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Everything posted by wasgtrjones

  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.
  16. I'm a tele person. I've never seen a translucent red custom before - that's a pretty rare finish. If it were mine, I'd put a single-layer, slightly yellowed white pickguard, to match the binding and the buttons, but it's cool... I had a MIJ 62 Custom RI in sunburst for a while... purchased used in 93 or 94. I eventually sold it as I played more and more and discovered I like THICK necks. Had a Jerry Donahue, which is essentially a thicker maple neck on a double-bound custom body for a while, too... I think I sold that when somebody made me a really nice offer. The tele I'm playing the most lately is a partscaster - FAT maple neck, 2-color sunburst pine body, and a Charlie Christian pickup in the neck.
  17. If I understood correctly, the tune-o-matic bridge isn't tall enough? and there's no more room on the thumbwheels to raise the bridge a little higher? If that's correct, you just need some washers, between the thumbwheel and the bottom of the bridge...
  18. I try to say 'thank you', and 'I'm glad you enjoyed the show'. I don't EVER try to tell them they were wrong. Of course, if you've played enough shows, you've had a few of those. I've had shows where not only did *I* know I didn't have a good night, but the band heard it, too... and still compliments. And the more frequent, I wasn't happy, but the band had a great time and a good night. Sometimes it's harder to have a night where I feel GREAT about my playing, and the room is flat. It's also an opportunity to learn what I should be working hard on practicing, and what I might be obsessing over needlessly...
  19. I am unabashedly a tele person. I have a strat, and have had others. I much prefer my 3-pickup tele when on rare occasions I want that 'in-between' sound. I just prefer the telecaster tones (all 3 of 'em) to strat tones.
  20. To be honest, for me, it starts with looks. If it's not something I would WANT to wear/play onstage, I'm not interested. There are so many ways to find great tone, that I'm not interested in a guitar I can't look at. Example: There are practically an infinite number of combinations and permutations of a Stratocaster. There is no reason whatsoever for me to pick up a hot-pink 80s style superstrat w/ graphics because that's not my style, and I'll never play it. It really doesn't matter how great it sounds, I can find another strat that sounds great. Second to me is playability, does the guitar fit, and a very close third is the tone. Mostly the unplugged acoustic tone, because I have no problem with swapping pickups. Finally, the last consideration is value. Which for me is a combination of resale value and current value compared to the market. I don't really buy guitars as investments, but will consider whether I think I could re-sell a guitar and not lose money on it. I've bought guitars that I didn't think I could ever sell again, but $120 for a guitar I knew I could take out and play 3 sets with is still a bargain.
  21. Go to the local people (first guitar), work with them to make YOUR guitar special to you.
  22. What's so great? It sounds more like the sound in my head than anything else.
  23. A friend has (had?) one, and I played with it a bit. For me, it was kind of a one-trick pony. It did that trick pretty well, but I also realized that the typical guitar chords are voiced differently than the typical organ chords, so to REALLY cop that 'green onions' thing on guitar, you also have to figure out how to finger/voice the chords correctly.
  24. Talked to Redd last weekend at his weekly gig here in Austin. He complained they made him carry his amp UPHILL... in Colorado. at Altitude. He said it was awful. But then he got to play, and it was good. Used to see Cindy play with Redd at his local gig, until she moved to NY. The two of them together are pretty special.
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