The Great Ongoing Guitar Thread

[WordMan]

@squeegee

I hear thumb picks are quite useful, go try one!

Johnny Marr, legendarily great guitarist of the Smiths, uses a thumbpick and his fingers to play. So, no fingerpicks, but lots of thumb-and-finger-picking action, but when he wants to flatpick strum, he grabs the thumbpick with his thumb and index finger to use it like a regular flatpick.

I would totally use this technique if I could - it is the best of both worlds. With my Hybrid Picking approach - where I hold a flatpick, but use my middle and ring fingers to fingerpick - I get so much versatility. I have tried the Marr approach but I dig in a LOT with my pick when I use it as a flatpick - Marr has a much lighter touch than I do. And I play Townshend aggressive, and my fingers get sweaty (eww) so that a thumbpick just twists on my thumb or flips off. Grr.

[Ogre]

Screaming deal alert: a friend of mine texted me the other night that he’d found a Fender Princeton Reverb (silverface) for $20.

I looked at it, and not only is it legit, it’s a very EARLY SF Princeton (AA964), with the original RCA and Telefunken tubes in it.

So, he found a $800-$1000 amp with probably another $750-$1000 worth of NOS tubes in it.

Good for him, but damn, I feel jealous. He bought it about 3 blocks away from where I was at the time he texted me.

[BigShooter]

@Ogre

Screaming deal alert: a friend of mine texted me the other night that he’d found a Fender Princeton Reverb (silverface) for $20.

I looked at it, and not only is it legit, it’s a very EARLY SF Princeton (AA964), with the original RCA and Telefunken tubes in it.

So, he found a $800-$1000 amp with probably another $750-$1000 worth of NOS tubes in it.

Good for him, but damn, I feel jealous. He bought it about 3 blocks away from where I was at the time he texted me.

Dude, that’s insane. The seller must not have known what he had. I bought my '72 Les Paul at a garage sale for $200. Same kind of thing…

[BigShooter]

So on another note… NGD (New Guitar Day) FOR ME!!!

Just put the finishing touches on my latest creation for myself - a walnut Esquire. I call her Chocolate Thunder

[http://i44.tinypic.com/2n7qs6h.jpg](

)

It plays pretty well. The neck is Goncalo with a Pau Ferro fretboard - kind of heavy woods - so it’s a little heavy for the body. I don’t dig neck heavy guitars, so the neck will probably be replaced when I get around to it. I might put a pickguard on it in the future, too…

What really excites me about playing this guitar is the pickup. It’s a Seymour Duncan Custom Shop BG-1400. “BG” stands for Billy Gibbons of ZZ Top fame, and this model pickup was initially made for him. It’s a “stacked” single coil meaning it’s basically a humbucker that fits in a single coil space. I have it wired to a 4-way switch as so:

Position 1: Straight through the volume - no tone
Position 2: Volume and tone
Position 3: Volume and 22uf capacitor - gives it a deep jazzy tone
Position 4: Volume and 47uf capacitor - gives it a REALLY deep jazzy tone

I also have a push-pull switch on the tone pot to split the coils so I can get a true single coil sound at all 4 positions as well.

The pickup itself is very down and dirty. This ain’t no country Tele. Think Jimmy Page and early Zeppelin or ZZ Top-ish (of course). Even when it’s split, it’s still not a true single coil - it’s pretty hot. But that’s what I wanted.

In retrospect, position 4 with the 47uf cap is really too bassy for me. I’ll switch that cap out at a later time, I think, and try a few different value caps there.

The other thing I worked on with this guitar is trying to get a nice glossy finish with Tru-Oil Gunstock finish. All the previous guitars I’ve finished with Tru-Oil have a nice satin sheen. With this one, I wanted to see if it was truly possible to get a lacquer-like gloss with it. Well, it turns out that it is:

[http://i40.tinypic.com/6qk86o.jpg](

)

It’s a lot of work though - and alot of oil…

[kevlaw]

I bought my son The Pick of Destiny for Xmas last year as a joke…but then I started using it. Now I use it all the time!

[E-Sabbath]

@BigShooter

[http://i40.tinypic.com/6qk86o.jpg](

http://i40.tinypic.com/6qk86o.jpg

)

It’s a lot of work though - and alot of oil…

Oh. My. God. Gorgeous work.

[LawMonkey]

@WordMan

Nice observation **squeegee **- if that is what **LM **is doing, then you’re correct when it comes to standard strumming. When it comes to lead playing, though, you are describing a specific technique - pinch harmonics. Thats when you pick a note but have enough thumb-flesh brushing the string when you pick it that you change the character of the note. Very ZZ Top - most of Billy Gibbons’ leads involve a bit of pinching - and very metal - that squealing note you hear in metal leads is obtained that way…

Nah, it’s neither of those. I can’t do pinch harmonics just yet and (related!) I hold my pick way the hell back because otherwise I feel like my digits are going to get all in the way. I suspect I need to correct the second issue at some point. Really, it looks like the thumb callus is just its own weird thing unrelated to the gee-tar.

[WordMan]

@LawMonkey

Really, it looks like the thumb callus is just its own weird thing unrelated to the gee-tar.

I think those are called warts

**BigShooter **- that Chocolate Thunder Esquire looks bitchin’ - every now and then I get the jones to try a Rosewood Tele but never have. Also, there was a Tele/Esquire homebrew thread on The Gear Page that had a white Esquire with a solid rosewood neck (not just fingerboard - the whole neck) - very cool…

We had a gig Saturday night - we played with a sub drummer who I have played with before. Very fun and cool - we were trying to play lower volume and focus on the groove; worked out great. I used my homebrew Tele Special and it has really become my gig guitar - easy and versatile to use…

[Crotalus]

@WordMan

Johnny Marr, legendarily great guitarist of the Smiths, uses a thumbpick and his fingers to play. So, no fingerpicks, but lots of thumb-and-finger-picking action, but when he wants to flatpick strum, he grabs the thumbpick with his thumb and index finger to use it like a regular flatpick.

I would totally use this technique if I could - it is the best of both worlds. With my Hybrid Picking approach - where I hold a flatpick, but use my middle and ring fingers to fingerpick - I get so much versatility. I have tried the Marr approach but I dig in a LOT with my pick when I use it as a flatpick - Marr has a much lighter touch than I do. And I play Townshend aggressive, and my fingers get sweaty (eww) so that a thumbpick just twists on my thumb or flips off. Grr.

Nils Lofgren also uses this technique. The thumbpick also makes volume swells and touch harmonics easier to do, and Nils takes full advantage of that.

[Le_Ministre_de_l_au-dela]

I needed to share this - Guitar Tech vs. Local Crew video

[WordMan]

@Le_Ministre_de_l_au-dela

I needed to share this - Guitar Tech vs. Local Crew video

This is hilarious.

[BigShooter]

@WordMan

**BigShooter **- that Chocolate Thunder Esquire looks bitchin’ - every now and then I get the jones to try a Rosewood Tele but never have. Also, there was a Tele/Esquire homebrew thread on The Gear Page that had a white Esquire with a solid rosewood neck (not just fingerboard - the whole neck) - very cool…

We had a gig Saturday night - we played with a sub drummer who I have played with before. Very fun and cool - we were trying to play lower volume and focus on the groove; worked out great. I used my homebrew Tele Special and it has really become my gig guitar - easy and versatile to use…

It not only looks bitchin’ - it is (if I do say so myself ). I’ve been playing it non-stop since I finished it. It’s funny how certain guitars lead you to play certain ways. When I’m noodling on this tele, I tend to do alot of rhythm work, but when I play my strats, I work on my leads more…

Teles are all about versatility, though. I love how the tone knob on a tele can be used to a much greater extent than on a strat. It just seems to give a wider array of tones out of one pickup position. Rock, jazz, country - all the tones are there if you know how to find them…

[SteveG1]

Well, I finally got off my dead ass and bought a new set of strings for my guitar. Next I think I’ll take some contact cleaner to the amp and see how it’s held up over the years. One of the roomies is interested in learning to play now too

[WordMan]

@BigShooter

Teles are all about versatility, though. I love how the tone knob on a tele can be used to a much greater extent than on a strat. It just seems to give a wider array of tones out of one pickup position. Rock, jazz, country - all the tones are there if you know how to find them…

**SteveG1 **- it can be a pain to get a rig back into decent playing shape, but if you get to a place where you can have some fun, it is worth it. I break more strings that I’d like, but I almost prefer it because it makes me change the strings. Nothing puts me off playing like a guitar with gummy strings - rust on the high E so when you run your finger along it you get a paper cut. Eww.

**BigShooter **- how right you are. At this last gig with my Tele Special, I didn’t even use my clean boost for leads - I just dialed up more power to the amp and dialed back the volume, so my rhythm volume was correct at about 5, which gave me more room to crank on leads. On one hand, it is very Old School; on the other hand, it brings out so much more dynamics in my playing. I always wondered what BB King was doing, constantly adjusting the knobs on Lucille.

[WordMan]

Keef Shrine alert!!

See a web page where a guy on the Stones’ road crew provides some insight on the drool-worthy vintage guitars Keith Richards tours with - here.

Note that they show a pack of his custom-made-for-his-use Ernie Ball 5-string set for the guitars that Keith plays in Open G tuning, leaving off the bottom E string since the A string plays the Tonic (Do in Do, Re, Mi). I actually didn’t know that Keith plays with .11’s - he’s a rhythm guy with a heavy right hand, just like me!*

*well, except for the entire life, rock legend and drool-worthy guitar collection part…

[SteveG1]

@WordMan

**SteveG1 **- it can be a pain to get a rig back into decent playing shape, but if you get to a place where you can have some fun, it is worth it. I break more strings that I’d like, but I almost prefer it because it makes me change the strings. Nothing puts me off playing like a guitar with gummy strings - rust on the high E so when you run your finger along it you get a paper cut. Eww.

Eww is right. I hate that sticky, gummy feel of really old strings. So, I am replacing all of them. I’m so out of practice by now, it probably won’t affect my playing (it’s been a long time), but I always preferred the sound and feel of new strings anyway. I’m actually pretty easy on strings for the most part - I’m not a shredder, I don’t have a “whammy bar” to smash around, etc.

[BigShooter]

@WordMan

Keef Shrine alert!!

See a web page where a guy on the Stones’ road crew provides some insight on the drool-worthy vintage guitars Keith Richards tours with - here.

Very cool! If you think that’s drool worthy, check this out:

http://wholelottaled.webs.com/guitars.htm

An in depth, full history on all of Jimmy Page’s guitars. It’s just sick how much detail this guy goes into…

[WordMan]

@BigShooter

Very cool! If you think that’s drool worthy, check this out:

http://wholelottaled.webs.com/guitars.htm

An in depth, full history on all of Jimmy Page’s guitars. It’s just sick how much detail this guy goes into…

Good lord this looks sick. I can hardly wait to dig in ;)

Thanks!

[Small_Clanger]

@WordMan

Good lord this looks sick.

Yup, perfect if you need to know what day of the week Jimmy screwed his jackplate on diagonally! I think someone should add a comentary on Page’s outfits.

I like that he makes a point about Page favouring the Les Paul’s middle PU selection (not out of phase!) his (live*****) tone is a lot brighter and a hell of a lot cleaner than any other Les Paul user I can think of (apart from Les Paul himself, who was funnily enough a completely atypical LP user).

***** Ted Nugent decribed it as “glassy”, Page’s studio sound is all over the place of course.

[E-Sabbath]

It’s time to ask the hard questions. So, I have a DA-5. It’s a modeling amp. Does all kinds of things… but the manual’s full of a wink and a promise. I’m having a little hard time trying to figure out exactly what it’s modeling.

CLEAN 1
This style has a beautifully responsive, rounded low-end, delightfully transient mid-range attack and sweet treble making it the perfect partner for single-coil pickups. Strummed chords just ring out and blossom.

CLEAN 2
This style’s clean sound is very tight ‘n’ twangy, with a deep, taut, piano-like bass.

BLUES 1
This style is very responsive to picking dynamics and guitar volume settings. Backing-off your guitar volume can produce a beautifully clean and full tone. It also means that you can make notes or chords more distorted or clean depending on how hard or soft you pick.

BLUES 2
This style has a thick tone with second and third order harmonics that increase as the amp is cranked.

BLUES 3
This instantly recognisable signature tone produces clean sounds that are rich and jangly with a smooth yet detailed top end, and overdrives that have a glorious, throaty bark.

CRUNCH 1
This organic sounding style is dynamically rich and warm, yet biting and distinct! Rolling back your guitar’s volume results in a unique and highly usable clean sound.

CRUNCH 2
This style has a fat, roaring sound with a distinctive, cranium-crushing crunch. Rolling back your guitar’s volume produces a bright, clean sound that’s perfect for chord work and will cut through any mix.

HIGAIN 1
This style’s toneful, high gain punch and girth results in a highly aggressive, tone-breathing monster capable of mondo-gain while retaining individual note definition.

HIGAIN 2
The deep, loose low-end, some-what ‘fizzy’ top and monstrous gain will make this style a mainstay for modern players who tune low. At low GAIN settings, this produces a distinctive, bright clean sound bolstered by rich, upper harmonics that add fullness and dimension.

HIGAIN 3
This is capable of a powerful, heavily saturated sound that combines an open low-end with compressed mids and highs.The result is a tone that remains focused and well defined at even the most extreme gain settings.

DRIVE
This style has a spectacular overdriven sound that’s perfect for sax-like, legato soloing. With its GAIN control wide-open, it produces a stunning sustain which is very smooth and soulful.

AUTO WAH
This models an auto-wah; a device that creates an automatic ‘wah’ effect that varies with your picking dynamics (i.e., how hard or soft you hit the strings).

COMP
Want to play a clean passage that needs to be nice, smooth, and even? Need a bit more sustain on a lead line? Then look no further; COMP is the effect for you. It’s modeled on a compressor pedal that is hugely popular due to the percussive clean sound it can produce-making it perfect for '80s and 90s pop and funk rhythm work. It can also add a singing, mellow, sustain to lead lines - clean or dirty.

PHASER
A model of a much respected and popular analogue phaser, housed in a banana yellow box!

CHORUS
This models the rich sound of an analog chorus unit.

FLANGER
A model of a truly classic flanger that ‘unchained’ a highly influential modern guitarist who many hail as the ‘godfather of two-handed tapping.’

TREMOLO
This effect is based on the highly acclaimed tremolo circuit found in some guitar amps.

ROTARY
This models a rotary speaker.

DELAY
This is a model of one of the most respected analogue tape echo machines ever made. In the original the ‘echo’ is produced by a playback head and the exact ‘delay time’ is set by varying the motor speed. Many professionals prefer these ‘lo-fi’ units because of the warm, dark echoes they produce.

REVERB
A model of the most popular spring reverb system used in guitar amps.

It gets kind of sly at parts.

If I want to settle on sounding like the Stones, what should I be trying to aim for?