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  #5201  
Old 01-29-2018, 12:15 PM
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Right. Wah Wah pedal is great for wah wah effects but also great for selecting a tone. Another great pedal for tone is an Octaver.
  #5202  
Old 01-29-2018, 04:32 PM
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Nice clips Wordman! Just checked in and saw. Yup, I recall the riffs and tone was great, even out of my BluesJr and my Tele+11's. It's in the hands.

PS: I thought your go-to Tele was that 'raw beef' colored one from way back in the thread? I don't recall a butterscotch one. What are we looking at? Straight-up ash + what pickups? I recall bridge was low-power Duncan, you'd mentioned that in person but I thought that was in the cherry Tele Special.

PPS: you seemed to enjoy my OCD the other day, what's your review? I forgot to ask after, but you had asked to use that one of mine.

Last edited by squeegee; 01-29-2018 at 04:34 PM.
  #5203  
Old 01-29-2018, 08:28 PM
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scabpicker, as a bassist, hear anything you can work with?
Hehee, when you described your style, I was assuming you'd be holding down the bass part with your thumb. Nope, I was projecting how I play on ya. You leave a lot of room for the bass in there. I like the funk the most.

Nice tone, but it needs more gain. Then again, I've heard very few guitar sounds that couldn't benefit from a bit more gain, so don't listen to me. I'm stupid for gain.
  #5204  
Old 01-29-2018, 08:45 PM
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Nice tone, but it needs more gain. Then again, I've heard very few guitar sounds that couldn't benefit from a bit more gain, so don't listen to me. I'm stupid for gain.
My friend Larry taught me a lot about audio mixing when I first started working for him; he definitely improved my skills behind the console.

Anyway, the first and most important thing he taught me, and he told me it would be, was gain structure. Gain structure dictates the sound because it is how you get a foundation to work from. And one of the things he taught me was the initial gain stage is crucial to getting the right end result.

And in the case of guitar, as Neil Young taught me, that means lots of gain early.

When I play guitar, my pots on the guitar are wide open. My amp's gain is also wide open. I don't even need a lot of volume to achieve the most amazing overtones this way, which is crucial to the droning, repetitive style I favor.

And since people have been sharing their music lately, please allow me to share with y'all as well. This is my favorite song I've ever heard; I've listened to it easily more than a thousand times just since recording it, let alone how many times I played it while writing and rehearsing. In fact, I still listen to it nearly every day. For clarity, there are three tracks: rhythm guitar, lead guitar and klong yaw (it's a drum). No editing on any of the tracks, each is a single take. The lead took me 2 tries but it was improvised so I think that's okay. The rhythm took me 3 or 4 takes before I was satisfied and the klong yaw was first take.

Of course, I think it sounds better the louder it is, but YMMV.

Relapse Cult - Hand Of Glory

Hope y'all like it too.
  #5205  
Old 01-29-2018, 10:21 PM
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Hey guys, nice work! Love those tones.

Bo, that's not just initial gain stage I'm hearing on the rhythm track - that's like Insane Gain. Is that just a guitar and exploding amp, or is there a pedal in there, too?

And WordMan, that's exactly what I expected. Well done.
  #5206  
Old 01-29-2018, 10:30 PM
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Originally Posted by Enter the Flagon View Post
Hey guys, nice work! Love those tones.

Bo, that's not just initial gain stage I'm hearing on the rhythm track - that's like Insane Gain. Is that just a guitar and exploding amp, or is there a pedal in there, too?

And WordMan, that's exactly what I expected. Well done.
First, thanks for listening.

Actually, there's no amp in the recording; that was direct from my pedal to the computer (I record/mix everything digitally with Logic Pro; I master with iZotope Ozone software, if anyone cares).

So yeah, I have a Zoom G7.1 pedal board that I use to shape the sound and yes, on my preferred custom setting, the gain is wide open at every stage (which is pre-amp, EQ, etc.). Again, that gain is necessary to help propagate the overtones that I love so much. Plus, it just helps me achieve my main goal.

ETA: Here's the thing. I don't have band. So when I play, I want to fill as much sonic space as possible with just my one instrument. I think that's why I like the droning, repetitive thing so much; it just fills all the space so nicely. Like, I find it a really pleasant sensation. Since I've always had a minimalist streak, this hasn't bothered me; it's just the way I play and write now.

Last edited by Snowboarder Bo; 01-29-2018 at 10:34 PM.
  #5207  
Old 01-30-2018, 05:31 AM
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I am on the road for word, and have to get to a breakfast meeting (at 6:30am Central - fun), but want to add m $02:

- Bo - yeah, you sound like I expected!! Very cool, Stoner-Droney rock - I hear a lot of QOTSA and that's a good thing! And yes, I am totally into drone strings and filling in the sound, too, and have riffs that enable me to do that. Hmm, I will have to think about setting my iPhone on the bookshelf at some point to show that.

- Bo and scabby - you guys and your gain!! Since, I am after my fingerstyle, touch-dynamic sorta approach, I want to drive the gain when I spank the strings - look at that clip for Bang a Gong; you can hear the strings, and then when I spank the first chorus chord, it gains up nicely. That's my goal in a nutshell.

squeegee - yeah, I sound like me, regarding of what I play through!

The sequence for my Teles:
- Thought about building a guitar from parts for a while; didn't quite know how to start

- Found someone's orphaned parts-o-tele at a local shop. Had a few parts I would've picked (and some I didn't know I would end up loving, like Seymour Duncan's Jerry Donahue Signature Tele bridge pickup). Got, oh, $1200 worth of parts for $350. The neck pickup is one of those parts that attracted me; it is a Seymour Duncan Phat Cat, meant to be an overwound single coil, but more like a Jazzmaster pickup vs. a P-90.

- Swapped out the body (my current one is swamp ash; doper Crotalus got the original to start his own project), recontoured the neck, upgraded some of the electronics, etc.

- Based on that success, I built the Tele Special, e.g., the Tele with a short scale neck, raw beef Gibson SG finish and such, from scratch. It was my main gigging guitar for years. But as I have gotten more into that weird fingerstyle approach I have been using, I have been drawn to my first Blackguard Tele's longer neck scale. Between that and the .12's, I get the stiffer set up I am looking for. Also, for the type of just-gained-up tone I am after, the swamp ash is a bit brighter than the Korina (basically a form of mahogany) body on the Tele Special, so I have a bit more brightness to work with in the tone of it.

Your OCD overdrive pedal was fun! I would love to live with one for a bit and play with it at a higher volume and being able to dial it in more. In other words, a very usable dirtbox.

Must run! Yay, guitar geekery and hearing stuff!
  #5208  
Old 01-30-2018, 11:34 AM
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Originally Posted by WordMan View Post
I am on the road for word, and have to get to a breakfast meeting (at 6:30am Central - fun), but want to add m $02:

- Bo - yeah, you sound like I expected!! Very cool, Stoner-Droney rock - I hear a lot of QOTSA and that's a good thing! And yes, I am totally into drone strings and filling in the sound, too, and have riffs that enable me to do that. Hmm, I will have to think about setting my iPhone on the bookshelf at some point to show that.
Thanks for listening! I find it interesting that you hear QOTSA in that song only because I've only ever heard, I think, one song of theirs about 18 years ago. They're not terrible, just not what I prefer.
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- Bo and scabby - you guys and your gain!! Since, I am after my fingerstyle, touch-dynamic sorta approach, I want to drive the gain when I spank the strings - look at that clip for Bang a Gong; you can hear the strings, and then when I spank the first chorus chord, it gains up nicely. That's my goal in a nutshell.
I watched your videos and you're a lot more disciplined than I am. I liked seeing that you do certain flourishes with your picking hand that seemed more designed to keep the rhythm/timing right than anything else; I do that too.

I thought your tone was great: clean but with a little crunch and yeah, your gain structure is just right to let you pull more out when you want/need it.

Prolly just me, but even when I play clean, I like the gain pots on my guitar wide open. I remember when I first started playing, I would just turn it up enough to get some sound, but I found I liked the nuances that come out with more gain: fingering, attack and release become orders of magnitude more important (and more noticeable) at higher gains, and for whatever reason, I like that, even when I hear flaws in my playing (which is near constant).

Last edited by Snowboarder Bo; 01-30-2018 at 11:35 AM. Reason: h
  #5209  
Old 01-30-2018, 03:50 PM
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One of the musicians I follow on YouTube is a guitarist/drummer named Jared Dines.

Last fall he posted a video describing how a guy ripped him off by taking money to build an insane guitar and then never delivered.

Night before last he posted this new video that shows him getting an 18 string guitar from Australia's Ormsby Guitars. It's pretty phat!

For those that want the good stuff first and easy, here's the specs:

Tasmanian blackwood body
Mahogany and Tasmanian blackwood neck
ebony pinstripes
ebony fretboard
Stone top(?) couldn't quite understand him or the Ormsby guy but I think that's what they said; sure looks like it too
An inlay of Jared Dines' "stupid fucking face"
3 blade-style pickups(?)
Glow in the dark headstock plate
Carbon fiber headstock backing
Hipshot hardware

Last edited by Snowboarder Bo; 01-30-2018 at 03:52 PM. Reason: o and i not o
  #5210  
Old 01-30-2018, 11:18 PM
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Originally Posted by Snowboarder Bo View Post
One of the musicians I follow on YouTube is a guitarist/drummer named Jared Dines.

Last fall he posted a video describing how a guy ripped him off by taking money to build an insane guitar and then never delivered.

Night before last he posted this new video that shows him getting an 18 string guitar from Australia's Ormsby Guitars. It's pretty phat!

For those that want the good stuff first and easy, here's the specs:

Tasmanian blackwood body
Mahogany and Tasmanian blackwood neck
ebony pinstripes
ebony fretboard
Stone top(?) couldn't quite understand him or the Ormsby guy but I think that's what they said; sure looks like it too
An inlay of Jared Dines' "stupid fucking face"
3 blade-style pickups(?)
Glow in the dark headstock plate
Carbon fiber headstock backing
Hipshot hardware
My son, the bass player, college student and avid youtuber sent me this. My reaction was, "oh, come ON". Half in admiration, half in, like, oh c'mon, seriously?!?. It's fun, it's not a guitar, it's pretty cool, but seriously? Extreme luthiery at its extremist (though I know there's ever sillier acoustic examples)

I thought the stupid face looked like a MineCraft reference, which would have notched it up slightly in cool for me.
  #5211  
Old 01-30-2018, 11:26 PM
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Originally Posted by WordMan
squeegee - The sequence for my Teles
Thanks! Just to get this straight in my head, can I ask:
Pups in the parts-o-butter-Tele? Phat cat in Neck, and J Donohue, yes?
Pups in the KorinaTele? I think bridge is low-power Duncan, and?

Also curious about what you thought of my Tele's weirdo neck pickup (GFS Fatbody, which I've been pleased with, but sensed you were unimpressed).

Thanks!
  #5212  
Old 01-30-2018, 11:31 PM
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Argh, can’t tell what worked. Will try again from my iPad:

No Pick
- Gone Shootin: https://m.youtube.com/watch?v=rIDoaLMGkKc
- Get it On: https://m.youtube.com/watch?v=AsfgyYN8m6Y

With Pick
Problem Child: https://m.youtube.com/watch?v=H3rjqQSKZnc
Meat & Potatoes: https://m.youtube.com/watch?v=05QAUmBBg3Q

Funk: https://m.youtube.com/watch?t=8s&v=eHrsYtJV9WY

Hope this works. Let me know if you can see them and what you think.
Get It On was the first song I learned for guitar! It's also really the only one that I've tried to put my own personal spin on, rather than just trying to recreate the sound of the original. I'm also noodling around with the bass line for the song—pretty straight forward!

Cool rendition!
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  #5213  
Old 01-31-2018, 04:17 AM
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I like the tones you are getting out of that Tele WordMan and your finger-style strumming/plucking.
  #5214  
Old 01-31-2018, 05:19 AM
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I like the tones you are getting out of that Tele WordMan and your finger-style strumming/plucking.
Thanks by-tor and DPJimbo, yeah, that random fingerstyle approach is just fun. I kept watching Jeff Beck with no pick, and even though I play nothing like him (ha.) I could see where it might be adaptable to my meat and potatoes. Please forgive the vulgarity, but it's kinda like taking the condom off.

squeegee -
- Butterscotch = yes, you're right
- Tele Special = yes, the same SD/JD bridge pickup was WAY to harsh in this guitar - really, really fascinating to experience the importance of body material and pickup interaction. So I went for this to swap in: https://www.seymourduncan.com/pickup...ars/telecaster basically a less-hot version of the JD. Works great.

Neck is a Duncan P-Rail, with a P-90 coupled with a blade coil to create a humbucker, while still being splittable. I couldn't resist and kinda regret it. To be clear: having the different tones worked out well, and that's why I put it in as part of this being my main band guitar, but I which I had kept it simple, just because.

As for your neck pickup, I don't recall much. For what we were noodling on, I wasn't using it as much, so I was just being practical. Sorry I didn't try to check it out - hadn't thought of it.

Bo - I am with squeegee's son on this one. Not my cuppa. And 18 strings and no fretboard markers - I simply can't fathom that. I literally couldn't process that. Oh, and as for QOTSA, okay, what the heck do I know? I like what I heard and see how the gained-up sound fits with what you've been saying about your playing. Given the style I am going after, I have never really pursued learning how to work with that much gain.

Recommendation: I was on a flight and listened to another episode of No Guitar is Safe, featuring Jude Gold for Guitar Player magazine. Jude is a journeyman who has been a member of Starship's touring band for a few years. He's a very good player and podcast guy. Look for the episode featuring Mike Scott, the guitar player for Prince in the 90's - what a monster player. As I indicated with one of the clips, I love a good funk groove and man, does he deliver. The podcast is a very cool conversation, punctuated by some fierce funk quick jams.

ETA: here's a mashup of Mike Scott's playing in that podcast, on YouTube: https://www.youtube.com/watch?v=FT21sLmSU3o (this is from my laptop; hope this link works for folks)

I was in Nashville for business and stopped by Carter Vintage guitars. Lots of great old and new guitars. Man, Nashville is Guitar Town. There's this very weird immediate feeling of "My People!!" that keeps a good little feeling in the mix in my amygdala. I can see why pros of all stripe come there.

Last edited by WordMan; 01-31-2018 at 05:21 AM.
  #5215  
Old 01-31-2018, 09:55 AM
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Thanks for listening! I find it interesting that you hear QOTSA in that song only because I've only ever heard, I think, one song of theirs about 18 years ago. They're not terrible, just not what I prefer.
I think he meant Kyuss
  #5216  
Old 01-31-2018, 10:24 AM
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Bo - I am with squeegee's son on this one. Not my cuppa. And 18 strings and no fretboard markers - I simply can't fathom that. I literally couldn't process that.
Oh that thing's just a joke, really. You'd have to watch Mr. Dines' channel a bit to see the other videos from the summer and fall. It was a kind of a macho challenge thing for a video he wanted to do (his videos are big on humor): "Oh yeah??? You have a seven string? Oh, and you have an eight string? Well fuck you, motherfuckers, I got an EIGHTEEN string guitar!" kinda thing.

ETA: Here's an article about it and Mr. Dines' video about the scam is at the bottom of the page.
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Oh, and as for QOTSA, okay, what the heck do I know? I like what I heard and see how the gained-up sound fits with what you've been saying about your playing. Given the style I am going after, I have never really pursued learning how to work with that much gain.
I just meant that I have no idea what they sound like, so any similarities you heard weren't at all conscious on my part; couldn't have been.
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I think he meant Kyuss
Well now that I would cop to; I loves me some Kyuss.

Last edited by Snowboarder Bo; 01-31-2018 at 10:28 AM.
  #5217  
Old 01-31-2018, 10:48 AM
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Ah. All good; thanks for ‘splaining.

Upthread, you mention gesturing to keep time. There was that thread where someone asked about a move a guitarist makes in the Black Betty video. I called it a “groove move” where you do it to stay in the groove when not playing. I got much pushback, that he was just being flashy. I am sure as heck not flashy, but I know groove moves.
  #5218  
Old 01-31-2018, 10:52 AM
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Oh, and how about if I say your song feels like it belongs in a space similar to Dopesmoker?

Last edited by WordMan; 01-31-2018 at 10:53 AM.
  #5219  
Old 01-31-2018, 11:00 AM
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Sorry for posting so much. When I was in Nashville, I stored up a few guitar geek things, one of which just sprung to mind. A guy was describing his experience playing excellent Les Pauls (e.g., real 50's and great new ones) - "You know what they say: A great Les Paul sounds liked a Telecaster; a great Telecaster sounds like a Les Paul."

I did not know they say that. However, I totally agree, as my clips might indicate

Last edited by WordMan; 01-31-2018 at 11:02 AM.
  #5220  
Old 01-31-2018, 12:51 PM
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Ah. All good; thanks for ‘splaining.

Upthread, you mention gesturing to keep time. There was that thread where someone asked about a move a guitarist makes in the Black Betty video. I called it a “groove move” where you do it to stay in the groove when not playing. I got much pushback, that he was just being flashy. I am sure as heck not flashy, but I know groove moves.
I like the term and have already co-opted it into my lexicon.
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Oh, and how about if I say your song feels like it belongs in a space similar to Dopesmoker?
All good, brother.

I'm about ready to record two more, one of which I'm trying to decide if I want to dig out some lyrics I wrote years ago. The other will likely be another instrumental track, but I've added some, ah, technique(?) to my drumming that I hope will provide a bit more complexity to the music.
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Sorry for posting so much. When I was in Nashville, I stored up a few guitar geek things, one of which just sprung to mind. A guy was describing his experience playing excellent Les Pauls (e.g., real 50's and great new ones) - "You know what they say: A great Les Paul sounds liked a Telecaster; a great Telecaster sounds like a Les Paul."

I did not know they say that. However, I totally agree, as my clips might indicate
I have never heard that, but I'd be happy to pull my '71 Les Paul Custom out of it's case to try a comparison. I don't think they sound much alike at all, from memory. I don't own a Tele tho; I'd have to borrow one from a friend.
  #5221  
Old 02-01-2018, 12:07 AM
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- Bo and scabby - you guys and your gain!! Since, I am after my fingerstyle, touch-dynamic sorta approach, I want to drive the gain when I spank the strings - look at that clip for Bang a Gong; you can hear the strings, and then when I spank the first chorus chord, it gains up nicely. That's my goal in a nutshell.
Now, now now. Well, now. By now you should have figured out that I'm like an evangelical Christan when it comes to gain. Too poor? You need more Jesus. Too rich? You need more Jesus. The same answer for either too happy or too sad. Even if you haven't asked the question, the answer is more gain in my book. More gain. Now.

But even an absolutist like myself doesn't think there should be a floor to your gain. I'm not telling you to put a fuzz pedal on it (but I probably will eventually). I think it should sound almost clean, and really full when you're playing lightly. But when you hit it good, I want it to sound like the first chord of "20th Century Boy". When I back off, it should be clean-ish and thick. That's my baseline for amps today. If it can't hit that sound when it's dimed out and I hit it hard and still be able to back off, I'll keep shopping. We have the technology for the amp to do that and be mild at the same time. Plus, I'm a single minded idiot.

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Sorry for posting so much. When I was in Nashville, I stored up a few guitar geek things, one of which just sprung to mind. A guy was describing his experience playing excellent Les Pauls (e.g., real 50's and great new ones) - "You know what they say: A great Les Paul sounds liked a Telecaster; a great Telecaster sounds like a Les Paul."

I did not know they say that. However, I totally agree, as my clips might indicate
Well, I'm a big proponent of "almost all solid body guitars sound the same". Unless the differences change how the pickup is mounted or how the strings are suspended in a fundamental way, the type of guitar you're using for the input signal to the "pickup-first gain stage of the amp" instrument isn't very important. Especially when you compare the difference caused by the amps they interact with. Until your pickup route or mounting style starts to fundamentally change the "wooden slab holding strings and pickup" model (I'm looking at you, Stratocaster, with your giant route and pickups mounted to a plastic pickguard), you don't really change the sound of the guitar nearly as much as your choice of the first gain stage that pickup hits.

So, unless the guitar has weirdness like a strat, or is a hollow body, or a semi hollow, or uses some funky tentative method of holding the bridge and the tailpiece down (I've got Japanese and Italian guitars that try lots of strange engineering), or it just has weird pickups that are either extremely high or low output - it sounds indistinguishable from a tele to me.

I mean, plug your tele into a 5150 style amp, then into a tweed style amp, then a Roland JC120. Then do the same with an Epi 335 clone, any of them. Then do the same with any guitar you choose to pull out of your butt. Which do you think affected the sound more?
  #5222  
Old 02-01-2018, 05:15 AM
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Gain: between moar gain and leaving my knobs wide open, I would be so slushy - I will have to come up with a clip where I am busier - too much gain loses articulation for what I want to do.

Bo you cite TRex. I cite Malcolm Young, What's Next to the Moon, off Powerage: https://www.youtube.com/watch?v=Cm4hkZ0ooYE

It's all good. Different strokes for different folks with different tone objectives.

As for "almost all solid body guitars sound the same" -
- Yes, I agree that amp choice is critical, too. You use the guitar to play the amp, in many ways. But the amp can only work with what the guitar sends it.

- Could not disagree more about all solidbodies sounding the same. Just not my experience, e.g., my comments about Korina vs. Ash taking the same pickup. I would argue that your gain-forward preferences mean you care more about the tone contributions from your pickup. For me, not using as much gain, the body material's influence is a bigger contribution.

Here's how I interpret the Folk Wisdom:
- I have long asserted that Teles and Les Pauls have more in common vs. Tele and Strat or LP and 335. The fact that both are solid with fixed tailpieces gives both a balls to their low-end that Strats and 335's don't have.

- Teles can be bright. Les Pauls can be muddy. A Tele that can darken up when you roll off the tone (for Problem Child above, my Volume is ~8 and Tone is ~4) and get in an LP's ballpark is more versatile. Same with an LP - they tend to be darker; one that can brighten up and almost get a single-coil tone is more versatile, and the wood is likely more resonant.
  #5223  
Old 02-01-2018, 05:47 AM
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Finding the right pups for your guitar can be a trial and error thing and the body wood DOES make a difference in how they sound.

I like to swap pups and as mentioned above were the revelations. For example, I have a Mahogany/Maple axe and a Alder/Maple axe that I switched the pups on. The A/M had the Carvin M22s and the M/M had the D'Activators. Now they were switched and they both sounded better. They stayed in them.
  #5224  
Old 02-04-2018, 06:19 AM
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I have never heard that, but I'd be happy to pull my '71 Les Paul Custom out of it's case to try a comparison. I don't think they sound much alike at all, from memory. I don't own a Tele tho; I'd have to borrow one from a friend.
[Regarding good Tele’s and Les Pauls sounding alike]

Check out this thread on The Gear Page with a few short videos of ‘52 Telecasters, aka original Blackguards.
https://www.thegearpage.net/board/in...-sound.1909502

I think this illustrates the point nicely. In the Chicago Music Exchange demo (post 11, bottom clip, guy in red T-shirt and yellow ball cap), the guy starts with Born to Run. The low-end growl is what I mean by having balls - very Les Paul-ish.
  #5225  
Old 02-05-2018, 01:37 AM
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My guitar tech advised lowering the action on a Yamaha FG180 I bought last year.

He said the tone is unusually good for a guitar in this price range. He put on strings and did a setup. He was concerned lowering the action(any more) would effect my tone.

Anyhow, this guitar has the highest action compared to my other acoustics. Playing barre chords is tough.

I use it as a gauge of my hand strength. If I can barre that Yamaha, then my other acoustics are gravy.

I trust my guitar tech's advice.

Can you explain to me why lowering the action kills a guitar's tone?

Why could the other acoustics be setup with low action and this one couldn't? He adjusted the truss rod and the Yamaha's neck is straight.

This vintage Yamaha does have the raised hump behind the bridge. Nothing too extreme. Every acoustic I've ever seen gets that after 5 or 10 years. String tension on the bridge eventually does it to every guitar. Sometimes a guitar becomes unplayable. None of mine are any where near that bad.

Last edited by aceplace57; 02-05-2018 at 01:42 AM.
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Old 02-05-2018, 01:45 AM
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Btw, I'm only going down to the 5th fret with barre chords.

Going beyond that on this Yamaha would require a bodybuilder's strength.

Oh, first sentence in last post should be corrected to, "Advised against".

Last edited by aceplace57; 02-05-2018 at 01:48 AM.
  #5227  
Old 02-05-2018, 07:12 AM
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Keeping a higher-than-the-lowest-possible action can have a couple of reasons:
- To allow the strings to vibrate up and down freely if strummed/picked with more force. A too low action can lead to buzzing, but more importantly it can limit how hard you can play - everyone needs to decide if that is an issue for them.

- To get underneath the strings for bends. With my .12s/Heavy Gauge strings, if I have a super-low action, my fingers slide over the top of the string - I can't get into them enough to bend them.

It sounds like your tech is thinking about the first point - i.e., this action allows for the type of strumming that brings out the best in the guitar. My guess.
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Old 02-05-2018, 09:39 AM
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It's also a hedge against the inevitable neck reset that older acoustic steel string guitars will have to get at some point. I have a 30 year old Goya 12 string that I have added a JLD Bridge Doctor to address the middle age belly (Wish there was one for me...) I've lowered the action and dropped the tuning to D Standard but the nut is barely above the saddle and it's coming time.
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Last edited by swampspruce; 02-05-2018 at 09:39 AM.
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Old 02-05-2018, 11:32 AM
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I bookmarked that JBL. It's a cool solution to a slightly warped top. My Yamaha would play better with a JBL installed.

Does moving where the strings attach effect intonation?

I know there's a limit on how much saddles can be sanded. They can get too thin and break.

Last edited by aceplace57; 02-05-2018 at 11:36 AM.
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Old 02-05-2018, 11:38 AM
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Err JLD

Got my letters jumbled.
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Old 02-23-2018, 09:52 AM
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No effect whatsoever. My issue is the saddle is barely above the bridge to the point the strings almost rest on the bridge! Sorry for the long delay posting back. FWIW, I installed the JLD that screw mounts but I've played an old Fender that had the pin install and it was wonderful.

In other news my son literally found a Tele-style thinline neck, body and pickguard in the trash at a local thrift store his buddy's Dad owns. It appears they only wanted the electronics so it is going to be a Sterl-ocaster (Sterling is my son...)! Plan is to install a P-Rail and a SD humbucker TBD with a coil tap,a 4 way switch, and dead switch for maximum tonal flexibility. We are also considering the StewMac 23 way switch for more options as well and throw in some extra goodies. I haven't discussed what bridge option he wants to go with yet either .
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Last edited by swampspruce; 02-23-2018 at 09:54 AM.
  #5232  
Old 02-23-2018, 11:00 AM
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Got my first tech kit this week as a birthday present—after doing some preliminary measurements, it looks like my Strat is already pretty well set up, but the truss rod could be backed off just a hair and the bridge action could stand to be adjusted ever so slightly. Which will probably mean also playing with the intonation. Since it's string-changing time anyway, I'm looking forward to messing around and seeing if I can get this sucker playing even better!
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Old 02-23-2018, 11:29 AM
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Don't forget the pup heights.
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Old 02-23-2018, 11:33 AM
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Quote:
Originally Posted by Dread Pirate Jimbo View Post
Got my first tech kit this week as a birthday present—after doing some preliminary measurements, it looks like my Strat is already pretty well set up, but the truss rod could be backed off just a hair and the bridge action could stand to be adjusted ever so slightly. Which will probably mean also playing with the intonation. Since it's string-changing time anyway, I'm looking forward to messing around and seeing if I can get this sucker playing even better!
Figuring out how to walk and talk through an electric guitar has been essential to understanding my preferences. Great job.
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Old 02-23-2018, 11:58 AM
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Hmm... that reminds me, I have books and tools on fixing and setting up guitars. Even some parts and I haven't been doing anything with guitars for years so they're just collecting dust.

If you guys think you may be interested I'll put up a list in the marketplace. Let me know.

By the way, I keep the books in plastic bags for dust control.

Last edited by SigMan; 02-23-2018 at 11:59 AM.
  #5236  
Old 02-23-2018, 03:28 PM
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Hmm... that reminds me, I have books and tools on fixing and setting up guitars. Even some parts and I haven't been doing anything with guitars for years so they're just collecting dust.

If you guys think you may be interested I'll put up a list in the marketplace. Let me know.

By the way, I keep the books in plastic bags for dust control.
Aw man, that’s gracious of you. I’m not messing with my guitars right now, but I appreciate the offer.
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Old 02-24-2018, 01:35 PM
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Figuring out how to walk and talk through an electric guitar has been essential to understanding my preferences. Great job.
Thanks!

A friend of mine who played guitar at a semi-pro level for years set up my guitars a while back, but now that I have some feeler gauges I can see that his setup improved things but didn't quite get to where they need to be. He did an excellent job of eyeballing the action but I'm also seeing now that I need to play with the trem a bit to get the right gap at the back—that fix alone is going to improve things! I'm so excited!
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Old 03-03-2018, 08:55 AM
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You ever get a chord so closely associated with a song that's its ruined for anything else?

I'm learning Love Me Tender for a friend's wedding. D E7 A7 D for the verse.

Every time I strum E7 Born on the Bayou jumps into my head. It's bugging the crap out of me.

I'm trying to sing a tender, Elvis love ballad and I got J. Fogerty snarling in my head.

CCR uses E7 a lot. Susie Q, Green River, and Travelin Band uses it too. E7 is CCR in my head.

#musicianheadaches

thanks so much John for sticking E7 in my head.

Now, when I was just a little boy, Standin' to my Daddy's knee, My poppa said, "Son, don't let the man get you Do what he done to me."

Last edited by aceplace57; 03-03-2018 at 08:58 AM.
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Old 03-03-2018, 09:07 AM
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Yeah, I'm a huge, massive CCR fan.

I wore out their vinyl albums and eight tracks in high school. I still have their first 5 albums on my phone. I don't bother listening to Pendulum or Mardi Gras anymore.

Last edited by aceplace57; 03-03-2018 at 09:09 AM.
  #5240  
Old 03-03-2018, 09:13 AM
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He’s quite the choogler . Good player; still in fine voice and a solid player.
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Old 03-03-2018, 09:31 AM
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CCR is a lot of fun in a jam session. Great Times
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Old 03-03-2018, 06:21 PM
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Been playing Love Me Tender all day.

I'm finally hearing E7 properly as a lullaby in the song. Took awhile to banish CCR from my head.

For A7 I'm using the mini bar on the 2nd fret and G note on the third fret.

So far,, I like the voicing better than the A7 with open G string.

There's a couple hard chords in Love Me Tender.

I had never played this voicing of Gm6 before. It's a little tricky.
https://www.google.com/search?client...tb_kjTpEEe06M:

Last edited by aceplace57; 03-03-2018 at 06:24 PM.
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Old 03-05-2018, 05:50 PM
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Quote:
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You ever get a chord so closely associated with a song that's its ruined for anything else?
Yeah, every time I play an Fadd9 on a 12-string with another guitarist playing a Dsus4 and the bass player playing a D I can only think of "Hard Day's Night"
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Old 03-05-2018, 05:52 PM
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Yeah, every time I play an Fadd9 on a 12-string with another guitarist playing a Dsus4 and the bass player playing a D I can only think of "Hard Day's Night"
Nice.
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Old 03-05-2018, 06:30 PM
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Hard Days Night is a great song.

I'm encouraged that I recognize some chords in songs. I badly neglected ear training when I was younger and it's something I struggle with today. Course now, my hearing isn't what it used to be 30 years ago. I missed the bus on ever having a trained ear.

I am improving with guitar and singing. Agreeing to play at a friend's wedding (in May) is a big step for me. Working hard, practicing three times a day. So I won't make a fool of myself.

The two songs I'm doing aren't too difficult. Love Me Tender only uses guitar accompaniment. I gotta get that right.

Last edited by aceplace57; 03-05-2018 at 06:34 PM.
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Old 03-06-2018, 01:10 AM
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At long last I have finished setup on my Strat I'm I'm pretty happy with the results. I wound up backing up the truss rod about a third of a turn, didn't have to adjust the action at all, and tweaked the intonation on the low E about a half turn of the screw, then put some .010s on it, up from the .009s I have been using. Definitely a little chunkier sound now, which makes me happy! Next I turn my attention to my Frankenstrat knock-off to go through the whole process again, but with .009 Cobalt strings to see how that changes the sound between the two guitars. Looking forward to the process!

Haven't tried Hard Day's Night, but I do enjoy playing Something, which is so simple and elegant, while also having some interesting and subtle chord progressions. I'm learning that Beatles songs are more complex than they seen on the surface!
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Old 03-06-2018, 03:49 AM
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Nice job Jimbo!
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Old 03-06-2018, 02:03 PM
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Quote:
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Haven't tried Hard Day's Night, but I do enjoy playing Something, which is so simple and elegant, while also having some interesting and subtle chord progressions. I'm learning that Beatles songs are more complex than they seen on the surface!
Those guys were amazing songwriters, and doing much more interesting things than other rock writers at the same time. Quite impressive for guys with no formal musical training (I believe Paul later in his career was conducting orchestra music but can't read). I don't think they necessarily originated the harmonic ideas, because pop songwriters had been doing some of those things for decades, but they adapted it to rock and brought it to a new audience.
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  #5249  
Old 03-07-2018, 09:15 PM
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Watching American Restoration and Rick's wife buys her son a 66 Mosrite. Rick restores the paint.

Looking on Reverb, some sell for over 3k. Others 1200 to 2k.
https://reverb.com/item/10171169-mos...-s-w-ohsc-used

https://reverb.com/item/10602701-mos...-tobacco-burst
What makes them so collectable? Unique sound? Great player?

I haven't heard of them before.

Last edited by aceplace57; 03-07-2018 at 09:18 PM.
  #5250  
Old 03-08-2018, 04:18 AM
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The Ventures played Mosrites, as did, most famously, Johnny Ramone of The Ramones.

Semie Mosley was known for taking Fender shapes and flipping the over.

Refinished guitars lose 50% of their value.

Last edited by WordMan; 03-08-2018 at 04:18 AM.
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