>Post desired gear
>How long have you been playing?
>Talk about and play music
>General guitar and bass discussion
Guitar chords and inversions
String Tension Calculator (D'Addario based):
Floyd Rose Setup Video Tutorial:
Steve Vai's Ten Hour Workout
Guthrie Govan's Creative Guitar 1 & 2
Impulse Response Pack
Free VST downloads (amps and effects simulators):
ASIO drivers (essential to use VSTs while playing):
>Advancing Guitarist Mick Goodrick
>Chord Chemistry - Ted Greene
>Mickey Baker's Jazz Guitar
>Modern Chord Progressions: Jazz and Classical Voicings for Guitar - Ted Greene
>Jazz Guitar: Single Note Soloing Vol. 1 & 2- Ted Greene
>Beefhearts 10 guitar commandments
Previous thread: >>61765120
For the anon that asked "why bass or guitar?"
Bassist master race reporting. I had my fun in treble with sax. The high notes were pretty but you can't feel it. I tried baritone sax (bass of the sax family) and got a boner off shaking shit and still having notes, not just noise like percussion. I got into rock and metal and the bass was a natural progression for me musically. The way the bass line can flow from rhythm to harmonic is beautiful, like an aural dance.
Bass is the best rock instrument to play. It's the most important instrument in the band but no one wants to play it because every faggot wants to be a lead guitarist so bassists will always be in high demand
I just bought black tuning keys, bridge, control plate, string tree, and neck plate for my bass (pic related) how do you think she's gonna look?
>drums most important
In all seriousness though it's the parts that make the whole. I wouldn't listen to a band without a guitarist, or without a drummer. Not for very long anyways.
I wouldn't listen to one without a bassist either. Unless...
For techno/dance/disco sure. Keys are basically samples though. The replicated instrument loses a certain authenticity thats really important in rock and metal. That whole "real" mentality. You also lose the nuances in technique and sound that you get from a real instrument in someone's hands.
Kill yourself synthcuck, go shit other thread
Anyone go to the chapman guitars expedition this week? Goin on Sunday at the Whisky a GoGo, I'm preparing for Reddit tier people.
Guitar I'm hoping to play Sunday
>getting this easily b8'd
>Keys are basically samples though
>being this wrong
>The replicated instrument loses a certain authenticity thats really important in rock and metal.
It just sounds different, that's all. It certainly isn't a direct substitute.
>That whole "real" mentality.
Spoken like a true rockist
>You also lose the nuances in technique and sound that you get from a real instrument in someone's hands.
You lose some nuances and get other nuances (velocity sensitivity).
Besides, it can get spookily realist.
Yeah, specially when drum machines are as sophisticated as they are nowadays.
I've heard they are hit and miss. The J Mascis is higher quality, minis the cheap looking pickguard.
don't stop memeing. hold on to that feeling
i can dig it
bass is really fun to play. quads confirms
it would look better if it wasn't a burst
give a big ol greetings for us
Got this guitar today as a starter because I am newb. How did I do? It was 108 bucks which is good for me cause I'm poor. Also any tips for starting out/learning?
learn to love bob dylan and you'll get basic song structure down
study the circle of 5ths so you figure out how western music works
advance to barre chords when you get some hand strength
don't even look up what power chords are for a year
The frequency range yeah. Not bagging on keys at all but they lose a lot of the personality and feel of a real player holding a real instrument. The differences in attack, muting, accent, etc.
Yeah, it's one of the genres negatives. Bitter closed minded elitists arguing about who's stick and strings is "real" and "true metal/rock".
Great songwriting tools but when I hear an entire album of the EXACT same drum sounds it gets a little boring really quickly.
I know there are groups out there that pull it off pretty well but there's just an appeal to someone beating the fuck out of a live kit that's awesome. I would listen to it but not for very long. I'd have to be in a chilled out mood for it.
It's a good thing I like bob dylan. I learned a few chords C, G, and D today with the help of my coworkers who also play guitar (mostly metal). I'll learn some more majors and etc tomorrow I guess. Thanks for the reply.
I have a problem. My old Squier Strat is making a lot of noise when I plug it into an amp. It seems like the plug itself is too large compared to the cable because the noise stops when I put a lot of angular pressure on the cable. Sorry this is not clear, I am drunk. How can I fix this problem without buying a new plug, ideally?
I'm not going to fuck with it until I'm sober but I have opened it up before and the electrical connections are okay. I just don't know how the plug itself got wider to have this problem. I have a degree is electrical engineering so I'm not afraid to fiddle with the wires but I don't think that's the problem. How much does a new plug run?
Looking for some suggestions for single pickup guitars. If they're miniture that's cool also.
I'm looking for some suggestions for a friend and I, I'm looking to play some lo-fi jangle pop with one and mu friend's more into garage punk.
I'm drunk right now dummy
sounds good. Shame I can't just fix the existing plug though.
You know I wasn't expecting to find this thread on /mu/ desu. I'll be back tomorrow to post my gear. I finally started working seriously at guitar like a month ago after 8 years of fucking around.
What are your guys's favorite tunings? I've been working on Ghost of Perdition lately, in open D.
They can be pretty good, IF you restring them with 11s or 12s.
Squier stringing them with 9s straight from the factory was a cruel joke played on unsuspecting beginner guitarists.
It could be that the contact in your input jack is bent. It happens with the cheapshit components that go onto cheap brands like Squiers.
Just open it up and bend that contact back a little bit. It takes 3 minutes to do.
I tried that before and it didn't really help.
I didn't say I wouldn't solder a new plug in, moron. I said it's a shame I have to get a new plug to solder in at all. The current one feels extremely loose and it's not the bendable contact as I said before.
I will do that.
Do any of you guys use jacks like these? They have compression springs which supposedly provides secure connection to the socket. I bought a cable with these but i'm worried they might fuck up the jack socket by widening it over time
>What are your guys's favorite tunings? I've been working on Ghost of Perdition lately, in open D.
A and B Standard.
I stopped using Planet Waves leads awhile back because they were breaking constantly.
No, get a good cable with Switchcraft type plugs so you can resolder them then they crap out. 99% of problems come from a cheap input jack or bad grounding.
Don't buy premolded plugs your throwing money away.
I was given most of these pedals by my brother in law who dosen't have time for guitar anymore because all the military traveling.
Are most of them shit? I'm pretty terrible with pedals desu
What's that red ibanez in the middle ?
I think overall you could get something out of them, they're not huge boutique pedals that will make you sound like heaven, but that's decent.
but the ampeg fs and ironheart control are for specific amps i think
88keys, weighted keys, monitor out, and ur good to go, dunno about that fa08 tho, it has been posted around /mu alot
yeah, they're kinda shitty
the hardwire reverb is a very good pedal
the wampler is a higher priced pedal but its basically fancy buttrock
jet driver is a tubescreamer, so its not exciting but useable, screamin blues is basically the same thing
the DOD yngwie might be fun
donner/mooer stuff is horrid
I have a squier JMJM and I'm happy with it. I've played the VM a couple of times and couldn't really find anything wrong with it. Play one and see if you like how it sounds/feels. Change the strings though
why do guitar companies have such awful options for colors on their shit these days?
Fender, Gibshit, you are lucky if you get to pick between 2 colors, most lines only have one color. Usually a very turdish looking sunburst.
why is that bait? can you tell me what is wrong with Jags and JMs besides meme hipster hating?
Jags sound bright and awesome, JMs sound big and awesome, they have a lot more options for sounds than strats or teles. Jags have a shortscale so they're easier to play for some people. You can ride the tremolo bar easier than any other guitar. They're sturdy bolt on fenders so they are durable as fuck and if something breaks, its easy to fix. The body contours make them more comfortable than a telecaster. They're not heavy.
I agree it seems guitars used to have thinner paint too. I have a friend who strips his guitars and gives it a single coating so it still feels like wood. We were confused untill the guitars were refinished and it just looks and feels more natural
So they can charge extra for matching headstock and stuff like that
Also, anyone got any experience with Blade guitars? Are they comparable to Fenders in terms of neck/weight? Also, any info on Burns would be appreciated.
>Bass VI w/ all-parts buzz stop and labella flatwounds for 370€
Getting this shit on my b-day, even travelling to Hamburg to buy it
Meanwhile, do I have to get a bass amp to properly play it or is a guitar amp enough?
yeah, sometimes gibshit or fender will offer 'lacquer' series of their guitars that has the thinner, more traditional paint. Most paint on sub $1500 is polyurethane which is that shitty plastic shell crap that makes them feel junky.
I think lacquer costs more because of environmental regulations. I've done a 4 guitars with automotive lacquer spray cans and they look and feel so much nicer than poly (even though they are definitely not pro jobs).
What exactly do the knobs do on a Jazzmaster? Specifically the ones circled here
>wow that's a nice looking strat, what is it like 2200? I'd buy th-
>IT'S 4000 FUCKING DOLLARS
honestly get fucked. Your guitar better be a pinnacle of design at $4000. It's not even a bolt in, it's a fucking dumb 60 year old bolt on design. IT EVEN HAS A FUCKING STRING TREE STILL OH MY GOOOOOOOOD
>Knotholes in the wood
>Half burnt fretboard
>17 accessible frets because of that huge fucking heel
>3 inch think gloss finish
Not sure if shit, but here's a $200 tube amp for gguys looking. They are out there. 2x6l6 is a good way to go.
If you don't push the guitar amp hard, then there's no potential of hurting your speakers. The electronics in an amp dgaf what signal you send through. When they hit their min/max, they just distort.
I'm guessing that the music will be primarily improv-centric like jazz and blues, so here's a few basic tips:
1) Know your notes and be ready to identify keys by ear. This is especially useful in a completely improvised setting where the other musicians are playing off one musician's on-the-spot riffing. Once the rest of the band falls in behind the main melody it can be difficult for verbal communication on stage and no one wants to shout instructions over the noise.
2) Know your chords. Most of what you'll be doing is rhythm playing, so you'll want to have as much fun with it as possible. I like to approach this kind of improvised rhythm playing like a jazz guitarist comping over the melody. Understanding chords and their diatonic functions within a given key is a good way to avoid playing power chords or even basic major/minor shapes in favor of more interesting 7th and/or extended chords. They'll give the whole sound a much more interesting, jazzy vibe and you can challenge yourself to play in different registers, voicings, etc. depending on the mood of the tune.
3) If the music is especially jazz-oriented, there is an order that musicians are expected to solo in: first horns, then guitars, then keys, bass, and finally drums. At one of my first jams I took a solo immediately after the head and looked around to find all the other musicians staring at me, mouths open or laughing as I'd stepped over a trumpeter's solo spot. It was super embarrassing.
4) It helps to know a few tunes to begin with! Funk tunes are pretty popular at open jams, so knowing how to play the chords/melodies to a few of them is always beneficial. Stevie Wonder's "Superstition" or Herbie Hancock's "Chameleon" are frequent, popular choices at the jams I've attended. My personal favorite is Jaco's recording of "The Chicken".
> mark 2c+ head with headphone out
Fucking no, I actually wanted to save money.
I'm getting that motherfucker for xmas.
These don't always pack the headroom that "bassists" expect to see anymore.
I've built a couple 5f6s. One had a stiff power supply with ss rect, and the other was all octal 5u4 rect. The latter was much better. Got any bassman model recommendations?
>I'm guessing that the music will be primarily improv-centric like jazz and blues, so here's a few basic tips:
Yes, Blues/Rock'n'Roll orianted as far as I know
> Know your notes and be ready to identify keys by ear
Any tips how to do it? I did some Bluesrock/Hardrock with another guitarist for 2 years and I always tried to look on his hand, what he plays, than just try to find the scale with playing around. Is there a better way
>Understanding chords and their diatonic functions within a given key is a good way to avoid playing power chords or even basic major/minor shapes in favor of more interesting 7th and/or extended chords.
Sounds pretty useful,
>If the music is especially jazz-oriented
It isnt, and i think it's good this way haha, I dont really get an access to Jazz, I dont really understand it, and I think it's way more complicated than all this easy blues stuff
> It helps to know a few tunes
Yea, this was the only thing i was preparing since I saw some videos of past jams and they always started with some popular tune and changed it until it was something completly different
5) When it comes time for you to solo, short and sweet is usually better than trying to do your best Try Anastasio impression. This will kind of depend on the vibe of the room, though. If people are digging what you are saying musically, they'll let you know it through cheers and applause, and those are great signs to keep your solo going a little longer. Ultimately, though, you'll want to be happy with what you're laying down so pay attention to what you're playing, focus on the melody (people like it when a solo sounds like it's "going somewhere") and don't blow your load all at once by jumping in with your fastest Yngwie picking pattern. Being able to hear yourself is important here, so make sure to take some time to do some of your own EQ-ing with your equipment. Most guitar players tend to just run through familiar scale shapes and licks when they can't hear themselves in the mix which can sound robotic and feel unsatisfying.
At least this time it's 4 6L6, I might get one if it's not priced too high, but I'm pretty sure it won't be the case.
I can't agree enough on the cab clone, that thing is garbage. I think one of their lastest pedals also sounded bad, so I'm not too hyped on the thing.
Mesa's going full retard these days, especially with things like making the exact same amp but with 10w more.
Already have my dream rig
MM Stingray 5 HH
Ampeg svt pro 3
Either Ampeg 610 or 810 depending on venue.
Feels good man
Yeah, I'm hoping it's close enough but who knows.
Two graphic eqs would be neat for me as I'm always fiddling with small differences between rhythm and lead sounds.
It ain't that shit tbqh, it's serviceable for silent practice.
It's a disservice to the amps true tone though.
I've got a lot of jazz chords down. 7ths, min 7ths, 9ths, 13ths, and others. I play a fair share of skrams and math rock that is kind of a free form utilization of these. Do you have any recommendations on segueing into true jazz progressions and leads.
Being able to look at how other musicians are playing and figuring out the key from their hand positions is definitely useful, although keep in mind that the room may be dark and the other bass/guitar players may be across the room from you. If so, being able to identify the key from looking at the keyboard player's hands is useful. Otherwise, take a minute to think about the notes being used and see if any of them sound close to songs you are already familiar with. You can also lower your volume on the guitar and just fret a few notes until you find the tonic and then go from there. If you do this then pay attention to the rhythm and try to at least fall into the groove a little: no one wants to hear you plucking out straight E or A quarter notes while the rest of the band is grooving on a swing in Eb minor.
Yeah it would, but that's not the case.
At least they didn't make a dual rectifier with 10 more watts. Yet.
So basically 2500$ for a modded Mark II-C+ with two EQs despite having three channels ? So far that sounds sorta retarded, but who knows it might be cool, especially if you can find one used for much less.
the down position on the up and down switch engages the lead circuit, which is a traditional guitar circuit like whats found on a telecaster- the bottom toggle is bridge, both, neck and theres the traditional volume and tone knob.
the up position on the upper horn cuts the bridge pickup and the neck pickup is routed through the two horizontal dials which are tone and volume.
thats the normal setup, there have been other customizations of those controls so they do other stuff though like series/parallel switch.
No it is shit. The tone is unusable even for practicing. It kills tone to the point where I'd rather use a VST, and that's saying something.
>especially if you can find one used for much less.
Just buy a Mesa Studio Preamp if you want the IIC+ tone cheap.
If you really want the custom shop, you could sell the one you bought. I got a nice German warwick awhile back that I decided to sell for my MM. Though this is my first over 1k instrument, so it was justifiable after using shitty p-basses and ibanezs
thinking pic related
I know the real answer is to submerge one's self like any language. But I feel with all the tools, I should be able to at least hack something together.
I don't want to sell it though, I don't want to end up being 50 and wonder where that guitar go, did it spend its lifetime playing Vai or Hendrix, none of which matters anyway.
I would probably get it after I'm don't with college, maybe as a gift to myself
good explanation thanks. I've had a JM for awhile and never was able to figure out exactly what was happening with those switches.
Also, when the down position is engaged and I use the three way toggle in the neck pup position my signal breaks up and starts clipping and fading in and out. Is this supposed to happen or is it bad wiring?
I need some help regarding alt picking, /gg/.
16th note triplet alt picking. Second measure is the actual goal, first is the simplification i practice (omitted the left hand - less coordination troubles).
It's a nightmare, the string change part to be precise. The requirement to change the string, and change it right, while retaining timing is proving very difficult at speeds above 100bpm, and even then it's not exactly easy to avoid click-clacks - accidental catch ups of the string by the pick when going back and forth.
I'm using very low gain like plexi sims, so that exaggerates the issues but nonetheless I find it virtually impossible to achieve my goal of being able to play that smoothly at slightly higher tempo. Do people cheat with super-high gain, echos, reverbs and shit, or am I just not brute forcing it with enough practice? And how fast can you get that kind of alt picking anyway?
I actually take lessons after self-teaching myself with no meaningful results for 2 years, but my teacher is acoustic player so quite honestly, he can't help me for shit with that kind of playing. As a matter of fact he does fast improvised lines - they just sound terrible, the sloppy fake speed kind of fast. I want to actually play fast, not just pretend to.
Can anyone explain the difference between a non locking trem like Fender and PRS,to a Floyd Rose?
I know on a Floyd, the whole bridge is floating, and there's lots of space to move the whole bridge up or down. But what's the difference between that and a Fender trem?
I read somewhere where you can 'deck' a Fender trem, meaning that the whole bridge is flush with the body, no room to pull up. Does that mean down tuning is as easier as a hard tail?
cool. I already play Autumn Leaves in one position with little to no understanding of why the chords are what they are. I also play a few scales using chord voicing which gives me options for movement when using these chords. Diatonic is a big hollow word for me right now, but I have an idea that this may be what I'm getting started on.
I'll take a harder look at diatonic theory. I frequently attempt to play rhythm and lead simultaneously outside of a jazz context. This is something jazz guitarists really get. A more in depth look and added vocabulary can only improve playing. Cheers.
A triad is just any three notes that you play at the same time. They can be in harmony, but it does not necessarily have to be so.
A major chord is the root, major third, fifth and sometimes octave of a particular scale.
My teacher gives me the chance to play with people, and occasionally in front of audience. Doing that on my own or over the internet is a lot more difficult so I'll stick around for a while longer.
Doing it. It's just that 90+bpm is literally a wall, or a cliff.
He мнoгo дoбpe. I think I caught the flu.
tri moreta btw.
If it's your fretting hand that fails you, then there is no other tip than practicing and making sure your fingers move as less as possible.
If it's your picking hand then you should try other ways to angle your pick or different picks.
You can go really fast when alternate picking without drowning your playing in effects, take a listen at Guthrie Govan or Allan Holdsworth
You can also kinda cheat on the second option by using pulloffs, but that won't train your picking hand.
They're not the same design internally, and FRs allow for much wider movement.
it's all just a matter of practicing the motion over and over again
i'm going to assume you're having problems with the transition from string to string, yea, that's going to take a while to get down. especially with strict alternate picking. you're doing two things to land the next note - you need to lift up slightly so you don't hit the high e string, and you then have to pluck the b string, all while keeping in time. it's not easy at higher, or even moderate, speeds
work on that transition lift/pluck part and try to get the feel of it, it's kind of weird and even i have problems with it sometimes
if you just can't get it down no matter how hard you practice, maybe try looking into economy picking. some people's hands work better with that style, it's kind of like a mix between alternate picking and sweep picking. like in that lick the picking pattern would be down-up / up-up sweep for the string transition / then down - down sweep for the next transition / etc
Is the best way to get better at improvisation to play with backing tracks of different scales? Will it help me come up with melodies? I'm just playing notes at the moment, but they're ones I try to hear in my head first at the very least.
I hope you find one and enjoy it.
There are plenty of them around in excellent condition at great prices.
Because for all the finishes they offer, only a few colors really sell enough to make it worth stocking the paints in quantity, and they're the same old colors-red, white, blue, black, and sunburst. Nothing else is profitable enough to be more than an occasional offering every couple of years-believe me, they've tried.
Gonna buy this guitar soon. Is it any good?
I tried jamming while high like 6 months after starting and it just resulted in an awful mess, like if I had forgotten you could do anything else than 2 power chords. So basically we did very shitty sludge
anyone else think al di meola has the most accurate and expressive picking hand?
i can't take my eyes of his right hand when he plays, it's so fucking smooth
Used MIJ Jags seem to be not a super pain in the ass to get, MIJ JMs are really hard to come by from my searches in the past couple weeks...at least for prices you'd think were kind of reasonable for a used MIJ guitar (600-800)
They're all over $1k from what I've seen. I was about to pull the trigger on a JM66B on reverb last night that was $1000 but it sold about 10 minutes before I bought it.
It looks like shit.
Otherwise it's probably decent, I don't know. I tried a Schecter and was probably at the same time the best feeling thing in the shop but also one of the ugliest.
Has anyone here ever played a Billy Corgan strat? Looks and sounds great but it's expensive and pretty much impossible to find new or used.
You forgot the black "dark as my soul xDD" finish and the godawful plastic sculpture around the pickups.
And as it is a metal marketed guitar, it's probably going to be awful, even for metal.
The body doesn't offend me too much, but I personally hate horned/edgy headstocks.
Honestly, I had a schecter whilst still learning and it did me good for a few years. If you like that guitar, then go for it, but it seems like the type of guitar that in 5 years time you won't like how it looks. But that's not the be all and end all.
Pretty good but I hate that red. If it was fiesta maybe...but... I already have a fiesta red jag XII
That makes sense, until you realize that not sounding as awesome as somebody thinks it should is not considered a factory defect worthy of free repair, while a finish wearing through is. Going to poly finishes basically eliminated those repairs, as it's much less temperamental to apply, less fragile and environmentally hazardous than nitro, all with the added benefit of being cheaper too.
For all guitars under $1000 where the consumer just wants a regular production model, it's a no-brainier.
Anyone else /not really feel the need to buy new gear because you're comfortable with your current rig/ here?
Like, I'm sure I could sound better with a Sunn stack but it feels so "normal" to play my current, imperfect setup that even when i try out nicer equipment I don't like it as much.
Get something with a bit more range. Metal guitars are generally not great, but fine if you only want to play metal. I used to be like that years ago, but as my tastes grew, my enjoyment for playing metal faded.
Again, get something you can use for a variety of styles.
At least it's not as bad as this one, right guys?
i know my gear and how it will react, i could use a couple different types of pedals for some more texture, but overall i'm perfectly fine with what i have.
my guitars are a different story, i plan on getting a custom neck for my tele because i really don't like the size of the frets or the radius of the board
Rhythm circuit. The two rollers are dedicated volume and tone controls for said rhythm circuit.
Hit the switch next to the rollers and it disables all the lower controls and pickup selector and just goes to the neck pickup only. The controls are a different value as well, so that you only get about half the volume out of the guitar with the switch engaged.
If you're an experienced pro, it makes for an easy way to go from rhythm work to solos and back again, but if you're a kid who just wanted to bash out punk on something cheap, the switch really gets in the way of your playing. Which is why a lot of the grunge heroes had the rhythm switches taped off on their guitars.
I find guitars with sharp edges, horns, Vs etc. are impractical and uncomfortable. I enjoy sitting back in a chair noodling around on a guitar and to do that I need a comfortable, user-friendly design.
Plus those OTT metal guitars are an eyesore, people will judge you before to even hit a string. I've seen amateur gigs and some guy will pull out a BC Rich or something. Inevitably, I am drowned in power chords and open chugs.
I own an Ibanez GRG. If the frets weren't so fucked and the bridge not misplaced it would be a pretty good guitar actually, the neck is quite comfortable and the contours decent. I'll still keep it when I'll have something better, so that I can use a guitar for weird mods.
But yeah I probably wouldn't spend more than 1,3k for a rig that I'd like.
Vs are meant to be held in the classical position, unlike a strat or LP, they're pretty comfortable that way.
>Vs are meant to be held in the classical position, unlike a strat or LP, they're pretty comfortable that way.
you can just use a strap on those guitars while sitting down and you can easily play in a classical position
i don't know why so many people don't use a strap when sitting down. there's no possible way to hunch over if you wear a strap (correctly) when sitting down. it looks kind of stupid i guess, maybe that's why people don't do it, but who cares? you're at home practicing
Real life LEGENDARY WEAPONS?
Vintage, and for bass use?
The SF Bassman 100.
It's everything bassists loved about the old Dual Showman amps-namely, the three-knob Fender tone stack and 100 watts of headroom-with the beefier transformers of the SF era and none of the shit they didn't need, like reverb and tremolo.
It's no PS400, PS300 or SVT, but for club-volume gigs, you STILL can't go wrong with one, especially through a modern 8x10 cab.
For guitar use, the most celebrated Bassman model is the 5F6-A that gave birth to the Marshall and Sunn Model T, but every era of Bassman with 50 watts or less sounds pretty awesome in its own way, from the screaming overdrives of the jumpered SF and BF circuits to the raw distortion of the tweed models.
It wasn't horseshit 45+ years ago when Fender and other big makers made the switch to poly.
And if you think people don't bitch about shitty nitro finishes, then you've never seen a discussion on a guitar board where Gibson's QC has ever been discussed, and you should lurk more.
I have two guitars priced higher than that one, It's still shit. You probably don't have a guitar half that price, and you also probably really suck at playing what you do have. Get gud
Lacquers/nitro weren't/aren't as durable but the notion that people were taking their guitars back to get refunds because they were 'wearing through finishes is complete horse shit.
Nitro/lacquers stopped being used widely in the late 60s, then polyester became the norm, then polyurethane in the late 70s.
People pay a PREMIUM to have their shit painted in the traditional manner with nitro these days retard.
Hence why I put the sub-$1000 language in my original post, retard.
I agree that it's now a "premium" feature that people will pay for, but for most people who don't care about (or can't afford the extra expense of) nitro finishes, modern finishes are better at being actual finishes than nitro ever was.
Is that one of the recent Japanese Special Runs? That's what I have, absolutely delicious little guitars.
How are those guitars? A shop near me had one that looked like a nice player for only a couple hundred bucks but I'm lefty so... ya.
Not in my opinion. They can be good modding platforms, but that's it. New bridge and new pickups would be the minimum, but they could honestly do with upgrading everything besides the body/neck. J. Mascis JM is like twice the guitar for only a hundred more and is basically the same quality as classic vibe teles, maybe even a bit better. JMJM with upgrades is better and cheaper than the classic play or classic 60's JM.
If there is nothing wrong with it, that is probably a good price, I mean even the lowest end epiphone acoustics seem pretty okay to me, definitely worth 100 bucks if you are new and want to get playing for cheap. Start out learning open chords and power chords. Its the fastest way to get some good sounds out of the thing. While you are trying that, just practice basic technique stuff to build your dexterity and finger independence. The justinguitar site at the top is a decent place to start and from there you can decide what to learn or if you want a teacher. Once you have started getting decnet enough to play without stumbling over yourself constantly, start to learn about music and how to train your ears so that you can reverse engineer songs and learn from them.
Depending on what you play, a MiM strat/tele from 2006-prresent is probably the best guitar you can get that has resale value. If you don't know how to read serial numbers, just look for one that has the new style logo on the headstock that is black and gold instead of silver. Where I am from, one pops up on CL for around $250-300 every few weeks. If its just black, its a squier, don't buy if for MiM prices. Made that mistake with a guitar that somebody sanded the small squier logo off of back when I didn't know they ever made squiers that said fender with a small squier logo.
I like the Aria a lot. It's getting looked at by a luthier to get some electronics stuff worked out on it. Just need to get the pickup switch fixed and clean up the knobs and it'll be 100% again. I like it a lot. Finally gonna get some 11s on it because it has had 9s. Will really feel comfortable playing it now when it's ready.
Modern finishes are better anyways, nitro does nothing but make your guitar age faster and be a bitch for the people who have to apply it. There is no tone difference. Anyone that says otherwise is bullshitting. Ask John Suhr. The only difference is how much protection it will offer on your guitar, and nitro is the worst.
Poly finishes don't leave solvents as they cure(you can light a curing nitro guitar on fire really REALLY easily), they are easier to bring to a very shiny gloss, they are much stronger.
That's really cool, I've never seen the Anime, but i read some of the Manga, never knew it was that colour, really funky, I dig it man.
>Lee is 10x better at guitar than Chapshit now
I have no idea how that balding retards ego is still intact
Thanks man, just used VSCO on my wee phone.
I ended up having to return the Deluxe, a lot of the new Fender amps are having some issues straight out the box, make sure to have a good play on a 59 before buying one! Jelly of the 59 though, they are on another level.
Ahh, I never got to that part then! Really cool colour though, never seen it before.
yeah, im planning to. they have a p bass I'm sorta interested in a bit so I'll test both out at the same time.
>being this new to guitar culture fetishes
you have a lot of tgp browsing to do
Why do they ruin mustangs with that stupid racing stripe?
This one is so nice.
How much should I pay for this GG
Laney head Russian tubes (presumably sovtek) and a fender cab. He wants me to name a price. It's gorgeously loud.
I have a t2, it has longer decay time, the polara is like a more expensive RV-7, so the reverse setting can do shoegazy stuff.
The t2 is really good for that, you can do a lot of different stuff with it.
Oh, I know all about them.
I just don't subscribe to them, because I'm not 18 and impressionable anymore.
After I converted my "bad old days" MexiStrat to the original electronics specs and got told by a self-proclaimed tone freak "wow, you must've gotten one of the really good ones", I decided there was a lot more bullshit than knowledge floating around about electric guitars.
Then when my brother started making guitars as a hobby and made an oak-bodied guitar that sounded better than most guitars costing less than $3000, I decided there was just as much bullshit surrounding acoustic guitars.
And so far, my experiences after those decisions has only proven me right.
Sure do, it's a John Cruz 63. Sadly not a vintage instrument, but as close as it gets without breaking 5 figures!
I usually try to keep my thumb pretty centered on the neck, but soon as I hit 12th position using my pinkey I can't reach the top 2 strings effectively. Is this normal and everyone just has to find what works for them, or are there some tricks to playing up the neck without putting your wrist in a fucked up position?
Thanks, looks incredbile dude. I'm not really into the whole reliccing thing but your Strat looks sweet, great sunburst. I personally like 70s and 80s Japanese stuff to not break the bank, Fernandes and shit
The point is, they don't sound incredibly different to a wooden instrument, which debunks the whole tonewood argument. If wood really made an audible difference then an instrument without ANY proper resonant body should sound completely different.
Thank;s man. I'm not into heavy relics but this one was just right, back of the neck is real nice. The faded 2 tone burst drew me to it, like Frusciantes Strat, but under direct light you can see the red pop though, its a great instrument.
Most of my other guitars are Japanese, for me they are the best quality for your money, I'd only buy American if I was looking for Nitro finish.
I used to have >>61795994 which was my go-to 60s/70s style strat.
You should post some pics of yours, I'd love to see em.
i usually try to avoid playing thicker strings on those frets. the frets are pretty close to each other, its less confortable than lower down on thinner strings and if there really is no other option you can usually let your first two fingers take over
i got a few problems with this
-they do sound different and i have never come across a non wood instrument that really blew me away like other (wood) guitars
-no one who believes in tonewood properties thinks that tonewood is responsible for a great amount of sound. Everyone says that tonewood is one of the smallest influences after things like electronics and strings
>-without ANY proper resonant body
drop that shit on a tiled kitchen floor and tell me there is no resonance after hearing it ring out loud enough to fucking awaken lemmy
3K better at least desu
Another shot, taken by the shop I purchased it from.
I've probably seen it, I have a bunch of them myself. Pic related, my Suzuki Strat with D.Allen pickups, Fender MIJ 1989 and Condor Corporation Strat in the middle, early 80s
not to derail your relic strat love, but i really love the look of marshalls that arent the standard marshal colors. Wanna get one in a red cabnet just bc it looks cool
>Everyone says that tonewood
meant "everyone who says that"
Ordered a 5 string Stingray today :)
I have room for one more pedal on my board. I'm thinking chorus, but I have reservations because I play black metal and death metal and I don't often hear chorus in those genres even though I love the effect
There may be a reason why.
IME, effects like chorus, phase and flanging are used more to add the perception of "motion" to your sound when you're playing lots of sustained or repetitive parts. It helps to keep otherwise boring parts interesting.
If you're playing a lot of technical bits that are pretty interesting in and of themselves, the effects just get in the way.
Most choruses with a depth knob that you can turn down are more than subtle enough. But try the stuff out first-you may find that you like a stronger chorus effect in the stuff you play.
For yous, anon. At Chicago Music Exchange. Late 60's Marshall Super Lead/Bass, can't remember. Had to crop pic because it was too big, but there's a second flat-face matching 4x12 below the slant. Boner material, for sure.
Someday man .. I have a small laney stack and head but someday I'll have a full marshal stack.
Fucking likewise. Orange and purple are my favorite non-black tolex colors for Marshalls. Frusciante's silver jubilee is also awesome. Not to mention his sexy Fiesta Red 62 strat.
mim stratomcasticle best guitar Ive played for that kind of money, though it depends; what sort of things you want from a guitar? to shred all day or play blues etc etc
if your mate can play solo shit, learn some open chords, and obviously barre chords so you can be his rythm bitch.
>my dad used to do this to me, that feel
genuinely not baiting you,(though I may have just decided to chew on your fishing rod for a bit, granted), but that sounds like it has that little extra high end you hear in metal acoustic guitars, the ringing, if you know what I mean.
I remember reading that "tonewoods" are a thing but the impact it has is no where near significant when compared to nut / bridge material, pickups etc.
>compared to nut / bridge material, pickups etc.
What about fret material?