in a collection may beckon you, but after they are a few years old, they are calling you, but also reminding you that they won't sound great unless you first change out the crusty old strings. I do think that "shopping and playing" are 2 different activities, they really don't compete for the same time. If anything, new guitars have inspired my continued interest in picking up a guitar to play. I tell myself, it's still OK to look at MF's SDOTD, because maybe there will just be an itty bitty pedal there on a blow out that I've been longing for, but that can often lead to acquiring more wood. But yeah, I essentially agree with all the points. GAS is a disease, please send me funds so I can search for the cure! P.S. I recently pulled out my '61 RI SG and its frets had corroded. Another good reason to avoid GAS. Silver/Nickel frets will corrode if neglected. But off came the strings and the Flitz polish came out and it's looking back in fighting shape again.
  4. I particularly agree with that when it comes to acoustic guitars
  5. I would look for an SG with Classic '57 pickups to get close to that tone, and I mean, I wouldn't even go with the '57+ in the bridge, just the base '57 Classics. But as others are indicating above, that doesn't mean you'll get there with so many factors at play, but that would be my recommendation to get you into that ballpark. Other models are hotter, bolder or more vibey, but what I'm hearing there is "chimey" so I'd say '57s. P.S. On that 2nd vid, it could be some vintage PAF pickup, like '57s or BB 1 & 2, but I've seen Eric J. play that song with that SG, an ES 335 and a vintage Strat, it always sounds like Eric J.. His tone is definitely more in his fingers and the rest of his signal chain.
  6. It's not my taste in guitar music, but I'd say "well done". I like that the guitar and pickup seem well mated in that they really seem to be working together. I'm assuming that's an alder body. The coupling of pickup to the body of that guitar is pretty impressive, especially from a Strat. But I have indeed long read that JBs are a good pick for metal.
  7. I also think the video would have been a bit better if he'd used bigger chunks of wood, i.e. deeper and wider. With those narrow boards, the lack of wood would limit some of the tonal variations making all of them sound a bit brighter and more shallow than if they'd had something more like a Bo Diddley shaped rectangular hunk of wood under the p'ups. But sill enjoyed the effort he put into his demo.
  8. I have quite a few SGs, and one of my better sounding SGs out of the box was a 2006 SG Special Faded Worn Brown. It has one of the chunkiest baseball bat necks I've ever played (like an early 50s style) and it's a 2 piece body where it's fairly easy to see the difference in the pieces (not great luck of the draw on that issue), but it's one resonant dude. Paid $486 for it from AMS on a similar blowout back in '06. Point being, some of those light finish Gibsons can be big tone for the buck guitars if you're lucky. Plus I'm more of a 490T fan than a 498T fan. I like that they sound more classic rock than hard rock. P.S. One observation I've had on earlier "Tribute" LPs is that their considerable "weight relief" does have a fairly significant affect on tone and sustain. Not necessarily a bad thing, but something to consider if you're looking for more of the classic LP Standard tone. I've bought 3 LPs that fit that description, gave one away to my son and kept the other 2, but they're now more in my "out of rotation" group, and with prices of new often being available for these blow out prices, they may stick to me like glue. ;^)
  9. Probably the best ukulele shredder/player isJake Shimabukuro. [h=3][/h]
  10. LOL, interesting, I did not know that existed. But you'd think an extreme concept as such a widely varied substrate would make the end result intuitive even without an actual demo. Heck, I was in gigging neighborhood band that included someone on a thump bucket, so I got to hear the differences between metal and plastic buckets. LOL And yes, the thump bucket had a transducer pickup attached to it as well. But man did I get tired of playing Down On The Corner. :-)
  11. Ouch! That's like having a beautiful maiden jump into the volcano to save the village, but at least "mission accomplished" so good story ending.
  12. 2 my very first electric I bought myself back in the early 70s from a base exchange. The only name it had on it was "Prestige" and it was made in Japan. Looked exactly like this And then I also traded off a couple guitars, including a L6S for an original/used MIJ ESP The Eclipse. I wish I'd kept the L6S instead. (I never bonded with that ESP.) It looked like this but was more of a brownish red color. That model was/is considered one of the more oddball Gibsons that never really caught on, but it was the closest to vintage name brand electric guitar I ever owned. After that, you jump forward to '83 in my electric guitar collection. But at that time I was not much of a GAS'r and I figured my LP Studio (which had a bit of a wider neck near the nut) rendered the L6S redundant at best. At the time I traded it off, the blue book value was quite low on those guitars, i.e. somewhere close to around $250. Just wish I had it now.
  13. I've posted this before, and I'll post it again, but it's kind of basically a simple matter that A) a pickup is a "transducer". In other words, it converts mechanical energy to electrical energy. The substrate to which the vibrating strings are anchored will impart nuances to the vibration of the strings, and the transducer picks that up and converts it to a detailed electrical signal. For me personally, I never had any doubts due to my collection of guitars, but most pointedly I bought 2 Fender Stratocater Deluxes around the same time. Both with the exact same electronics and hardware. One with a maple fb & alder body FENDER 50TH ANNIVERSARY (2004) DELUXE STRATOCASTER Other with an ebony fb and a fairly dense ash body. FENDER STRATOCASTER DELUXE BAD BOY BLUE 2005 On those two I wouldn't want to speculate how much difference comes from the fretboards, even though ebony is generally regarded as being a bit bright than maple, but I would say that the body wood made a huge difference. The difference is so great that when I played the Bad Boy Blue, I was always reaching to engage the S-1 Switching to pair up the pickups to warm its tone, but with the Alder bodied 50th Anniversary, I'm quite comfy with its single coil tones. But the Bad Boy Blue is very sharp sounding in the single coil mode and it probably deserves a home with a country-style chickin pickin player. Now if its ash body had been a more resonant lighter weight swamp ash body, then the difference would have been less discernible. For example, I have a '52 Tele RI with a nice Swamp Ash body, and it possibly has one of the deeper rounder tones of all my teles. Or I've often said, build a guitar out of concrete cinder blocks and another out of ballistic gelatin and then tell me they sound the same if the same hardware and p'ups are installed in both. Plus one would also have to believe that the quality of the woods and carvings from Stradivarius to historic Gibsons was all nothing but centuries of marketing hoaxes. But differences do diminish for the uber high gain players who'd rather twist their pedal and amp knobs. Thanks for posting that vid!
  14. Sometimes it was hard to discern, other times the depth coming from the mahogany was like getting gob smacked by the difference.
  15. Yeah, I found it surprising that that tool posted one of those vids. Not like I'm his fan, but I would have thought that with his collection and playing abilities he wouldn't have been on that page too.
  16. I agree. At first I didn't care for the SG looks, but I indeed got over that. While I do like the looks of a LP, I figure if I were a blind man (going my feel and sound alone) I'd probably choose an SG 4 out of 5 times over a L.P. I like that their tone is more spanky/vibey, like if a Fender and a Gibson LP had a baby. Plus they are comfy critters. I got about a dozen of the dern things + a couple Epi versions. My bad. I also have that Classic with the P90s but later got a '60s Tribute SG (thin finish) with P-90s that's a bit more vibey than the particular select I got from MF on that Classic. It's still often the luck of the draw. And indeed, comparing an SG vs an LP Special (both all mahogany) it's easy to hear the difference the thinner slab makes.
  17. Personally, I'd be attracted to the Fender myself BUT! that guitar would tend to be a bit bright sounding so it may not be as "universal" of a tone as you might like - i.e. depending upon your style preference. I prefer a solid slab of mahogany under a set of P-90s to balance them out with a bit more warmth and depth. I've bought a few PRS SEs (5 of them) and found their tone to be bland, but some of the sig models have a bit better sounding pickups. I've recently had some good luck with Yamaha models, but I've never played the one you posted. If you're interested, I could sell you a gently used Gibson SG Special Faded Worn Brown for about the same price (or a hair less). I also have a spare trans blue Schecter C-1 Classic with Duncan p'ups in new condition I could spare for around the same coin. And it's not like I'm trying to dump cargo, but I've just got too many guitars so I need to thin out duplicates. And both would included gig bags. Frankly I've got a larger inventory than most guitar stores unless you include GCs. My GAS will die when I do. ;^)
  18. I lived in Turkey for a couple years back in the mid '60s. One of their phrases I really like is "gecmis olsun" Folks think it means "get well soon" but I never like to learn a language that way, i.e. picking a convenient counter part in your own language, I prefer to learn the literal translations, which in this case it's much closer in meaning to "may it pass quickly" and therefore can be applied to a wide range of adversity, So a heart felt "Gecmis Olsun" to all in the area. Meanwhile, as long as your acoustic keeps working: [video=youtube;-ex-m-eEKsg]
  19. I'd vote for the SG P-90. I own two of them, and one is clearly my fave over the other, point being, not all are gems and it's not necessarily price dependent. I also own SGs with various HB configurations, but the P-90s get you a phat single coil sound and I find it's easier to get vibey tones from them (good for surf) and the "edge of breakup" tones seem like they are also easier to obtain without loosing that single coil vibe. Although I like the looks of LPs better, I like the feel and vibier tone of SGs better and attribute a lot of that to the fact that Gibson was competing against the Fender designs/tones when they came up with the thinner slab bodied SGs, so they were "mission achieved"; and the P-90 config just makes it all that much easier. But if you do go SG w HBs, then indeed '57s or BB1 & 2 would be your best bet for the tones I read you describing. To me, the SG Standards with the 498s need a good dose of overdrive to warm and round them up. OTOH, I'm also a rare duck in that I also prefer HB SGs that have the 490R/490T more so than the 490R/498T configs. The latter works better for harder rock. I'm more into the tones of classic rock, including my love for surf. I also love the BJM and The Mermen.
  20. For me Squiers have been a real mixed bag. My first experience was buying a laminate bodied Strat for my son somewhere around '93 (he wasn't sure if he was going to bother giving "learning guitar" a try, and I was simply coaxing) and that thing was poor throughout; except they'd done a miraculous job of putting in cheap hot ceramic pickups that actually got more body out of that POS guitar than any good quality p'up would have unearthed. I found that out the hard way by trying to upgrade them, and that laminate body, devoid of any resonance, just made good pickups sound thin. Plus tone robbing pots, a seriously high fret and the worst chunky tuners evah! And I can't forget the strap buttons where the screws pulled out. because screws don't hold well screwed in between parallel layers of plywood. That's more like screwing into wood glue than wood, but that was another early fix. Since then, with Squier leaving the laminate body designs behind (in all but their least expensive models) I've found Squiers to have established a well defined progression of product line that bring along worthy upgrades along each price grade. But usually, I can pick up a fairly crappy model and still have my moments with them too. But I think my biggest single complaint has been the volume pots that roll off the highs way too abruptly. I found that one model I had enjoyed in home jams (where I'd adjust volume at the amp) couldn't be used in jams with my band mates because I'd have to use the guitar's volume in a live setting and any positions on the pots, other than wide open, would cause the guitar to sound too muddy fade into the mix. (a Tele Custom II) And yes, I know that can be fixed by mods, but it would also be so easy for Fender if they could have just spend another buck or two on better pots. But once you get to the Classic Vibe model, your getting a nice, albeit, signature tone. There's still issues like "less than stellar tremolos" and thinner bodies but I do believe they are a better tone-bang for the buck than many other brand name lines. Here's mine. [TABLE=border: 0, cellpadding: 0, cellspacing: 0] [TR] [TD]SQUIER '51 BLONDE[/TD] [/TR] [TR] [TD]SQUIER '51 2TSB[/TD] [/TR] [TR] [TD]SQUIER TELE CUSTOM II[/TD] [/TR] [TR] [TD]SQUIER AFFINITY TELECASTER SPECIAL[/TD] [/TR] [TR] [TD]SQUIER CLASSIC VIBE DUO-SONIC '50s Electric Guitar (Desert Sand)[/TD] [/TR] [TR] [TD]SQUIER 60th Anniversary Classic Vibe '50s Stratocaster - Aztec Gold + Fender Metro 60th Anniversary Strat Gig Bag [/TD] [/TR] [TR] [TD]SQUIER HELLO KITTY STRATOCASTER (used) $270 + HK Strap + HK Gig Bag[/TD] [/TR] [/TABLE] Of all of them, I've probably been happiest with my decision to buy that Duo-Sonic. It's just so damn comfy to play, the action is easy, the body is light, but yet noticeably adds it own resonance to the tone, the pickups have good responsiveness, clarity and vibe, and the tuners are vintage styled but work just fine. That would be the one the I'd buy again without thinking twice (except I might be tempted now by Fender's similarly priced MIM line of Duo-Sonics. Those are a little more money than the $255 I paid for my DS, but then that was in 2009 (Great Recession era) dollars. But as one other forumite here once said, "I find they stick to you like glue". So I'd recommend trying out a few different models or hone your ebay skills. Something I plan on doing myself in another few years. ;^)
  21. My fave was a TS-9, then I fell for the Fulltone OCD, which is more aggressive but has a good tones on tap. Then I thought The Timmy was it (still do for some aps, like getting a good bluesy strat tone with its unique ability to roll off the harsh) but I'd say right now I'm still most impressed with my Catalinbread SFT. The dang thing really does give you a Rolling Stones type of overdrive sound (mimicking an over driven Ampeg) so it just sounds classic to my ears. I think my other choice is in a bit of a different category, but I have a Tech 21 Sans Amp Character Series Blonde that hasn't left my man cave set up for quite some time. While it can model some black face tones, it's its moderate overdriven Tweed tones (both the character and drive knobs close to 12 o'clock) that got me hooked. Plus its tone controls are very powerful so it can take something like a Roland Cube 80 and make it sound like a very full sounding old school tube tweed amp. I mean, the Solid State sound disappears and then there's all this depth of tone added. On some amps (for example my Orange 35) it will make an amp like that sound flabby, so you've got to have a semi-stout amp to take it, but with a decent amp, the Blonde does more than overdrive, it transforms. Anyway, Timmy, SFT or Blonde, those are my current top 3 pics and choosing No. 1 would definitely be a personal pref choice. My more recent worm-hole was a couple of the Xotic boost pedals (the EP & RC). They are kind of like a touch of overdrive coupled with the effects of a BBE Sonic Stomp Maximizer. But I use those more for the extra clarity rather than to overdrive since I don't usually play loud enough to push the front end of my amps at home.
  22. I'm no "compressor expert" just have a Boss model which I seldom use (also want to get a Jangle Box) but other than the jangle effect, I'd say they are also fun to experiment around with to get a bit closer to that "violin-like" guitar tone. And coincidentally as GH is saying "Gilmour". But I clicked on this thread because I usually fiddle with my Boss a bit and then after a bit, remove it from the chain again, so I am curious to hear which ones folks are liking since I readily surmise there's better out there than my Boss, and indeed others that aren't flavored in the "Jangle Box" direction that I'm also likely to pursue.
  23. That looks very cool. I've rather recently been getting into "boutique" amps a bit and sort of have that "wish I'd started here in the first place" feeling, although of course, budget constraints are always an issue; but not so much if one thinks about the more entry level stuff that you might play for a while and then want to pass on. So far I've stayed within the big names (Marshall and Fender) but have acquired the 1973X and the '57 Custom Deluxe and '57 Champ RIs. My latest is the Champ, which I'd guess would more closely approach your selection, but I imagine that combined with a 12" would be pretty darn cool. I like the 1973X and Champ the best, and find the Custom Deluxe to be a bit too damn loud (even at just 12 watts) to begin to approach OD at home practice levels. The Champ has a nice chimey tone (as does that much bigger Marshall), and even with just an 8" speaker, it has significantly more depth of tone than say the Vox AC-4s with 10s, plus its overdrive tones are much sweeter. I'd seen the Atomics before, but they'd really slipped out of my thoughts. Maybe some day when I thin the herd. Enjoy! I'd love to give one a spin.
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