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Verne Andru

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  1. Yup. And here I thought I was special... I first ran across Glarry over at Talkbass - peeps were gassing over their super cheap basses - so they are somewhat legit. Contrary to my normal inclination I did visit the site and it shows a bunch of sub $100 teles, strats, p and j basses, etc. They sell on ebay. I think it's a clever way to get people to talk about their stuff. Just like we're doing here.
  2. I have a Viking. Killer neck. Love the fretboard. Feels like real ebony but is easier to maintain - doesn't need oiling.
  3. I had a Wildkat and it was a wonderful guitar. Looks like this is the same with different electronics and no bigsby. Top quality build, authentic electronics, superb hardware for little money is hard to beat.
  4. I wired my strat so the bridge, a SD Lil 59 humbucker, goes through it's own Volume (second tone) then the main circuit so it can be "blended" with the others. It's not a blend like on my Les Paul, which is a pot with a center detent, but since the bridge is hotter, it controls the overall mix with the original Vol becoming a master Vol. To do this I changed the second tone pot to a push-pull volume for the bridge - the push-pull engages the bridge to be always-on/off so it's always available when needed - but this can be whatever pickup you choose. To get around any tone suckage I a
  5. I'm with you Phil. I have a deal with my tech where I take it as far as I can and he finishes up. When I decided to put P-Rails with custom wiring - master blend with humbucker/p-90/SC switching on push-pulls - in my Hagstrom Viking he got the parts and my wiring diagram. He just about killed me when I came to pick it up, but it came out great. That stuff's akin to building ships in bottles.
  6. I'm a comic book artist, animator and filmmaker that plays guitar, bass and mandolin. My first taste of GAS was the Silvertone Amp-in-case when it showed up in the 1964 Sears holiday catalog and it hasn't let up since. Along the way I've done record album jacket art, art directed record companies, animated Lou Reed and Debbie Harry songs, designed effects pedals and co-launched the Pigtronix brand. While I've done some gigging and even had one of my songs written up in Guitar Player Magazine, my audio focus has been on recording for film and video. As I'm deep in the throws of artwork for a ne
  7. I hear what you're saying. The neat thing about strats is you can build a custom pickguard and move it between guitars so I see it as a long-term tone investment. My strat is a parts-caster that wouldn't get much on resale but sounds killer. I keep upgrading the parts so it not only gets better, but it's custom configured. I always get my stuff on sale so I think my pickups actually cost under $150 when the dust settles. Soldering isn't that hard - look at youtube as there should be basic tutorials there.
  8. I like Kent's pickups. I have 2 - 1 Korean made floating humbucker and 1 Kent Armstrong made 7-string humbucker - both neck pickups on jazz boxes. Both sound great. The Korean is a bit quieter because it is in a metal case that provides shielding but it's not noticeable; he makes his custom pickups by encasing them in epoxy. As for strat pickups, there's wealth of choices. I went with a set of Mojotone 50s Custom Wounds for neck and middle with a SD Lil 59 in the bridge. The Mojo's are fabulous and sound every bit as good or better than the best vintage Fenders. There's a choice of raise
  9. I remember them being difficult to play (poorly setup) and "thin" sounding when I started out. But that was in the 60s/70s, which wasn't Gibson's finest hour when it came to acoustic instruments. Kays had neck joint issues and Harmonys were pressed arches which never sounded very good, so the choices were limited and expensive. I decided to try again with a The Loar when the opportunity arose, which are built to 1920s specs. When I first got it I must admit to feeling a bit disappointed with tone and playability. I gave it a good setup and made sure the bridge fit the top properly, which
  10. I have both - an archtop The Loar LH-300VS (based on 1920s Gibson L5 specs) and a flattop Silver Creek OM (based on Martin OM specs) - and find they are the same but quite different. Specs are similar - body size is about the same and both have solid spruce tops, laminate hog back/sides, 14-frets to the body and 1 3/4" bone nut. Main difference is the tops and bridges. I find the L5 to be louder and much more dynamic and responsive than the OM. The biggest difference is in the high strings - after playing the L5 the OM sounds like there is a blanket over the high strings. Which
  11. Nice guit and happy NGD! One of the highlights of being a kid in the 60s was the Sears annual christmas catalog, yes things were different then. I fell in love with the original amp-in-case set [including the Silvertone Mik is known for using] when it first appeared. I remember the $99 price tag seemed like a fortune at the time and I couldn't ever imagine having enough money to afford one. I was quite disappointed when Sears changed to Teisco built gear and discontinued the Dano stuff a few years later. When the chance came up to snag a re-issue for cheap I couldn't help myself. Min
  12. Choosing the wrong or inappropriate practice schedule. For years I would promise I'd practice after dinner [and a long day] only to be too tired to either do it or do it well. Then I decided to switch it up - now I get up early, spend an hour or so waking up and an hour practicing for before hitting the shower and starting my day. While this does require getting up early, the benefits are that I'm wide awake and fresh when I practice so I get far more out of my time. At the end of my day I'm able to unwind without the stress of not practicing because I'm too tired.
  13. Happy new guitar day. That model was sold under Dano's Coral brand - they even used a Coral shaped headstock on this one. I admit to having a soft-spot for Dano's. That one looks very nice and I hope it brings you years of fun!
  14. Kent Armstrong will make a hex pickup to order. SD's P-Rail comes closest to the OP's question, although it's a P-90 and a SC-Rail. The trick I found to making these sound great is to remember to switch tone capacitors when switching between bucker and SC. The other "close" option is to get a guitar with 2 P-90s and make one of them RWRP to the other - something that's very easy to do on a P-90 as you can physically flip the magnet - and wire them in series. They won't be sitting side-by-side, but gets close enough for rock and roll.
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