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wasgtrjones

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wasgtrjones last won the day on August 17 2014

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    "Let me never fall into the vulgar mistake of dreaming that I am persecuted whenever I am contradicted." -- Ralph Waldo Emerson

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  1. I've been around HC since it was a threaded listserv, without categories. I'm meatspace friends with "This place makes me feel..." Cathy. After a while, the constant "what size strings?", "relics are stoopid", "les paul vs. strat" threads are the same every damn year, and I wander away. And once in a blue moon, I see if there's anything interesting / different. There usually isn't.
  2. It's as much a personal choice as a paint color. If you don't like it, dont' buy it. I don't own a pink guitar, but I don't rant about 'em online, or suggest impugnations about players who do. I have a parts guitar that has a "relic" body - a very thin, well-done 2-tone sunburst over knotty pine. It was checked by the builder. I've played it pretty exclusively for 3 or 4 years, probably about 1000 hours of stage use. It's more worn than it was. None of which matters, because it's a fantastic guitar, and would probably even be fantastic if it was pink.
  3. tksmith.net - had some resin knobs, not just like that, but similar. website shows they're sold out right now, but if they look right, you might ask if he's going to do another run.
  4. I have a dano doubleneck that's a regular six string, and a six-string baritone. Because it's still the old 'masonite over pine frame hollow construction' like the originals, it's not nearly as heavy as the Gibson/Epiphone doublenecks... I use a wide strap, but it's not 10 lbs... probably closer to 8.5
  5. I would start w/ a squier p-bass and a peavey combo amp... I have a max bass 115 that would work.
  6. The early danos and Fender 6-string basses were often used in Nashville to 'double' basslines played on upright. As for using a baritone for bass, (I have both), I'd miss the true bottom end - that low e-string... even the tone of the an 'A' note on the first string, fifth fret is gonna be different than the open a-string on a baritone.
  7. Leo Fender was plugged-in to the Western Swing scene much better than Gibson was. A lot of the swing and country players on the west coast were playing Fenders, and I think they helped Fender sell guitars in the rest of the country. When Buddy started, he was doing swing and country covers. It may be that's part of why he wanted a strat, too. Bob Wills is from Turkey, TX, about 100 miles from Lubbock.
  8. I have a tweed deluxe, a SF Vibrolux, and an AxeFX (one of the early ones) Most gigs, I can do with a tube amp and a couple pedals... because the band has a sound, and doesn't need tweed/vox/marshall/twin, etc. But in a previous band, different tones were useful. I found the AxeFX worked for me, and specifically, it worked for sounding, and feeling like a slightly overdriven amp (or very overdriven)... but the feel of the compression and sag as the amp is on the edge of distortion was never right in the PODS or other things I tried before the Axe. So, I think to see if it works for you, you'll have to play it. And not just for 1/2 hour in a store, but for a weekend. Best if you can find a local friend, or 'friend-of-a-friend' that you could work-out a weekend rental rate. Go through stock settings, download internet settings, profile your own amp, really learn all the things it can or cannot do. Or, maybe, keep your eyes peeled for a really good price on a used one, so if it doesn't work, you can sell it without losing money.
  9. currently - working on my singing voice. I've only just recently been able to get comfortable with actually singing out loud. it's gonna be a long road, but I also remember torturing whoever could hear with my first efforts and moving through the cowboy chords and playing "Bad Moon Risin" for 3 months when I first picked-up a guitar. Thankfully, there are things I hear in my voice (sometimes) that I like. rockabillies - swingy stuff... playing through the changes... I'm in a bit of a pentatonic rut sometimes, and playing rockabilly, swing blues, and even western swing is helping me to break out of that. Not any specific songs yet, but working through lessons and tutorials. tightening-up the songs in the bands setlist. specifically intros, signature licks (my achilles heel) - repetition to just drill 'em in, so they're played confidently... recording. One of the ways I plan to work on my singing voice is to get a buncha backing tracks together, and sing in the car. I haven't really done a lot of searching, but assume that most of the stuff I'm interested in singing is so old and obscure that I'll have to record it myself (and then mix a version without the vocal track) - which is also just excellent practice in and of itself.
  10. 1978 Antigua Telecaster. mint. I got a fair price for it, and have a couple really great teles, probably all of them 'better' than that Antigua, but still.
  11. I think a crowd notices something amuck, even if they can't articulate what it is, if a band plays 10 songs in a row, all in G. I read Paul Simon talk about arranging songs on an album release so that if the first song is in E, the second is in F, or G, the next in G or A, then a big jump to D, back to C, and he said even just the key changes will help to draw the listener in. My current band does country dance music. So we focus much more on tempo, get 'em dancin, keep 'em dancin, give 'em a rest, etc. But both are important, IMO.
  12. It was 'so ugly it's cool', to me. Fender did reissue the antigua as a MIJ offering for a year or two in the early 2000s, but the finish was much more 'green'. Didn't work for me. And like you, I have a couple really great teles.
  13. I had a 78 Antigua telecaster. Sold it in 95 or so, and got close enough to market price that I was happy with the deal. But I've gotten more into telecasters since then, and I'll never be able to afford that one again.
  14. definitely translucent red-burst over figured (burl) maple... that's the wood.
  15. I have a pile of teles, and have sold a few more. My tastes have settled on something 50s/Broadcaster/Nocaster-ish in the bridge (SD, Fender, and a lot of boutique companies do this well) I like something that's almost a great strat pickup in the neck. On a budget, the guitarfetish fatboy is great - it's much like the Rio Muy Grande (which is also great, in the neck - I find it too much, and too smeary in the bridge). My personal favorite is a Charlie Christian pickup in the neck. It's big and thick, and chewy, but stays clean and well-defined. Available from Pete Biltoft, or Lollar (and probably others) I also highly recommend the 4-way switch, which adds the 2 pickups in series (so it becomes a humbucker)... it works as a slight boost circuit. I have played with noiseless pickups, and always found them to lack the growl... there's something in the low mids that's not quite right. So I live with the noise. It's just part of the game.
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