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Nice thread!
Here’s my audition video
Guitar in this video is a custom job I had made - mahogany super strat with Bill Lawrence L-500-XL pickups
Right now I’m playing a Washburn “nextar N3” which is the Nuno Bettencourt signature guitar - without his endorsement. It’s the same exact guitar (including the Stephen’s cutaway and the Buzz Feiten fret/tuning layout) as the Korina N4 but about $1300 cheaper. I installed a real steel German Floyd and Bare Knuckle pickups
Quoted from pintechev:Nice job!
Erotomania was the first really hard song I learned as a guitarist. That final section of arpeggios and scale fragments is thrilling to play/listen to. Petrucci is so good.
There are so many feel changes in there and position changes, you really have to concentrate. I like that song in particular because it’s not just a guitar solo - the whole band is doing the changes. Another one of his masterpieces is the extended solo to “To Live Forever”. I really miss the old DT. They’re not really clicking with me any more
I have a couple Satriani videos somewhere too - Surfing with the Alien and Back to Shalla-Bal (from blue dream). Those are fun but you lose the audience unless it’s pretty short
Quoted from pinkid:2 USA BC Riches, a Warlock neck through and a Mockingbird neck through w/active electronics. Both early 80s vintage. 3 Jackson RRs. A RR5, RR3, and a Professional. Marshall mini stack and a Line 6 amp w/2 12"s. I need to practice more for sure.
I had a custom shop RR a long time ago - one of the best guitars I ever had. HUGE case though! I traded it for something - I can’t remember. An ibanez RG of some sort I think. Took a bath on that one!
Quoted from pintechev:I love the early DT and To Live Forever is a great track. I really like the original live Change of Seasons much better, especially John's solo on it. I still listen to that track all the time.
I gotta break that out again - I always remember hating the beginning of the original ACoS, how they do that weird rhythmic intro, and then just go right into (what is now) Part II, but a lot of the rest of the song is the same. No 7-string though!
Quoted from Lathroum:Takamine acoustics and Fender electrics... got a custom Mexican Tele...
I front a modern country band... RED DIRT REVOLUTION...
We play 70 - 80 shows a year... Here's a link... I'm the long haired guy....I sing lead, play guitar, keys, mandolin, sax, banjo etc...
Original music is on Spotify
awesome! I always find it funny when I hear (not necessarily you guys) "modern country", and I'm like "this used to be called Southern rock!"
Quoted from xsvtoys:Here is a MIJ Ibanez RG570. For several years I visited pawn shops everywhere I went to try to get one of these. Usually they have several old Ibanez guitars hanging around, but none like I wanted. Then one random day I walked in a guitar shop and asked if they might have one, and sure enough they pulled this one out. I liked it right away and bought it on the spot.
It has the original Wizard neck and original Edge tremelo. I added Seymour Duncan Invader pickups to the neck to match the older ones that were at the bridge, and a Seymour Duncan YJM Fury in the middle. Got a Plek job on it, and swapped out the tone switch for a kill button. The strings are 9s and the action is set so low there is buzzing all over the place. Its tuned to E flat. This is my favorite guitar to play, it is so smooth and fast and it is awesome for horrendous shredding, noodling, and wanking sounds which are my forte (cover your ears).
This is somewhat of a puzzler for an Ibanez, and I looked at a lot of forums trying to figure out what I got. The features of the body show it to be a RG570 model. But the serial number tag indicates it is from 1987 (Made in Japan). The problem is the RG570 model was not introduced until 1989. Did I get a hacked guitar where someone somewhere along the line swapped the neck/body? When it was being fixed they checked the numbering underneath where the neck bolts on, and sure enough the body was labeled as a 570 and the neck was labeled as 550-R (R=rosewood). The funny thing is, I have since found several of these for sale that seem to have that same neck/body arrangement. There is a bunch of information about Ibanez serial numbers and how they were formatted over the years. Based on some discussions in the Ibanez forums it seems that things may have been "sloppy" at the factory and it would not be unusual for them to grab a neck from a stack that is sitting there that might not match. I also read that there were some early RG570s made in 1988 that easily could have a 1987 neck that they grabbed to put on them.
That is all just for historical interest, it doesn't really matter to me, this thing is awesome and I love playing it. And looking at it.
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Just notice the big red button 
(I assume that's the kill button. Do you play a lot of RAtM?)
RJD for life! That Elf record is basically the first Rainbow lineup - without Blackmore... (which is uh, kind of a big deal, but still)
Dang, we are working on Subdivisions right now, which is decidedly NOT a hard guitar song, but I play keys and sing in the band as well, so it's an octopus challenge. Our bassist keeps bringing up Necromancer. I'd love to do that!
Quoted from ccbiggsoo7:Playing on the baby taylor and the evh today. Few more in the basement.[quoted image]
Just noticed that’s an actual Peavey Wolfgang. Nice !
Quoted from xsvtoys:Remember I am strictly an amateur, not a pro like so many of the posters here already, so I have stuff that works great for messing around at home, but you would not want to take it out on the road to gig with. A lot of it is cheap stuff, all for fun.
I have the Peavey Envoy 110 solid state amp I bought way back in the 90s, and then the Monoprice 15W tube amp. The Monoprice sounds pretty decent for a cheapo amp, and it has that nice tube sound. Plays loud as hell too if you want. It also has jacks for an effects loop which the Peavy does not. There are lots of Youtube reviews on it.
Line noise isn't too bad. Most of the new pedals have true bypass (at least allegedly) so when they are off they are quiet. The two 90s pedals are pretty noisy, the Metal Zone and the Whammy II. The Whammy II is especially bad if it is turned on, that is why it is switched in and out of the circuit with that Loop-Master pedal. You only want to bring it in when you want to use it (hit the Loop-Master pedal, the light will come on, and your Whammy will be in the chain - prepare to squeal) . The Noise Killer pedal at the end of the chain easily takes care of whatever hiss/noise there is from the whole chain, but you do have to be a little careful with overdoing it as you can cut out some of your desired signal.
For the cables, if you mean on the pedal board, they are a variety of different couplers and cables I got from Donner. It is an interesting puzzle to connect everything up on the pedal board so you have as little cable clutter as possible. For my instrument cables I am using some cloth ones from Monoprice. Again, they are cheap and not for pro use, but they seem to work fine for me.
The Looper has an AB switch so you can use it two ways. You can just send the output to one amp, so if you record a loop and then start playing it, it will come out on that amp and then you can play on top of that. That all works, but it can be difficult to get all the levels right with both signals going to the amp. So the alternative is to connect two amps, you record your loop through the first amp, then when you play the loop you hit the AB switch, now the looper is completely separated from everything else and just playing into that first amp, and the rest of the pedals are connected to the second amp. I think I saw a Paul Gilbert video that had that setup and I thought it was cool, so I made it. Its cheap to do if you already have 2 amps.
I am still playing around with all of the pedals and seeing what cool sounds I get from them. My favorite by far is the Metal Zone, and always has been. It is one of the most hated/loved pedals ever made I think.
However, for no sensible reason whatsoever, I have really been thinking about switching the whole thing out for one of these. It costs a lot of money but man is it ever cool, you can basically just program in whatever sound you want (requires a flat response output to work right).
Anybody here got one of these?
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There are 3 pieces of gear kind of in the Fractal Axe III space: the Axe 3, the Kemper Profiler and the Line 6 Helix
I was *this* close to buying the Axe 3 last year and finally giving up my Roland VG-99, but Line 6 put out a huge update to the Helix, and it 100% sold me. The Axe is far more expensive and I couldn’t figure out why.
The Axe and the Kemper have pretty crappy interfaces, and the Helix is DEADSIMPLE to dial in on the fly. I also got the VST version of the same brain for $99 and I can use the same tones in the studio that I use live (tweaked for the band but it still starts in the same place). The Helix stays in the bag until gig time.
I am super busy with non music stuff lately and I hate knob twiddling so when I get called for a studio session I need to just get in there and know the tone will be there too.
The sound is just great too - the Helix started with pretty crappy amp models and distortion sounds, but now I can pretty much dial n whatever I want. I do use a tube amp for the Richie Kotzen tones still, but that is literally it. And I’ve heard recordings from guys who are getting a good tube tone - it’s just not something I have put time to yet.
Quoted from Schusler:Love this topic!
A few pics of my rigs and some guitars
Amp I have a JCM 2000 all bone stock - no hot-rodding on tubes or anything.
runs through an old Digitech Genesis 3 processor (used mostly for effects). That runs through a Marshall Powerbrake to a Furman conditioner and a Korg tuner. I do have a Eventide pitch harmonizer pedal.
Jamming at my brothers I use a Peavey 112 tube amp w/ a Boss Chorus and Digitech Whammy II pedals
Guitars:
Kramer Focus think around '86. Was my brothers... Mostly used for drop D tuning
Two Ibbys - 2 models (black shown here) and a 3 special series
BC Rich Warlock - I believe and "89 model
Accoustics -Gibson Epiphone (used for odd tunings), Late '80s Martin
As you can tell Big Megadeth/Mustaine/Jackson fan
2 Kv Pro models - Silver I got in '93 from Musicians Friend, Sunburst model in late '90s
2 Esp V's - LTD Sunburst model, a ESP DV8 model Black - serial #9
KV2 natural finish manufactured in '94. This is my baby, been offered a pretty penny for it but can't budge.
A Grover Jackson model I used for practicing mostly. Perfect for it since it's so light.
On the lookout for a Y2KV model and a BC Rich Gunslinger - late '80s with Nagel artwork. Noone is letting go!
Gotta question for Ibanez owners, anyone have a model an with a Edge III tremolo system. The white SP model I've shown has one. Are these thing complete garbage?[quoted image][quoted image][quoted image]
Yes the Edge III sucks pretty bad. The metal they used is very soft and the knife edge ends up bending or little pieces break off and make it unstable. You can file it which helps, and add some chapstick wax to it, which improves quite a bit. But it still sucks. You can replace it with (I think) a Lo-Pro II which is actually better. Or just get a Kahler
A friend is asking about buying a guitar for his kid - I think she’s 13 or 14. She’s into technical metalcore bands like Periphery , Animals as Leaders, etc. trying to think of what I should recommend him. I specifically told him not to buy a new guitar, but look for used from the 90s. (Of course he keeps showing me $249 shitty Guitar Center promos, “should I get this one?”)
Those bands play all boutique Guitars - but he’s looking to spend $300-$400. The kid mentioned Jacksons apparently. What recommendations should I give him?
Quoted from Schusler:Thanks... That took many years to build that collection. I think Im up to 23 guitars now - people say pins are addicting!
I have a guy that setups my guitars (beyond my level of expertise). He commented on how hot garbage that tremolo was. i told him to block it and it still goes out of tune just breathing on it. Shame since I got the action perfect and the neck plays super fast. Going to look into replacing it instead of modding it so to speak.Just not a fan of newer stuff either. Jackson was sold to Fender years back and some of the newer ones I played, just felt the quality was not there. I would look at all of the brands of guitars in that '80s - '90s era honestly. BC Rich Warlok - not sure if shes about the body shape. Jackson and Ibanez are up there. Kramer is good too
She looking for something with a Floyd then? Probably would bypass Fenders because of the style of music shes learning...
Absolutely no Fenders. Unless it’s a Heartfield Talon (anybody remember those ?)
I have an Ibanez RG I may lend them for now; has a replaced Edge III, but yes she wants a locking trem. Didn’t realize Jackson was sold to Fender - that explains a LOT!
Quoted from cdnpinbacon:Any recommendations on a electric guitar for someone with Not the longest chubby fingers? I struggle with certain notes and improvise.
I am looking for a high end guitar and would appreciate suggestions.
Ibanez makes super thin necks. I used to have an S series that was no thicker than a deck of cards. That particular guitar had quite a -wide- neck which you may want to try. Also try a guitar with the Wizard II neck. Amazingly thin and fast
Quoted from cdnpinbacon:Thank You...I will take your advice.
this is the one I had - the blue
Quoted from Oshara:Dumb question but what are you plugging the Helix into?
Usually I just go direct to FOH and monitors. We use in-ears and have individual mixing stations even at rehearsal so it’s just direct to that. At a venue, Whomever is running sound gets as flat a signal as possible to the PA and they usually just have to do minor tweaks.
There’s a setup method called “4-cable” where you can go out to multiple amps, but we usually don’t have a lot of time to do setup so I need a configuration where I can set up in 15 minutes or less, and I also play keys and sing in the band so I need as little hassle as possible.
Here are my main 3 road guitars:
The Yakima String works guitar is a custom job I had made a few years ago - fat thick neck, unfinished for speed. OFR tremolo, 5-piece neck, and original Bill Lawrence L-500-XL in the bridge.
The middle one is actually a synth I use on one song (think Holdsworth’s Synthaxe) - the whole screen area lights up, I am programming it to react to the music too
The other one is a Washburn N4, but without Nuno Bettencourt’s $1000 signature on it. Has the original Stephen’s cutaway neck, Bare Knuckle pickup in the bridge, and in the neck a tone zone I removed from my John Petrucci Ibanez a million years ago. I love the body shape and size (it’s a 3/4) but I’m not in love with the neck. Not sure what to do about that.
Edit: maybe not a Tone Zone, I’m not sure what pickup that is in the neck any more. Definitely a DiMarzio
Quoted from littlecammi:I used my ARP Avatar guitar synth (with synth pickup mounted by the bridge on my '76 Les Paul Custom with two DiMarzio dual sound pickups) on a whole one song also (my composition "Push It!" that features Ron playing a hot mini-Moog solo).
Awesome! I was a long-time player of the Roland GK-2A and GK-3, with various synths and COSM modelers (IMO Roland has still never topped the original VG-8 modeler). I just recently switched over to the Kitara (that big plastic thing masquerading as a guitar) purely because it looks flashier on stage.
Quoted from pinwiztom:Here are a couple of photos of a guitar my wife used to own,
(she sold it on ebay a couple years ago).
#87 of 300 limited edition run. Released by B.C.Rich
She was a big big fan of Elvira.
In fact that is how I met her, when i bought her EATPM pin 10 yrs ago this month.
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That is a killer guitar. I love the crazy BC Rich body styles. Does she still play?
Quoted from pinwiztom:Barely.
Never really got the hang of it, more or less took up the guitar as a tribute to her late daughter; who did play.
She can tune it and play a few basic chords and play a couple songs where one can recognize the melody.
She just sold the Danelectro Longhorn that i posted photos on here about a week ago,
She still has her Baritone Longhorn, since it is fairly rare.
She took up the harp about three years ago, but has been very lax lately with her practice.
She was better at picking up the harp than the guitar.[quoted image][quoted image]
WOW. Now that is a sight. One of the few instruments as cool looking as a guitar IMO
Quoted from mrm_4:My dad bought me my first electric about 23 years ago. An old Red Kramer Aerostar ZX30. The neck has a warp that makes anything past the 12th fret buzz pretty bad no matter how I set the action.
Would like to replace the neck, wish I could find one if anyone had a pile of Kramer guitar parts from the 80s lying around.
There’s a bunch here: https://reverb.com/marketplace?query=aerostar
Looks also like the neck has a truss rod - you could probably get that adjusted
Quoted from pinwiztom:Everyone is sharing their guitar collections, which is very nice and cool;
I appreciate the talent it takes to play the guitar, (a talent I do not possess in the least.)
But the topic title says needs more vid;
so who is going to be brave and bold enough to post some youtube video
of you jamming and shredding and rocking out.
I think only one pinsider has shared video of them playing so far.
Hoooo boy... has it been that long ?
Quoted from Shredso:I have a few videos on Youtube, a random amp demo where my cat jumped out of a pinball machine (not planned), random 90's guitar solo, a quick demo version of a guitar version of Comet, and a Joe Satriani contest I entered. I should add some more content, I have lots of ideas, just no time. And every time I come up with a cool idea I search Youtube and there are 50 people already doing it.
Oh. It’s on!!
Quoted from WizardsCastle:Loving all the guitar pics you guys are sharing. I'm one month into learning, and when I see all your gear, it's intimidating. Feels like I'm never going to learn to play this thing like you guys do! Trying to stick to it though!
I bought a shitty guitar from Amazon, but I think it's time to buy something half decent to really learn on. Can anyone suggest a good beginner guitar in the $200-300 range.
Can't wait to actually learn how to read tab so I can put a couple of tunes together for my fam!
Just had this conversation with a friend: ALWAYS buy used. Reverb.com is a great place to start. The guitars made today for $200 are total garbage. They use very poor wood, but what you’ll notice first is the bad hardware, poor quality control, the necks aren’t straight, the intonation is off, etc. it’s frustrating and even if you don’t know why, it will make you feel like you suck. So spend $200 on a Brian Moore guitar on EBay. Amazing quality, just doesn’t have the name brand thing going on. They went out of businesss a while back so awesome guitars can be had for a song.
Just finished putting the final touches on this... uploaded to youtube I think they brightened it up algorithmically, which kind of pisses me off... but this was recorded with my trusty Washburn N4, even though what appears in the video is my Brian Moore i8i custom Ouija board design (not that you can tell)
Quoted from CrazyLevi:mo' pedals mo' problems
I've played a hundred or so gigs as a drummer and whenever I see that many pedals I know we'll be losing about 2 songs on the setlist to in-set troubleshooting.
LOL one of the reasons I switched to the Line 6 Helix. 1 plug, 1 guitar
Quoted from Elvishasleft:The fractal stuff is great for what it is... is it as good as a real amp? nope. Doesn't come close to responding the same.
Its cool for people who use a ton of effects though.
My buddy does pre production with Taylor Swifts band for tours and all their stuff is preprogrammed fractal... not an amp in sight.
I don't have a Fractal, but my Helix is *incredibly* sensitive to volume changes and tone; so much so that I mainly use just 1 or 2 tones and can dial in more dirt or body as needed, with just my 2 knobs. I have 1 guitar which has a "Bare Knuckle" pickup in it, and that's a bit too harsh - but my Bill Lawrence L-500-XL and DiMarzio Tone Zone pickups (in another guitar) sound amazing
As a guy who would LOVE to have a gig any time, any place at this point (we've been dry since April, like most bands), I'm recognizing that it's going to be harder and harder to book groups for the foreseeable future. Rock music in general is in a bit of a dry spell, so we are concentrating on making videos and other content to get things out there. Our stage setup is super complex, and we're only 3 guys, so I need as simple a rig as possible.
Nowadays that is a Line 6 Helix going FOH (no amp!) panned a bit to the left and our laptop and keyboard rig (I also play keys and sing in our band) panned a bit to the right. 2 mic stands, one unobstructed near the Helix, one in front of the keys. It's still a *lot* to set up.
Quoted from Shredso:I think it was Paul Reed Smith that had an interesting take on vintage guitars. He is of course trying to sell you new guitars, but I think he still has a point. He pointed out that the old strats and LPs that Hendrix, Clapton, Page, etc. were using were relatively new instruments when they were using them. I'll see if I can find the link. Most of my playing is (was) bar gigs in the last 15 years. I wouldn't be comfortable bringing a 50's strat to a bar. it would stress me out. If I'm not gigging with it, it's probably not getting much play.
He's got a fair point - and where I'd differ from Elvishasleft a bit - is that one of the main differences with vintage instruments is that the wood, metal, and care used to make those instruments is LONG gone now. They are making LPs and Strats from the cheapest, thinnest wood and slapping 3 layers of paint on them to make them look fancy. The metal is so soft a knife edge tremolo gives out after a year of use. I've never been drawn to PRS instruments, but they do seem to go out of their way to use quality resources.
Quoted from Elvishasleft:Depends on the sound to me.. they work better for hard rock and metal stuff with tons of gain or if you use lots of effects.
Basically if your tone is effect or high gain driven to begin with these are a great way to keep it like that.
In the real world people dont often use them for recording but live yes since it makes life way easier and like most things these days does anyone really care about quality anymore? Its close enough.
Its all about ease of use and convenience and not breaking down on the road. Set it and forget it...
sounds kinda meh? thats OK its easy, noone can tell anyways.
People are starting to use them more and more. Ron Thal used a Line 6 Helix on the last Sons of Apollo record and his recent solo albums. And Mark Knopfler uses Kemper live. That’s a pretty good endorsement
Quoted from Shredso:2 out of the 3 live performances I've seen this year were solo guitar players with loopers. Typical bars that would normally have a rock cover band. I have friends doing this as well. I have a feeling it might be the next thing, I hope it's short lived. I'm not talking run a loop just to play a guitar solo or guitar harmony, this was throughout the entire song. They created a backing track on the fly using the microphone and/or guitar. It's a cool idea, but I think it's more suited for a Youtube video over a live performance. It takes a couple minutes for the song to get going, and the songs end up being very long. I really don't want to hear Sublime's What I Got for 10 minutes. Given the reduced budgets of bars when they start to open, and the fact that most solo acoustic acts are boring as hell, this might take off.
That Elevated Jams Channel looks cool, I'll have to spend some time with that over the week off. Thanks!
THAT sucks. Although I can tell you that there are a lot of bands around my area (DC is not a ginormous music scene, but it's fairly healthy) who have this attitude like they should get paid top dollar for playing. There's a very small number of bands who are good enough to even warrant getting paid at ALL IMO. My band is mostly originals so we don't get paid at ever LOL. Bars don't like dealing with attitude - you have to figure out how to co-exist. If you're a dick, you aren't going to be booked again. I wonder if the guitar player dudes are just easier to deal with. Unfortunately the general public is not used to live music for the most part any more, so "live music!" isn't really a draw. I have a feeling (a hope ?) that will change once we are done quarantining.
Quoted from Shredso:Out of curiosity what is considered a lot of money in DC? Outside of the city here the average bar cover band is in the $5-600 range. Typically free parking with reasonable load ins. Some of the places will give us a deal on drinks or even cover the tab. In my 30's I was in a more top 40 pop band and played some of the best rooms in Boston. I wanna say the average was maybe $12-1500. This was split between 6 people instead of 4, parking is a fortune in Boston. 20% chance of getting a ticket while you are double parked. Club owners were all total dicks, full price overpriced drinks. I do miss those young attractive crowds, but I don't miss all of that hassle. Weddings were a lot more money, but still not worth it. I've been gigging in bars since the 90's and the pay scale hasn't changed all that much. I know a bunch of guys that are ok with making $100/man. I'm glad this is no longer my main source of income, just a hobby in my 40's. What's the cover band pay like in your city?
It's not great. People here usually want to hear a DJ, so the bar scene is fairly crowded for the few places that book live. The actual rooms are a little bette r- maybe Couple hundred bucks, $1500 on a SUPER good night. LOTS of places still "pay you in beer". But the clubs here are a lot smaller than in Boston. If you get booked in a room like Jammin Java or Pearl Street Warehouse, you better sell a LOT of drinks (bar is split with the club, door magically disappears).
My band is a 3-piece, I play keys, sing and guitar, so we don't have to split the money as thinly - 25% for each guy, plus 25% in the band kitty. Each guy is responsible for their own gear, but we have a lot of automation, lights, laptop, etc that we split. It's a LOT of work; I would love to find another keys player, but have so far struck out on finding a unicorn who a) can play b) is not an asshole and c) is reliable
Quoted from Pahuffman:I have a buddy who lives in DC and got hooked up with a group called Flashband. Are you familiar with that? The concept is so cool to me. I wish we had something like it in Birmingham. Basically you hook up with a random draw of different band members and there's a big concert every month with all the bands. I feel like it gives your average player (like me) a chance to get on a real stage.
Yep, absolutely! I don't have time (like I said above, I write all our stuff, arrange it, play keys, guitar, and sing, and uh have a day job and a family), but the other 2 guys in my band do Flashbands.
It is REALLY awesome for people to get up and get connections, get experience playing in bigger rooms. I think it's incredible for networking, too. It's phenomenal for the weekend warrior type player. But it's a 2-sided coin: if you're an amateur players, you get all these great first-time experiences, meet people, etc. If you're looking for people to fill in a working band, all you meet are amateur players who aren't looking for a full-time thing. Guys who don't know how to soundcheck, who fool around like they're in high school still, don't know how to behave during a rehearsal. Anyway, it's only marketed as a fun thing, so you can't expect Berklee college of music players. I do think it's genius, and they have specific themes, rules you have to follow (each band can only have 1 guitarist this month, or all Surf songs, or covers have to be all by dead musicians, etc)
Quoted from rotordave:That’s what we were getting in the 90s.
Generally $600, split 5 ways with an extra $100 for me for my PA. Sometimes a little more.
There’s no live cover band scene here at all now. Its history. DJs do everything.
rd
That's how its becoming here too. I mean let's face it - most bands really do suck! haha! We've had some success hooking up with up-and-coming promoters who need to fill venues, but usually you don't get paid much - you just have to accept that's all for exposure. A few years ago we played a 2-hour set in the basement of this 3-level club with maybe 5 people watching. I believe we made $100. Our guitarist pouted the whole time - I had to kick him out the next day - it was not awesome.
Quoted from rotordave:I’m doing the “stimulus guitar sell”. Lol
Getting rid of almost everything. Just gathering dust these days.
Anyone over there want a good collectable?
Ibanez Jem 20th Anniversary.
Sought after model, appreciating asset.
If you’re keen, send me a PM and we can talk.
rd
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What a beautiful guitar! Wish I could justify it right now. For anybody buying, beware - those things are HEAVY as hell!
Quoted from CrazyLevi:Some of you guys seem to know your stuff so maybe you can answer...I posted this on the Les Paul forum too:
I impulse bought a 1993 Les Paul standard "Custom Shop Edition" yesterday and it's on the way.
I've had a Les Paul Custom 2007 Silverburst for many years.
My question is do these guitars have any differences that will make this new guitar more than just a cool Zoom background addition (as in, will it sound or play differently based upon build / pickups?)
The new Standard is advertised as having 57 Classic Pickups and a '59 Neck Profile.
I really don't know the official specs on the 2007, but it was bought new so it's stock (sniffing around here I believe it has 498s and a 60s profile, but I bet you guys would know better than I).
What do you think? I know all guitars are a little different but based on the models and makes should I expect a different sound/feel on these? Pics helpfully added for visual aid and drooling opportunities.[quoted image][quoted image][quoted image][quoted image]
Very pretty guitar - I doubt it will command a major premium; it's still a "remake". Even their neck profiles advertised as official '59 profiles aren't really exact (in 59 they were not very standardized - that's why Fender took so much market share from them)
HOWEVER any guitar made before the 2016(?) Brazilian wood fiasco will sound much better than the plywood junk you get now
Has anybody bought a Jackson since they were taken over by Fender? How’s the quality? I was about to buy a beautiful mirror finish Soloist the other day, when I remembered it’s now a Fendee guitar. Am I just getting a polished hunk of driftwood?
Quoted from radial_head:MS-20 Mini. Really fun little synth. Doesnt sound AS good as the original but the midi functionality is really nice. Allows you to send midi scrolls into it rather than having to get an actual sequencer.
Theyre actually some really really amazing pieces done by a good friend of mine from college. She does these amazingly detailed and interesting freehand etchasketches. Theyre truly remarkable (although nearly impossible to photograph)[quoted image][quoted image][quoted image]
Really nice! To photograph those, use a mirror at a roughly 45 degree angle
Quoted from radial_head:An interesting thought. The reason it's so difficult to photograph them is because there is a bizarre reflective quality of the aluminum dust/silver/whateverthefuckitis in there that makes them hard to capture in any flat way. Not sure a mirror would fix that but I'll give it a go. I used to do a lot of gallery photography and it's had to break from the tradition of shooting one dimensional pieces at anything other than flat on.
I hear ya! This is how we used to shoot film sequences where there was a lot of light coming at the camera that you didn't want get crazy blooming. Sometimes it was a scotchlite curtain, but usually mirrors work. Give it a shot anyway!
Anybody know a good place I can find a pre-lawsuit Ibanez Destroyer, also looking for a Fernandez Sustainer not attached to a guitar
Quoted from Shredso:I have a Fractal AX8 for sale if anyone is interested. Over $200 in presets from Fremen and AustinBuddy. $1k.
What did you replace it with? Kemper?
Quoted from Shredso:AXE FX 3 for the desk and an FM3 for live. AX8 got me hooked on Fractal.
Nice!
I've always wanted to duplicate my rig for live vs demoing stuff (for session gigs I pull out different whatever guitar/amp is appropriate for that band/tune), and I eventually landed on the Line6 Helix because it has a hardware unit for gigging and a VST you can plug right into recording software like Reaper, Logic, (barf) ProTools.
I have the floor model, will eventually move to the rackmount.. after the 80s/90s I avoided racks for so long, but here we are again... Not sure how it compares to the Fractal stuff but I see those 2 names along with Kemper being argued about quite a bit, so they must be comparable.
Quoted from Shredso:First gig was great! Capacity with a 30 minute line out the door. It wasn't our draw, just a good room. We got the gig last minute. This past weekend wasn't as busy, but it still feels great to be back!
What was your set ?
Quoted from johnnyutah:Picked up my first semi-hollow today. Backlund Rockerbox II.
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That might be the most beautiful guitar I’ve ever seen, damn
Quoted from CrazyLevi:Floyd in 1994 at Clemson University, and a couple months later in DC at RFK (I believe he was playing the Red strats at that time), and the last time around (2016?) at Madison Square Garden (playing the aforementioned black strat among others).
My big regret is not catching his Echoes shows at Radio City in 2006 with Rick Wright.
Gilmour IS the "classic rock" sound as far as I'm concerned, for all the reasons you mentioned. I just got a strat and I can't get enough of bumbling my way through approximations of his sound and licks. The first thing I did when I got it was look up the first 4 notes of Shine On.
I always catch a Waters show when he comes around as he's the keeper of the flame now, he's got a pretty good cover band and it's a great show but it's not exactly the same. Always surprised that "Mr. Authenticity" has no problem with lip syncing to backing tracks.
Also caught one of Nick Mason's shows at the Beacon a few years ago, that was really fun. Never thought I'd ever hear anybody play "Vegetable Man" live lol.
Here's a pic of a friend and myself with Roger's guitarist before his MSG Wall show in 2010 or so, he was just walking around. He said it was really cool to be playing up on the Wall but honestly didn't seem like the biggest Floyd fan hahaha...just a job. But he's certainly got the Gilmour sound down, if not the vocals (they just poured as much reverb and delay as possible on his voice so you wouldn't notice).
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Dave (Kilminster) is an unbelievably good guitarist. He’s stood in for Guthrie Govan in Stephen Wilson’s band .. holy hell. Hes played with Emerson in The Nice, played in Steve Howe’s place in Asia. He’s just kind of a chill guy.
Quoted from xsvtoys:Ok I had to look that one up and check it out. The rip cords hey little Cobra is a pretty good song. It kind of reminded me of some other band though, cannot quite put my finger on it...
You forgot the sarcasm icon
Quoted from radial_head:LOVE the Museum of the Moving Image. That Muppets exhibit was the the I traveled for the first time I went to New York as a kid. Loved it then. loved it now.
I think the muppets are left handed because when the puppeteers were watching themselves in the monitors below the deck they have to think of things in reverse, so a lot of would be right handed things are left handed.
It’s because most of the performers are indeed right handed, and the dominant hand typically goes to the mouth to speak (far more important to get lip sync correct), while the other hand is held up by a rod (like Kermit) or the performer’s actual hand in a glove (like Ernie, Oscar, Fozzie, etc). Not every Muppet is actually left handed, although all the primary Muppeteers are right handed, so their counterparts are the opposite
Quoted from Zablon:I'm a musician, but I'm really not a gear head - primarily keys / songwriting. I can fake my way around guitar - but I have too many guitars when considering my skill level (4). Nothing expensive or that sought after, but I do have one of the Giger Ibanez's purely for the aesthetic. I absolutely hate the floyd rose on it. I can never get it tuned - I can't get block to work on it - so it just sits lol.
We are in desperate need of a keys player, so it would be great if you could just move to DC..
I have an early prototype with a much stronger spring but this thing works wonders. Stays in tune great and I can still use the trem as much as I want - downward AND upwards. Comes back right in tune every time
Quoted from rotordave:A fully floating trem is notoriously difficult to get “just right”
But once you do, there’s no going back.
As others suggested, either get it professionally set up … or another option is to “block it” … you put a shim between the body and the trem so it only goes down. A lot of people prefer them this way, as they don’t go sharp when you’re palm muting.
They’re also much easier to set up this way. And don’t go out of tune when you break a string.
rd
See my post for the solution to this issue
Quoted from rotordave:Yep .. heard good things about those. And can’t complain about the $20 price tag!
Never had the need for one as I have the knack for setting Floyd’s up, no problems. Mind you, I’ve had them since my Kramer Focus 6000 back in the mid 80s.
Geez I’m old.
rd
I’m not a tinkerer, so I hate setting up Floyd’s, but I have them on almost all my guitars! LOL. Did a side man gig in Japan a few years ago and the main guy had his tech set up my 2 main guitars for the whole week (tours in Japan are really short but good paydays). Absolutely perfect setups, I am still grateful
Quoted from vid1900:Fender has a new SC Lexus guitar.
Blue interference paint, stainless frets, blue Richlite fretboard, carbon fiber, Mark Levinson knobs
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I absolutely do not understand who the target market is. If I'm not mistaken, this is the same basic 90s Strat cut, neck, and bridge. Crusty old "vintage" guys by and large are not going to understand who Mark Levinson is. I do like the carbon fiber changes and the blue paint looks nice. The pickguard though!
Quoted from CrazyLevi:I guess it's for folks who are nostalgic for the hair metal days? Which would be...nobody?
LOL I guess so. I'd say that would be me, but I was into thrash back then, except for Motley Crue which was the biggest thing in 7th grade. At my lunch table anyway. Sometimes there were even other kids there!
Quoted from vid1900:It's for rich douches to hang on their wall and then say to me "You play guitar right? You GOT to see this!!!! Same paint as my Lexi !!!! Super rare, they only made 100, so of course I got one the moment it came out!!!!!"
The fretboard is made of blue Richlite with a 12" radius and Stainless Steel frets - very un-fender, especially not 90s Fender
Everyone who paid $10k for the Levinson system in their Lexus never fails to tell you how many speakers it has and how much it costs.
Levinson is a super crusty brand from the 70s in my eyes
Haha so maybe Fender did know what they were doing
Just read about the current state of the Levinson company - apparently Levinson himself left in the 80s, and the company has nothing to do with him - but the Levinson brand name is now owned by Samsung. WTF
Quoted from ThatOneDude:So, back in Kansas for a sad reason, but along the way, I got the two primary guitars I played in high school back from the nephew I gave them to.
One is gutted and sanded, ready for new everything.
The other is a Peavey Patriot that has taken quite the beating. The big pick guard shattered by the pickup switch, and later, the plexiglass replacement I hacked up for it shattered in the same spot. Then somehow, it has split along the original glue line in the body. I'll tear it down, fix that and maybe refinish the body.
I've never figured out what type of guitar the first one is. It had a custom fit gig bag that said Dean Markley, but I can't find anything that looks like this shape. Some very similar Ibanez and Bc Rich models, but nothing quite like this. I'm thinking either a jet black finish with a deep clear coat, or maybe do some graphics and clear coat it. Since it's meant for metal, I'm thinking a dual alnico V setup, but I don't know shit about selecting pickups, so any advice is welcome. [quoted image][quoted image]
I have the EXACT same guitar (the unfinished one). Same body shape, same headstock. Kind of looks like a BC Rich Ironbird, but isn’t.
I got it from a shop near KCMO when I lived there. Maybe it’s some kind of local designed kit guitar? Never seen another like it
Quoted from ThatOneDude:Awesome! Could you share a picture?
It’s at my folks house in Ohio. I’ll be there over thanksgiving, so I’ll snap one then
Quoted from ThatOneDude:So, back in Kansas for a sad reason, but along the way, I got the two primary guitars I played in high school back from the nephew I gave them to.
One is gutted and sanded, ready for new everything.
The other is a Peavey Patriot that has taken quite the beating. The big pick guard shattered by the pickup switch, and later, the plexiglass replacement I hacked up for it shattered in the same spot. Then somehow, it has split along the original glue line in the body. I'll tear it down, fix that and maybe refinish the body.
I've never figured out what type of guitar the first one is. It had a custom fit gig bag that said Dean Markley, but I can't find anything that looks like this shape. Some very similar Ibanez and Bc Rich models, but nothing quite like this. I'm thinking either a jet black finish with a deep clear coat, or maybe do some graphics and clear coat it. Since it's meant for metal, I'm thinking a dual alnico V setup, but I don't know shit about selecting pickups, so any advice is welcome. [quoted image][quoted image]
Also, I have "Bare Knuckle" Pickups in my Washburn N3, which are SUUUUUPER high-output pickups. They sound amazing for metal tones, and give you bite even in clean tones (although I wouldn't use them for jazz). That is going to be replaced soon with a Steve's Special so I can put the Bare Knuckle in one of my more "metal" looking guitars. The N3 has a DiMarzio Air Norton in the bridge position.
In one of my other guitars, I have an *original* Bill Lawrence L-500-XL (the Dimebag pickup) reversed as per his specs. Sounds amazing. Unfortunately I installed it in a guitar which is so damn heavy I rarely play it.
Quoted from Guinnesstime:NICE! The guitar I learned on was a 1980-something Aria Pro II TS-800 Tri-Sound like this. The guy from the next college dorm room over lent it to me. One day I'll pick one up. Definitely unique.[quoted image]
Wow, love that
Quoted from radial_head:Every Aria I've ever played has absolutely blown my mind. Great guitars. That one looks like no exception. I had a few of their 4001 copies that rule.
100% agree. What happened to that company? Did they get consumed by Fender like Jackson did? (RIP neck-thru Jacksons...)
Quoted from radial_head:In theory they still exist and are still made in Japan, but I have no idea what the actual deal is with their production. I get really lost on those details (even the heavily documented ones) really easily. I will say their new guitars don't look.... great...
LOL too bad... I am only buying 80s and 90s guitars at this point, even lesser known brands (like Aria, I suppose) because the ones made now are just sooooo junky. The metal is way too soft, the wood feels wrong... But a 90s-era Jackson can still be found under $1K if you aren't picky about the body art
Quoted from mof:What do you like for a USB Audio interface?
I'd like to get something affordable, so when the company quits working on drivers, while the hardware keeps working 100% -- they've screwed me out of as little money as possible when they force my hand to buy more hardware.
https://www.sweetwater.com/c695--USB_Audio_Interfaces
-mof
I hear you - 2 things: That Digi *IS* pretty old, but I also have mixers from the 70s (and 80s!) that still work without a computer, so I get the frustration.
Second thing: Don't buy anything with any sort of proprietary interface, especially one designed by Apple (or especially, emphatically not by DigiDesign/Avid). This is a sidebar, but Avid, is *horrible* in their software development and QA. Yes that definitely includes ProTools.
Anyway: USB is a ubiquitous standard, so it's safer from being "retired". That said, jsut because it's USB doesn't mean the drivers themselves won't be retired - the two have nothing to do with one another. You're far safer getting something USB ,but *anything* that uses a computer interface *at all* will eventually become obsolete.
What I do is stay 1 standard behind and upgrade every 10 years or so. I hate it too, but i hate it a *lot* worse than when something suddenly craps out or is no longer supported.
Quoted from vid1900:Yep, the M2 is also one of the best in the world performance wise :
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Crap, that’s the first thing I’m looking at when upgrading next
Quoted from Becker34:Glad to hear this. I feel even more vindicated. I do radio production for a living, been using Adobe Audition (whatever version is with Adobe CC) for the last 3 years, Audition 3.0 prior. Corporate had the idea to put everyone on ProTools. Some prod guys love Audition, some swear by ProTools. Kind of a Ford vs Chevy thing. Each group used whatever it was using with no edict either way. I volunteered to be the guinea pig locally. I've produced high level shit with reel to reel/cut 'n' splice, multitrack tape, a Roland DM-80 digital workstation, SAW and Audition. And other programs. ProTools was a fucking disaster for me. It didn't like our networks, our hardware (Win10 PC's) or anything. Let alone being able to use any of our sessions we've built over the years. Even with the stuff I tried to do, it was like trying to turn a bolt with a screwdriver. Lotsa swearing and bleeding and nothing gets done and you want to beat someone senseless. Luckily for us, corporate relented, partially because it would also be a nightmare for IT. I can see where ProTools can excel in some environments (especially recording music) but it sure as hell wasn't for us.
My biggest regret was that the install didn't come on a CD-ROM so I could piss on it.
I’m a musician and filmmaker and have worked for 25 years in IT. Avid made the industry standard film editing software for years - “industry standard” because there wasn’t much else. Adobe Premiere was light years away from being considered “professional”. Apple puts out Final Cut Pro - within 2 years nobody uses Avid. Now many editors use Premiere, which is what I use.
In the audio world, where I spend most of my time, there’s Pro Tools, and Reaper (and SAW! Forgot about that) and not a ton else. I used Adobe Edition way back when it was called “Cool Edit Pro” and it’s still pretty great.
After years of producing my own stuff (I also do voiceover work), I took my band into a “real” studio so we could get some input from outside the 5 of us - it was a disaster. Pro Tools environment. Not compatible with ANYTHING else. Pro Tools on Windows is notoriously buggy, and Avid had always told me “runs way better on Macs”. I swear the Mac must have crashed 5 times a day. After the 5th day, I started getting pissed that we were paying hourly time but waiting around *2* hours every day for the Mac to reboot and HOPE we hadn’t lost anything. What a joke.
That whole session was such a disaster we still haven’t finished the tracks 2 years later and we’ve re-recorded everything at my (significantly more Modest) home studio. Pro Tools is still hanging on, but it’s mostly because people don’t know any better, and the exorbitant amounts of money they charge keeps the company in business.
Like I said, my day job is in IT, and we would never let crap like that in the door, it’s cost me personally thousands of dollars, and companies even more so.
Quoted from Becker34:SAW was the first PC based DAW I worked with. Was dragged into it kicking and screaming when I went in one day and found my DM-80 was yanked by the engineer. This was probably around '98. Once I got the hang of it I never looked back, although I still miss mixing on an actual board (which I got to do at band gigs). Biggest drawback was SAW Pro still didn't see MP3's and we had a huge 2 gig HD. One of our morning show producers still uses SAW Pro for some reason. Still runs on Win10. So does Audion 3.0 - I use it at home. You used to be able to download it from Adobe for free, but they haven't offered it for years. For years we've been told how 3.0 wouldn't work on anything newer than Win7 but it still does. Bigger sessions seem to bog it down, though.
Same - SAW was the first non-destructive I worked with. I remember Audition having an issue with MP3s at first, but I think that’s long been solved. the CC versions cost far
More now that they’ve moved to the subscription model, but nothing in the underlying software has really changed.
As Vid mentioned, I also use Reaper almost exclusively now
Quoted from zombywoof:If the studio's Pro Tools Macs were crashing that frequently, the problem was not with the platform, but with those who configured the Macs. The first rule of thumb for Pro Tools (and Avid, too), is that it does not play well with others. You want a dedicated Mac that is kept lean and clean.
It was. Backups, optical drive connections, all Avid recommended interfaces, all industry standard AUs used. Happened to us when we worked at 800 East and TreeSound Studios too. I’m long done with it
Quoted from gorditas:If you haven't bought any, or can return what you did, buy yourself locking tuners and a Graphtec nut. If you need some pickup suggestions, let me know. [quoted image]
This is an outstanding display - are those IKEA cabinets? I’m doing a run and I absolutely want to copy this setup!
Quoted from zenbone:Sent my american strat to 66 street hotrod for pin striping and a Roth rat fink. Just put it back together.
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WHOA! That is one in a million. Love the Roth art
Quoted from Luke_Nukem:Figured I'd put my name in the hat of guitar players also in the hobby.
Here are some quick noodle vids below:
https://www.instagram.com/tv/Ce3dNUWlPwW/?igshid=YmMyMTA2M2Y=
https://www.instagram.com/p/CH6GfQ6DCiQ/?igshid=YmMyMTA2M2Y=
https://www.instagram.com/p/CHs5TbVjO3x/?igshid=YmMyMTA2M2Y=
Thanks for checking me out![quoted image]
NICE Strandberg! I've only ever seen Paul Masvidal play those (and Keneally)
Quoted from Krupps4:Anyone have a Fender Jag suggestion? I’m not looking for a traditional Fender Jag. Rather something more along the lines of the Cobain Jag, Although I wasn’t overly impressed with that model when I played it. It seems like a lot of what your paying for with that one is the Cobain name.
I’ve heard a lot of good things about the Fender Jag Blacktop HH. There are a couple on Reverb that are about $700 - $800. Anyway, just wondering if I’m missing any other options. The other thing I was thinking of doing is just grabbing a Jag Classic Vibe and swapping out the pick ups and bridge. Thanks.
Pretty much the case with any “signature” model. You are definitely paying a LOT for the name. Isn’t Cobain’s guitar a combo of a Jaguar and a Mustang?
Quoted from Krupps4:The Jag Stang is a guitar Cobain worked with Fender to create. He played a lot of guitars but his ‘66 Fender Jag was his main guitar. There’s a lot of history and mystery to it. There’s a 10 minute or so YouTube history on his Fender Jag. It’s an interesting watch.
gotcha!
Quoted from ViperTim:Received my dream guitar.
1983 Washburn A20. Condition = like new.
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I believe that would be on my short list of perfect guitars too! Where did you find it?
Quoted from ViperTim:I found on German EBay of all places.
And more ironic was that not only could he ship it to Sweden?m, he had a meeting booked in Stockholm, Sweden so we ended up doing a face to face deal. He brought it with him.
ha! Nicely done. You have got me going down the rabbit hole looking for an old pre-lawsuit Ibanez Destroyer I had years ago. They are $1500 on reverb now! But I found one!
Quoted from CrazyLevi:Apparently regent is where sabbath and the stones recorded their first albums, among others back in the day.
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First Sabbath album AND Paranoid!
since we're discussing modelers - I'm Curious if anyone has tried the Neural DSP? I've got a Helix, which is not bad, although it kind of sucks at the kind of tone I'm chasing lately - the recent Richie Kotzen / Winery Dogs sound.
I've also owned the Roland VG-99, but I've honestly never found a better tone than in the ORIGINAL Roland VG-8, from what.. 1996?
Quoted from gorditas:Have you tried custom IR's in your Helix? That can make a world of difference. The interface and effects on the Helix are great.
The Quad Cortex is really good. They are basically continuing what Kemper came up with, but with the advantage of a decade of advancement in processing power, and several other manufacturers to pull ideas from. I have several friends who have switched over with great success.
Absolutely. I have the Uberkab and Ownhammer IR's.. Maybe I'm doing something wrong. I've had it for 2 years and just really not happy with it overall. It's SO easy to edit and tweak, but I really don't like spending hours tweaking - and after 2 years of this... I'm thinking about trying something else. Lots of people are happy with theirs, but I'm not so sure it's a good fit for me.
Quoted from gorditas:I think the goal with modelers should always be to find your base tone, and stick with it. That is what you do with a real amp, isn't it? With my Kemper, my method has been assigning a profile to each guitar, and I add the effects as needed. There are some guitar/profile combinations that just have a magic. Where people get into trouble, and it is easy to do when you have nearly unlimited options, is to find oneself in endless choice purgatory. If you haven't found your base tone after 2 years with the Helix, maybe it is time to try something else. The good news is that you can probably sell your Helix for a high percentage of the cost you paid. I am sure that there is more than one band you like that is using some modeler live: find out what they are using, and how they are making it work. Even people with amps on stage are often only using them for stage volume: FOH is from a modeler.
That's what I do - everything to FOH is from the Helix. I do occasionally use amps on stage, but the more we move to in-ear monitors and an A/V component to our shows, I have just ditched the amps. load in is WAY easier!
Totally agree on sticking to a tone - that's pretty much what I'm doing, but I am used to being able to just dial down my volume and change technique to get real big changes in my sound. With an amp, this works great. With the tones I'm using on the Helix, not so much. I've gotten some AMAZING tones out of amp plugins when we record, so I know it's possible - but I can't take those out to shows... yet!
All Right, the time has come to start cleaning house. I have several nice Brian Moore guitars with piezo bridges that I need to start getting rid of. I’m not going to bother selling them, so I’m looking for ideas of where to donate them. I dont have time to mess with Facebook market or craigslist - those immediately ate up more time than the item was worth the last time I tried. So! Give me some ideas what to do with these things
Quoted from orangegsx:I don’t have any ideas for you but I was unaware of Brian moore guitars, and wow they use some nice maple!
Yeah they are amazing, amazing guitars - and really inexpensive! I used to use a COSM modeling rig called the VG-8 and VG-99, and these plugged right in so I could do MIDI, regular guitar tones, or acoustic sounds. The high end ones still run in the thousands but their mid-priced line are very reasonable.
Quoted from vid1900:Elwood's bass.
That neck is under pressure [quoted image][quoted image]
Just read the story about that thing. This is hilarious! The back and forth he had with Jared Dines (the guy who plays the guitar version of that monstrosity the bass was copied from) is the thing of legend. I'm now 100% an Elwood fan (and Dines, come to think of it)
All right, ladies and gents - I am on the lookout for a backup to my main guitar. It is a Washburn "NX3". This is a Nuno guitar, except without his name on it, and - crucially - it has a TONE knob which lets me do coil splitting. If I don't find one in the next month I'm going to buy an N2 and have it modified - but I really really don't want to do that.
I've checked Ebay and Reverb and Facebook. Where else are people selling gear these days?
Quoted from Guinnesstime:Shot in the dark, but maybe ping Watchtower Guitars (in my town) to be on the lookout. They get/find some rare and high end stuff.
https://www.watchtowerguitars.com/search?type=product&q=Washburn
Diablo Guitars on Reverb might be able to locate one as it’s up their alley.
I appreciate that! I’ll keep on the lookout. I had the chance to buy 3 of these a few years ago and should have just done it… These are just different enough from the N4s to make it worth the hunt. Plus I don’t want to wreck a $3k guitar (I’ll be drilling to add a push-pull tone knob for the coil split, and replacing the Bill Lawrence and the bridge pickup with a Bare Knuckle and Air Norton, respectively)
Quoted from Rdoyle1978:m
I appreciate that! I’ll keep on the lookout. I had the chance to buy 3 of these a few years ago and should have just done it… These are just different enough from the N4s to make it worth the hunt. Plus I don’t want to wreck a $3k guitar (I’ll be drilling to add a push-pull tone knob for the coil split, and replacing the Bill Lawrence and the bridge pickup with a Bare Knuckle and Air Norton, respectively)
Found it! Random ad came up from a music store in Ann Arbor, and it just so happens I'm heading up to Toledo to visit family this week. 45 minute drive, save myself $80 in shipping!
Quoted from tamoore:These are my Parker Fly Deluxe's. A '93 and a '94.
The best electric guitar ever made, and I feel there is even a beauty to be found in its ugliness.
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Those 90s Parkers are out of this world. I thought about getting one of those a while back, but I couldn’t find one local to try it out. The composite fingerboards are supposed to be awesome. My Brian Moores have the piezo bridge, and it’s incredible how great those sound for clean tones
Quoted from tamoore:These have the piezo bridge. I used to bring 3 guitar with me to shows, now I just use this one because it does a pretty good acoustic simulation, and the electric sounds great. The carbon fiber finger boards are amazing, and it has stainless frets so the guitars are 30 years old and the frets look brand new.
When I got my first Parker guitar it measured .020" at the 24th fret. I raised it a tiny bit so I could hit it a little harder while doing acoustic stuff without it fretting out up the neck. It was setup as a shredder guitar. It has a truss rod, but I have no idea why it would ever need to be adjusted. There is no heal, so playing at the 24th fret feels exactly like playing at the 5th fret. Also, they weigh about 4lbs, which is half the weight of a normal electric guitar. Fully floating bridge, but it stays in tune even with pretty heavy tremolo fiddling. I'll play 4 hours a night and normally never have to tune - It comes out of the gig bag still in tune from the last show.
Both of my Parkers were bought from Reverb just relying on photos, and both came in perfect condition. I played one back in the late 90's, but there was no way I could afford one back then. Parker guitars are the only guitars I'd really trust buying before playing them, just because of how solid the guitars are.
The story is, Parker failed because Ken was building a 10,000 dollar guitar that he was selling for 4,000 dollars.
A lot of the positives you’re mentioning are why I went to the Washburns - the 7/8 body looks better IMO, is way lighter, the Stephens Extended Cutaway neck is super stable and allows access to the 24th with ease - and mine IS set up like a shredder haha.
I’d love to get one of those 90s Flys. They have the Nitefly and some new ones but they are a whole lot of money and seem to have almost none of the upgrades those guitars are known for
Quoted from littlecammi:No posts in here for about a month? Everybody too busy with the holidays?
Or maybe spending most of your Pinside time in the thread griping about Bond 60th pricing?
I finally mounted four Sondery locking hangers on one wall in my music room and took some pics of my four sunburst Stratocasters. I'll have to take pics of my three walnut finish guitars hanging with my butterscotch blonde Telecaster another time.
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I’ve been busy building guitars!
I’ve been playing Washburn Nuno body style guitars lately, which are a 7/8 size, strat shape, but with some changes I’ve added:
I installed DiMarzio Air Norton and Steve’s Special pickups, and I replaced the Washburn stock trem with an OFR on one guitar l, and a Gotoh on the other. Both guitars have a knob which lets me do coil splitting, and a Trem-Endus on the block.
Over Christmas I also picked up a 7/8 size Washburn strat body which I just finished installing a 24” scale neck on and wired up - need to put some strings on this afternoon to test it!
Quoted from qbass187:Anyone here interested in a Gibson 83' Explorer w/ the Khaler trem & original hardshell?
I have an Iron Maiden coming in May and I'm trying to move some stuff I've had for too long.
I'm not much of a guitar player and my Basses are my main focus.
What color? Those are all over the place in terms of value
Quoted from Guinnesstime:I'm fully addicted to The Warning. Just bought tix to see them at the Stone Pony in August. They have two dates opening for GNR this summer too. 3 sisters from Mexico that have been playing rock for 10 years and the youngest is just 18! Ridiculously talented. Not just guitar but the bassist and drummer are ridiculous. Best power trio around.
How the drummer sings and plays like this. Phenomenal.
holy shit the bass player looks exactly like my wife! They're even from the same area her family is from! Hm, I'll need to subtly suggest she start rocking this haircut again! LOL
This is great! I'm doing an EP in a few months, polishing up the songs, and this is like 1000 times more rocking! awesome
Quoted from Shredso:New guitar day! I've been eyeballing these for a couple years now. Got a decent deal on a used one. Godin nylon string with the synth out. I also bought a cheap synth pedal. I'll probably use the synth for a half hour and never touch it again, but in 30 years of playing guitar I've never owned a nylon string or a guitar synth. I thought the nut was going to be more narrow like a steel string, it feels like the typical classical spacing. It's a little uncomfortable in my hands, maybe I will learn to like it. It sounds great plugged in. Synth cable won't be here until Monday.
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Great guitar! I've used a guitar synth with a hex pickup or graphtech piezo for about 20 years now. It can't replace a real instrument, but it adds a little flavor if you dial things in here and there. LOTS of people you'd be shocked to hear use one. Pat Methany obviously, but also Steves Morse, Vai, Howe. Al Di Meola. Not Alan Holdsworth (well, not technically)
Quoted from Compy:Nice guitar indeed! I've had a Godin xtsa for a while and its been a fun one to play. Even run through a typical rig its a great sounding guitar and a comfort to play. I ran one into a GR55 synth unit for a while and got some impressive tones out of it. It was fun for the more esoteric things.
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Just found this thread, so I'll share what I'm currently running in the lineup.
I'm a huge fan of "cheap" guitars because they're fun to work on and basically guilt-free.
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This began life as a Squier Strat and has had most of the parts replaced on it. I've had this guitar for about 20 years and play the heck out of it. Sometimes all you need is just a good strat sound.
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2007ish Epi les paul. I mostly use this for slide work, but the Bigsby can be fun. This has your typical burstbucker setup.
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Brian Setzer Gretsch G6120 Hot Rod. This is my go-to for anything that needs that 90s rhythm semi-clean/crunch tone. These guitars are mostly showcased doing your Setzer style music, but they respond to gain really well and the filtertron pickups can really sit well in a mix. This one is a joy to play. This guitar alone has caused me to start replacing all of my other guitar tuners with sperzel locking ones.
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Regarding effects, I tend to switch between a road case with a remote switching system and a pedalboard I built that is based on the Schmidt Array series boards (with integrated switching/FX loops). The rack switchers run a typical Voodoo Lab GCX switching system.
Some of the stuff in the racks: JHS Charlie Brown, Digitech Whammy, Strymon Timeline, Strymon Iridium, Boss BD-2, Boss CS-2, Boss DD-20, Boss RT-20, Big Muff, Diamond Comp, Boss RV-5, custom transparent overdrive, TU-2. Basically a hodge podge of stuff, but it allows me to dial in a range of tones and the delays stack really well.
Here's what all of that mess sounds like. (Portrait video due to previously being posted to Instagram)
Recently I started venturing into the Fractal Audio stuff. I've always been a die hard "must have an amp" guy. But seeing more and more artists use them, I've been tinkering with the Axe FX III. I must say, the sounds I've been able to get out of it have been absolutely impressive and the support is top notch.
(Yeah, its in a server rack next to my desk, this thing is great for noodling!)
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Woo that Gretsch is killer!
I moved away from an amp a few years ago - I was using the COSM modeling Roland VG-8 for the longest time, which got GREAT tones through an amp, then upgraded to the VG-99. The VG-8 uses the hex pickup and it’s still the best modeler I’ve ever had, because it models the guitar mass, pickups, positioning as well as the amp.
Now I’m using a Line6 Helix which is so powerful I can get everything I need from one or two patches, and just rolling off the volume for cleaner tones. Great level of control without having to do the tap dancing. Just amazing.
Quoted from Shredso:Godin definitely makes a decent guitar for the money. I've had the steel string acoustic for awhile. I don't play a ton of acoustic anymore, I don't have the hand strength to make it through a 40 song cover set without major pain playing only acoustic. The Godin has saved me, even swapping for a handful of songs to get a rest.
The AXE-FX III is an amazing tool. I haven't used an amp in years. Axe-FX is on my desk and I gig with the FM3. It sounds exactly the same in every single room. No more dancing with pedalboards. I've been going back and forth between rack mounted multi effects and amp with a pedalboard since the 90's. I can't see myself going to an amp again, unless someone else is carrying it.
^^^ Knows his shit.
Quoted from xsvtoys:The worst is when they want the beginners to make that Fmaj chord with just the top 4 strings, that is nasty! I hate doing that one even after 20 years of playing.
You’ll get to the bar chords eventually, at first is seems impossible, but soon it gets easy, then you’ll be off and running!
ha! My go-to F chord is an inversion like that with the C on the bottom. Top 5 strings sometimes I let the high E ring out and sometimes mute it. FM7/C according to the google. Love that sound
Quoted from Guinnesstime:Van Halen pinball!
Michael Anthony’s brother Dennis posted this pic.
“Mike has been going through his storage facility … Somebody made it for him years ago.”
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That is crazy awesome! Anyone know which game was rethemed?
Quoted from Guinnesstime:Has to be Black Hole right?
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100%!
Quoted from Compy:Awesome pickup! Love my Axe Fx 3. Torn between building my own midi foot controller or buying something off the shelf.
I bought a Roland FC-300 to go with my old COSM VG-99 a while back, and I’ve used it on every rig since. Includes 2 built in volume/wah pedals and a ton of buttons, programs easily, and it’s bulletproof. Gator even makes a case for it thst fits perfectly. I use it with my Helix now and it’s perfect
Quoted from johnnyutah:Speaking of Fender- Anyone tried the new Tone Master Pro modeler in person? Looks impressive but I have never used a modeler set up before.
I've owned a WHOLE bunch of modelers - the VG-99, Fractal, Kemper Profiler and the Line 6 Helix. None of them compare to what is IMO the undisputed master: the original Roland VG-8. Still have mine, although I'll probably never use it again live. Currently I'm sticking with the Helix (going on 3 years now), as it keeps getting updated and I am satisfied with what I need. My main requirements are that it is EASY to update. I hate knob twiddling. Very happy with Line 6's interface and software.
ANYWAY. The Tone Master Pro has some decent tones out of the box (none of the modelers have very good onboard patches), but I was able to dial in some good gritty SRV tones, nice sparkly cleans, heavy compressed jazz tones and some killer super heavy modern metal sounds. Pretty versatile. I am always worried about when you bring one of those things home and it sounds radically different in the store (aka every piece of gear ever).
I'd try it out. I felt like it was good, but didn't necessarily offer anything dramatically different than what's already out there. The next innovation will be AI assisted tones. Hear a tone, record it, send it to your modeler.
If you try the Fender and like it - great! modelers are a HUGE time saver. And as long as you get some kind of speaker to push the air and get the "feel' of a real amp, you're set.
Quoted from Compy:I've been looking at some budget FRFR speakers. Most of my recording and playing is direct in, so I'm using studio headphone monitors. I've also used the AxeFX in a 4 cable hookup with an Egnater Rebel 30 through the frontend and FX loops.
If I get a speaker that sounds good (even better on a budget), I'll post here!
Lots of people get the Headrush series. They're good and not terribly expensive. I still use my old Roland keyboard amp because it's got a whirly, is LOUD, and is pretty close to being flat response. Heavy though!
Quoted from AviRoo:I own the original VG-8 too. could never figure out how to get it to work.
Do you have the pickup? Either the GK-2A or the GK-3 will work.
Quoted from AviRoo:Got the GK-2A but don’t got the 13-pin cable. neither do I know how to hook up the GK-2A. It looks almost like I have to make a incision into the pick guard to accommodate it
What guitar are you putting it on? The long pickup piece can sit in between the bridge and the first pickup on most guitars. I installed it on 5 or 6 guitars while I was using it - all had humbuckers but that shouldn't matter. I don't think you'd need to cut anything on the pickguard; most installations just have double sided tape and a piece of foam to sit the pickup on. You will definitely need the 13 pin cable though!
Quoted from AviRoo:Stratocaster ideally since it's the only guitar i use. in every which position i could figure to fit the pickup piece causes the strings to buzz. which is strange to me because they're the thinnest strings i could possibly find.
Aah gotcha. That's a pretty tight squeeze! I installed my pickup onto a Squire strat once, and (granted this was 20 years ago) I probably had to raise the string saddles a bit. Not ideal really. The pickup doesn't need to be terribly close to the strings, but they also shouldn't touch obviously
Quoted from Bud:Holy cow, can’t believe nobody’s commented on this guitar here yet! Powers electric, I’ve been wanting one soooo bad. I’ve been on their notification list but haven’t received anything yet. That’s ok, because I’ve spent so much this year on instruments it’s bonkers.
I'll post back when it ACTUALLY arrives. It's 2 months late at this point, last I heard it was November - not exactly sure when.
Quoted from Mattyk:Anyone ever try the Spark Amp? I’m intrigued by the downloadable tones and being able to auto chord songs and learn them. But it looks like it only gives you chords and not the tabs. I’m a beginner with a Squire Strat. Only been playing a few weeks. Trying to learn the basic chords but my chord progression is slow as molasses.
Wondering if this would be a good amp that will help me “learn.” Gonna start taking some lessons after I learn some chords by memory and can play them cleanly
Those amps are pretty interesting practice amps - but it’s really not going to help you learn. The tones thing is ok, still depends on your guitar and pickups so they don’t exactly nail the tone (see my post about the Roland VG-8 ). But anyway get those lessons! Make sure your teacher holds you
Accountable and you pick a song you really want to learn and bring it to the lesson
Quoted from Mattyk:Thanks for the tip. I have a line 6 amp so I get some cool presets for tones. I think Enter Sandman will be the song I want to “master” first. Just need to get a pedal
No sweat. Playing with somebody else always makes you want to learn more, and it’s more fun. A good guitar teacher won’t make you feel too bad about if you miss a couple things, because they’re getting paid!
Which Line6 amp? I’m assuming you mean getting a wah ?
Quoted from Oshara:Any recommendations for a wireless system? This isn't for performing just trying to reduce the number of cables and give some freedom to walk around and play.
And does anyone know if you need a specific type for single coil vs. humbuckers? Ideally I'd just want one that I can swap between guitars rather than have to purchase multiple ones.
Thanks in advance for any info!
I’ve lately been using the Line 6 Relay G10 or G50 units. If you can find the first generation ones, supposedly they are better. These are awesome- take up almost no space, rechargeable battery in the unit which just plugs into the transmitter for recharge. Lasts 8 hours, never had interference in 100 venues.
Quoted from Engine09:Beautiful guitar. Didn't Adam Jones make a point of requesting the heaviest wood available?
I also recently paid for my holy grail and currently waiting for delivery in a couple weeks. Washburn N4 Vintage.
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Nice! I've played one of those for the last 5 years. Great guitar. Put my original 1980s Bill Lawrence L-500-XL to replace the "new" in-name-only pickup. I had that vintage one rolling around since the early 90s when I got really into Pantera. I recently switched back to my Brian Moore custom shop which I'm also enjoying. Have to take a photo
Quoted from ccbiggsoo7:can you buy these new still or you pick it up used...... the Nuno guitar, i mean.
Can still buy new. Washburn also made a line called "Nextar" when their agreement with Nuno expired in 2002 or '03. They are the EXACT same guitars, with different pickups and (IMO) superior wiring with coil splitting capabilities. They are hard to find, but sell for cheap and are WAY better than the budget Nuno guitars with his name on them. They have the Stephen's Extended cutaway neck mounting too. I have one with DiMarzio Steve's Special and Air Norton pickups.
Quoted from Jamesays:I used to have a fender strat and upgraded to DG20s David Gilmours pickups.
Lesson learned never sell a guitar you love.I am thinking of adding it to a strat
I have now because those pickups could cut glass.any thoughts on this ?
Why not? Even one of those pre-wired pickguards with DG20s is only $300.
New guitar FINALLY on its way tomorrow. It better get here with no issues. This was a longer wait than CGC!
Quoted from madtown:My new guitar. Les paul slash model…. Bought it for the flame top. Might have to switch out the pickups to something less “hot”. Any custom paf suggestions?
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Every time I talk to a gigging guitarist (including multiple guys who we all know), they say PRS pickups. Every single time.
Quoted from wastedthelight:Check out the Quad Cortex. If I go away from Helix, I'd probably go that route instead.
And I’d give you the exact opposite suggestion 
I considered going to the QC but I just hate their interface, and the Line6 (Helix) computer/USB support is WAY better. You can also buy the Helix “Native” VST (Helix plugin for recording, no device required) for $100. Those were deal breakers for me - the actual units are pretty similar in terms of performance. Get whichever one makes more sense for you based on how you like the actual physical unit, foot switches, etc.
I like the way the helix does the stomp box mode and/or how you can quickly switch between snapshots with one foot switch.
There’s also the Kemper, which has pretty good tones, but that thing is such a pain in the butt to program, and the screen is TINY, it’s like working something from the 90s.
Quoted from Guinnesstime:From The Music Zoo? I know the answer is "awesome" but how is it?
Chicago Music Exchange, but they basically just did the sale, setup and shipping. I did most of my communication through Powers.
One thing that totally shocked me is how LIGHT this thing is! My Washburn N4 (which is a 7/8 scale to boot) is almost twice as heavy.
If you’ve seen the Tim Pierce video where he talks about the guitar, he mentions how it’s almost like an acoustic - the strings are SO loud you can hear it over the amp. Well I am here to confirm that is the case.
I went in on this guitar because I knew how they’d re-thought some fundamental aspects of the instrument; things just taken for granted, like the bridge and tremolo, pickups, etc. the guitar looks vintage-y but it’s completely modern in engineering. Reminds me of PRS trying the same thing. They are still around, so I hope these guitars stick around too, but man the price point is SO high.
That said, the only thing I don’t really like is the neck! It’s an old telephone pole thick neck, and I’m used to playing super slim Ibanez Wizard necks, so this will take some getting used to. I still have my shredder guitars but I haven’t been in a thrash band in years.
Quoted from 30FathomDave:I've had both of these guitars for 20+ years, but added some puck lights to their display cases today. Neither of these are "good" guitars, mind you, but they're signed.
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The one on the left is a Kramer Focus 111S that I picked up probably around 2001-2002. I grabbed it because I'm a big Rob Zombie fan (I still dig his music - and he's a fantastic showman) and thought the custom airbrushed artwork was cool. The pickguard was signed by Zombie (I can't remember the story behind it, but there was legit photographic evidence provided of the actual pickguard getting signed when I bought it). I've also got a ticket stub in the case that's signed by Zombie and Riggs, and a CD signed by both on top of the case. Both of those items were obtained personally after a show here in AZ back in 2002. I was walking to my car after lingering at the venue, and as I walked by, Rob was right there on the other side of the fence, approached ME, and exited the gate to chat. We shot the shit for 5 minutes or so and he honestly could not have been any nicer. Super cool guy. He signed my ticket stub and CD, and then was like, "Hey, Riggs. Come here!" and got him to sign my stuff, too.
At a show in 2018, he jumped into the pit, stuck a mic in my face, and we got to scream "More Human Than Human" together. Good times!
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Now the one on the right...
When I started playing guitar in 1996 (I was 16), Eddie Van Halen was my hero. I still have VH stickers plastered on my first guitar. In 1997, for Christmas, my parents got me a '93 Squier strat that he signed at a golf tournament in 1994. The photos of him signing it are probably still at my parents' house somewhere, but it's legit.
I never got to meet the guy, and because I was pretty late to the VH party, I only got to see them perform once, so I've got my ticket stub from 1998 in the case (yes... the GARY CHERONE ERA. LOL).
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Those photos tell a hell of a lot more story than just what you relayed about those guitars! Love the Swearwolves sticker. Who signed the Monster Squad one-sheet? Did you get that signed at the rescreenings when Nards was released? I see Andre Gower, Ryan Lambert, Duncan Regehr, Jason Hervey. Awesome. RIP Horace
Quoted from 30FathomDave:Thanks! I'm a huge horror fan, and I go to conventions all over the country to meet people and get stuff signed. In fact, I'll be adding Tom Woodruff Jr (Gillman) to my Monster Squad one sheet next weekend in Las Vegas. So far, it has all the signatures you mentioned, plus Carl Thibault (Wolfman), Michael Reid Mackay (The Mummy), Stephen Macht (Del), Stan Shaw (Det. Sapir), and Lisa Fuller (Patrick's sister). I've also met Fred Dekker, but that was before I had this poster (he signed my Night of the Creeps poster though).
That whole room is full of signed horror movie posters (all originals). If you look close, you can see the bottom of my Nightmare on Elm Street 3 one sheet peeking above The Monster Squad). I've also got a bunch in my game rooms, and even more in a big portfolio so that I can rotate what's displayed.
That’s very cool! Bug Woodruff about getting the Pilot version of The 2011 Thing released! (He will roll his eyes right out of his head)
Guitar content: Kurt Russell smashed a 100 year old Martin guitar to bits on the set of the Hateful Eight (grabbed the wrong prop)
Quoted from RonSS:Looking into getting an Epiphone Les Paul; either the Modern or Custom.
Is the coil splitting something people actually use, or do you just grab a single coil set up guitar as needed?
For reference, I won't be gigging anytime soon, if ever.
Thoughts?
I use coil splitting extensively - but I play out a lot and the tones for different songs we play sound better with split coil, some sound better with humbuckers. Split coil isn’t exactly the same as having an actual single coil pickup, but it’s better than having to change guitars during a set. At home I still use it for the same reason, almost all my guitars have humbuckers. So I guess if you wouldnt mind using a tone closer to a single coil at times, coil splitting is where it’s at.
Quoted from Mattyk:Question guys. To my understanding, when tuning the guitar the open strings should match the note when holding the same string on the 12th fret. But my tuner does not show that same note when I press the 12th fret.
How do I correct this?
Video is kind of long, but the actual process is pretty easy to understand. Make SMALL adjustments
Quoted from sunnRAT:[quoted image]
Those 2 guitars created decades of legendary music
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