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Guitar chords and inversions
String Tension Calculator (D'Addario based):
Floyd Rose Setup Video Tutorial:
>http://youtu.be/umY5NBKg5AA?list=PLcm7Ag6Q-OkZAmlY6dAhS2ZL9TUMeRZdI[Open] [Embed] [Open] [Embed] [Open] [Embed]
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: >>61859244
daily reminder that Randy Jackson played bass for Roger Waters on Amused to Death
banjo player here but my question applies to guitars too
I have a normal scale banjo and a short scale (parlor size) banjo, its about 6 inches shorter than the standard length instrument. I'm using the same gauge strings on both instruments. Do I need to tune the shorter instrument higher proportional to its length in order for the intonation to be correct?
When i tune both banjos in G (traditional bluegrass tuning) the strings on the short banjo seems so loose it isn't much fun to play, so tension is definitely affected if they are tuned to the same tones
Should I be using different strings for shorter scale instruments? or tuning it higher? or anything of that nature? I'm kind of a noob when it comes to string instruments so pardon me if this is blatantly obvious to you guitarists
this is my favorite aussie rhyming slang word of all i think
I think his point was that guitars and bass guitars are both included under the umbrella term "guitar" and therefore need not be specifically mentioned
I can say however that playstyle differences between six string guitar and bass guitar are tremendous, and no six string player should just assume they can also play bass because it shares the same string tuning with fewer strings. Bass lines as used in music are very different than the low notes of the guitar parts.
Shorter scale length will result in less tension in the same tuning. Tuning higher or using thicker strings will alleviate the problem. Other things tonally are affected as well, but that's the jist of it. Being six inches shorter I'd be tuning up.
The string tension calculator in the OP can be a rough guide if you know the exact scale length of your instruments. Scale length is why I use 13-62 on my Les Paul, and 12-60 on my Ibanez in the same tuning.
GC employee here, the only squire worth a shit is the classic vibe. If you get an actual fender you can do so without breaking 1,000. focus on what woods/pickups you want.
How much does GC pay you to talk about the woods?
Does anyone have any real complaints about the Fender hammer saddles?
I'm glad you're all so tickled, I work in audio so they don't pay me anything to talk about woods. They pay me to sell launchpads to confused parents and 12 year olds.
benefits, discounts, and commission make it worth my while. As far as retail goes its the lesser evil.
Seem a bit salty, compared to the rest of the world of retail it could be so much worst. I get paid to essentially dick around with gear for a good 30-40% of my day. And when it is busy I'm getting commission for selling karaoke systems and PA gear to non English speakers.
Short of running your own business regular 9-5 jobs will do that to you
I'm mostly just bitter that GC has run almost every other small time music outfit out of town. If people want musical instruments, they go to guitar center, unfortunately.
They've even driven great manufacturers into the ground by demanding high production and low prices if they want to sell at GC, which is the only game in most towns.
sure its ok if what you want is mass produced crap like launchpads and boss effects pedals. But good instruments are made in small numbers by hand and cost what they're worth.
But seriously the staff acts like retards. They will up-sell anything in the store you make any hint at possibly being interested in. I once bought bass strings at GC not knowing exactly what I wanted or needed and the staff member literally said "these are the best strings in the house, I use them personally" to every box i pointed at. like I somehow forgot the conversation we'd been having.
Do you live in MX comrade?
You could get a good axe off Amazon or Ebay
for the low.
I really don't like squires. I feel like they're entry level guitars, like Kenneth or most Peavey guitars. they look smooth though
you know whats really tight tho?
they let me play with everything, even 5000k
keyboards, electric drum sets and fucking gibsons.
GC is ok, but they tend to breathe down your neck and hike up the prices like mad.
Music shops still have hope in small towns at least.
hike up prices? GC price matches and has a 45 day price guarantee. As in you have 45 days to find a lower price to retroactively get money back.
yeah I've been to a Sam Ash and it was legit.
I played their electric drums and their 5k keyboards, I even bought one of those keyboards. Their salespeople know about their instruments too, and they have weekly sessions in store after hours. I moved a long way away from any Sam Ash and I do miss it
compared to Sam Ash, GC is pretty fucking far from OK
that being said Sam Ash is definitely not a small music outfit, and is doing the same damage to small time outfits and instrument manufactures that GC is, but that may just be an unavoidable result of economics of scale.
Just replaced the stock pickups in a 2006 Gibson Flying V that I got in a trade with Duncan JB in bridge and 59 in the neck. Did I do good? I think it sounds way better, but do people hate that just as much as sticking EMGs in a Gibson?
Should I get a Jackson DK2 or a Charvel San Dimas?
I'm leaning towards the Jackson for slightly better spec, but I love the finish and maple board of the Charvel, also its oldschool-ness.
Are you fucking meme.
No one would do that.
Custom Shop maybe but not those.
Put them back in pleb.
Learn how to use that 500T.
You just removed a pickup that is famous the world over for an off the shelf.
Are you mad?
Whoa. I think it's going for 1300 right now, should I get it and kill my neighbors with it?
It can be used as one 1400 watt amp or two 700 watt amps.
I've got two local shops near me and they're great. Guitar Center has three stores each a stone's throw away from both and the small shops I typically go to haven't considered leaving.
My favourite pickup is based off that so I approve. That would've had a 500T/496R stock wouldn't it? 500T are nice pickups, if a bit noisy.
>sticking EMGs in a Gibson
I use 85/85 live. The compression helps my playing (bad hand) and 85s have A5 rails. Not huge on 81s though.
Not him but they were originally yes. They make 6 string versions now.
>trans black finish (seriously I am fucking sick of greyscale guitars)
Thanks for sharing your opinion, but we are not on the same page at all taste-wise.
so, quick review and first impression on this bass I just received
model is Schecter Diamond P Plus, sunburst with maple neck version (there's a black gloss/rosewood one also)
paid 500 USD for it, used, which amounted to roughly 850 CAD with conversion and customs fees. I would have paid 400 bucks more for it if I ordered it new. I consider myself lucky because it's in mint condition and 99% like new. only needs a minor setup.
first things first, this motherfucker is long for a 34" scale. from bottom of body to top of headstock this thing is a centimeter longer than my 35" Skyline 55-02. might not fit in some gig bags. I have no fender to directly compare it to but I'm pretty sure it's longer than those.
one of the knobs (the pickup selector one) is plastic, whereas the other 3 are metal. the diamond brushed pattern on them is not the same, also. I don't know if the model is made like that or if it was swapped out by the previous owner.
there are zero visible flaws on this thing. great construction quality for a korean bass. look and feel is equivalent to a MiA Fender and I am 100% serious. I can't tell you how the neck holds up until I've used it for a few weeks though.
the machine heads are the most sensitive ones I've ever used. all 4 respond exactly the same and have no leap spots though so that's cool.
tone is good but not 100% what I wanted out of it. the SMB-4D humbucker is punchy as hell and a bit metallic sounding due to being closer to the bridge than MM standard. the SPB-3 split coil sounds fuller and more modern than any split coil I've tried. very good, but not much puffy vintage treble to it.
in parallel the pickups give a sweeter, less bright humbucker tone, which I much prefer to the bridge position.
in series it sounds a bit like a passive PJ with both pickups at full volume, plucking somewhere in between. probably my favorite of the 4 states.
the 2 band eq is nice to have but as far as active bass eq's go, it doesn't do much.
overall, I'm positively surprised by this and would recommend the DIamond line of basses to anyone. especially if you can find a used one in good condition. don't blindly buy Schecter though because the Stilettos suck in my opinion.
I didn't buy anything during the sales in hope Ibanez releases some cool new models, or even the new Tosin Abasi sig.
It also might be cool to see the John Petrucci amp from Mesa, although I'm not expecting much from it.
Otherwise there'll be the new strandberg bass.
I think I covered everything in the meme prog range.
If I wanted a SSS guitar with a pickguard, should I get the Fender American Strat or a Carvin Bolt?
The bolt seems so much better in every aspect, price, locking tuners, SS frets, carved heel. Not sure how the pups fare though, but that can be changed easily.
I love them actually. I am a giant fan of the JB in bridge. I did like the original ones more at bedroom volumes, but when playing at small gig volume at practice everything seemed kinda muddish with the gibsons. I had a JB in bridge with my last 3 guitars and end up missing it every time.
Instead of going with the classic jazz pickup in neck I regret not trying the 59 earlier. It's not so overbearingly loud and bassy compared to the jazz so it plays very nice in clean with my Analogman compressor.
Not a meme sorry. The Gibsons just get muddy with the amp+pedals I use when playing loud. I liked it more at bedroom level though, but alas.
It did have the 500T/496R stock. With my rig it actually wasnt too noisy (Fulltone OCD boosted with a EQD Talons in front of a AB165 modded Bassman 100 head), but I do a lot of heavily crunched cordy things. So it just didn't have the articulation I like when playing loud. Sounded great out of my 10 watt Vox at home though. If only there was a way to swap pickups in under 5 minutes so I could have both without buying another guitar.
do trills with the index and the pinky. it helps.
make sure your curving the pinky and using the finger tip though, don't do that stupid flat-stiff-pinky thing so many people do. try and stop yourself from lifting your pinky away from the fretboard and straightening it out (some people call it the tea-drinking-pinky).
it will become second nature after a while to just use it. it took me a few months of really paying attention to my pinky to get it to work correctly.
Can too thick strings cause weirdish buzzing on acoustic guitars?
I get some weird sort of buzzing when i play around the second string, middle of the neck. The strings I use are .012 gauge
Or is it maybe because the bridge, altough i didnt have this problem before
Im new to this
Keep learning chords, and how to construct them in different keys. Then learn about the guitarist's best friend, the minor pentatonic scale. From there learn the blues scale, and then the major scale and the seven modes.
True, although it has AVRI pickups/electronics over the standard MIM JMs. The bridge is also a curiosity, it's a bit nicer than than the standard mustang bridge.
I bought it used. It's very nice though, the neck/fret work is as good as I've ever had.
Anyone have experience with a tech 21 bass DI or a behringer clone? Honestly preamp pedals mean to bypass the head's preamp are an enigma to me.
other anon here, but kinda on the same with the one you replied
how do you mean constructing chords in different keys?
i know the basic on what a chord is, root, 3rd, 5th, etc and how basic chord progressions work, I-IV and so on
Right, so, what I mean by chord construction is you should know what defines the quality of a given chord and thus how to build it. Like, what essentially makes a minor chord different from a major chord? When would you use a dominant 7th chord, and what makes that different from a major 7th chord? Then learn how, when, and where to add extensions like 9ths, 11ths, and 13ths.
This will help you get beyond the basic I-IV-V progression and into ii-V-I, which is the building block of jazz and once you can play that shit proficiently you can play with anyone.
But you need to start with the basics of scale and chord construction first.
Any opinions on a 59' Fender Bassman RI? I might be able to snag one on craigslist for about $750 and it seems like a great amp, just don't know if it will take nicely to a pedalboard.
I haven't read all of them, but Govan's "Creative Guitar - Vol. 1" has a pretty good theory primer in the beginning. The book that helped me a lot theory-wise was Mel Bay's "Getting Into Jazz Fusion Guitar". There's a great explanation of scales and modes in the beginning. Otherwise, buy a copy of "The Real Book" and just learn to play some of the chords in there. That's basically how I learned all my 7th chords and progressions.
>tfw one flaw ruins the whole fucking thing
Why the hell did Charvel start making these with recessed Floyds?
I have those on my partscaster and they're fine. I do, however, prefer the compensated brass ones. I just happened to have the hammer bridge kicking around so I threw it on there.
Deluxe - ash body, best finish, noise canceling pickups. Nice guitar but probably not worth the money unless u get a deal.
Special- cheaper finish, different pickups and hardware from the Am. std. Good alternative.
Standard- your regular everyday start. Best place to start.
Classic- usually a re-issue but without the name or resale value. Body contour may be sharper, usually custom shop pickups and neck profile may be period correct. Just get a standard and buy the CS pickups separately.
Modern- no idea.
for scales, this is most comprehensive book.
for chords, Chord Master has a section devoted to genres (jazz, funk, rock, etc) and is by far the best chord book I've read. its breakdown of theory is easy to understand and well-articulated
I don't want to learn specific genres of playing, but I like how Fusion players play and improvise. Would it still be worth checking out that book? I don't want to lock my playing to Jazz Fusion, basically.
Not that guy, by the way.
I don't think you should recommend a professional setup. There's nothing special a pro can do that anyone can't do with enough patience. In my opinion anything that doesn't qualify as repair should be done at home.
It's a good way to find out if it needs it . It may need a fret leveling. So yeah, paper, smart ass. Otherwise he'd have to replace the saddle with a taller one. It makes a decent shim in the meantime. I was waiting for him to reply.
Not really. It's been posted in /gg/ before when we were talking about using your pinky. You're really champing at the bit to make a snarky post, huh? Yeah, the term is champing.
All depends on what you want. Don't get squier unless its a classic vibe (or a standard if its your first guitar).
Is the modern design that comes with the modern neck profile, radius, medium jumbo frets, etc.
Typically has noiseless pickups(complete shit imo) and, on strats, an extra push-pull knob that lets you get extra pickup configs. Often has gold hardware and special finishes.
Means just about anything. If you are referring to American Specials, they have Texas Special pickups (not good to my ears), oversized 70's headstock, jumbo frets, and the tone knob functions differently
Usually some combination of vintage specs with some modern adjustments, but sometimes just a re-issue kind of guitar. Usually has vintage frets, vintage radius, etc. 50's will have maple fretboards, 60's will have rosewood usually, stuff like that. Often has pickups that are "vintage voiced".
The modern designs with more modern improvements and non-traditional pickup configurations.
>Trem-bar attached while in a case
My old setup. 92 MiM I bought from a hippie when I was 15. First guitar. Swapped pickups and pickguard for stuff I pulled from a pile at my local shop. Perfect beater guitar that has its own sound from the random pickups and being strung lefty. Crate V18 2x12. First tube amp. Got it for $100 and had it for a few years. Had a bassy sound that I was always fighting to brighten up. Also a Yamaha keyboard and old football.
>There's nothing special a pro can do that anyone can't do with enough patience.
>There's nothing special a pro can do that anyone can't do with enough patience.
Think about that. It's an absurd statement.
Why would you need a roller bridge if there's no trem?
I just had an argument with this fucking loser on another site about this, there is literally nothing a setup from a shop entails that you can't get with some reading, watching, and spending about $100 at Stewmac
I don't get it man. When did you transform from diy to professional? hint: it's when you started getting paid. Anyone can fix their guitar because anyone can learn. What makes me say it doesn't take a professional is that it doesn't take long enough to learn and do that it justifies outsourcing the labor. Just like a professional tailor, there's no reason other than laziness to not do it yourself.
I've done BYOC stuff before to save $, but pedal parts are pretty much all chinese now because there isn't a reason for them not to be and as a result BYOC through a company that offers it ends up being cheaper than ordering the parts yourself.
The downside is if you want stuff like those Devi Ever joystick pedals, you probably won't be able to find stuff like it.
Post your work. Heres a before shot of a fucked up 56 duojet I did. It had a couple of really bad neck resets over the years. I chem stripped the red housepaint off the top and left the rest of the finish alone.
I get what you're saying but pros have the experience and the equipment. You might learn to setup your guitar by yourself eventually, but if you're fiddling with shit you don't know, you could end up trashing an expensive instrument in the process.
There was a big bolt holding the neck on and a bunch of wood filler covering it. Got rid of that shit and plugged it with mahogany. Had to spot refin.
Oh hey luthier dude, did you have any new interesting since that time you repaired the f-hole of someone who tried to fill his hollowbody with a T-shirt ?
That depends on the circuit though, some pedals are really overpriced for what they are.
Top refinished back to original black and neck reset properly
Doing a 1950s L-50 at the moment.
I dont even want to know. There was a guy around here known for ruining guitars like this. I suspect its his work.
Luckily I'm not an idiot, so I can actually read instructions before I aimlessly guess what a truss rod does. It's that high school education at work I guess. I realize some people don't understand the order of operations there, that you should learn before you try anything rather than try everything to learn, but those people probably can't buy their own groceries either. Sure, you'll make some mistakes, but not enough to outweigh the cost of paying a professional for more than a couple guitars.
Fuzz face with fuller mods (input bias, contour). About $40 worth of parts.
>pay attention to file name
>It also might be cool to see the John Petrucci amp from Mesa, although I'm not expecting much from it
Supposedly a full 2C+ reissue (not Mark V mode) with added stuff. I'm looking forward to hearing it since it's the sound I have always liked the most.
Altho I wouldn't expect too much of it. Mesa has been a bit retarded in the marketing dept lately, despite my love for my V: 25.
Thanks for sharing, great work. I enjoy looking at these like >>61890786 does
I dont use my finger as a bridge when playing guitar. I've noticed some people use their pinky or ring finger as a bridge when doing so, and I was wondering if it would be beneficial to relearn it in that manner
I have a few more random pics on my phone. Another of the L-50 here. Lots more on my work comp but im not there atm
You wouldnt believe the shit I've seen. There are a lot of people that think they know what they're doing.
There isn't really anywhere to go on /mu/ to talk about music theory or anything like that, so I come to you guitar players for your opinion on an odd time signature I used in a song.
Can you guess the time signature?
What happens to the time signature at 1:15? Just posting this for fun, I love listening to and working with odd time.
Found some headstock repair pics
Fuck yeah contour that shit! Comfy!
Will post something for you in a few when im back at work
>gibson breaking right where everyone else that builds angled headstock guits has a volute
S U R P R I S I N G S T U F F
what a shit company, at least their overpriced high performance models are showing they are willing to change some things i guess
He was trying to add padding inside the case, not stuff it inside the guitar. There was too much on top of the finger rest so it pushed the DeArmond control pod into the top when he closed the case. Its a 1930s D'Angelico.
This guitar. Guy in the vid is not the current owner.
It's called making music that represents yourself and not trying to be like someone else. Y'all need to fucking quit hating on others, all of your hate is gonna smack you in the face and you arent gonna make it anywhere in life. I guarantee it
And here it is. My most prized posession. A 'custom' Gretsch copy.
Nice detail work in the cutaway. And that urethane glue! Innovative!
Damn, why are you so defensive? And I have the right to critiscize your work. Not that it's bad, just that it's not my thing. I'm no songwriter, either. I've been playing guitar for two months and I've only come up with some happy/sad melodies.
Also note the hacksawed off neck.
The innovations dont end there. Check out this bondo binding!
Yes, its a pressed plywood guitar. The 'figuring' is airbrushed on. Its probably a harmony, stella, or a regal. Maybe a kay. It was a piece of shit befor it got hacked up.
AC15 will always be midrangey and will compress/distort easily. For jazz, the scooped mids and headroom of a fender pro reverb or twin reverb sounds far better to my ear. Polytone is also a good option if you dont mind solid state.
Why did he spread nutella on his neck?
Yes, absolutely. It's worth knowing at least the seven modes of the major scale: that knowledge will make you a much better improviser. It's especially useful to be able to improvise with different scales over different chords, as opposed to the same minor pentatonics over I-IV-V progressions. I would actually say that understanding which scales to use under specific chord changes is the essence of fusion, and what really separates it from jazz (which emphasizes rhythm just as much as melody).
It's entirely possible to learn these things without becoming a "fusion player" exclusively. Check out Tom Monda's work in Thank You, Scientist or Guthrie Govan's work with Steve Wilson. I don't think anyone would consider their music "fusion" but they certainly borrow musical ideas from that idiom and use them to great effect.
Aside from ALL of that, knowing the theory behind it will make communicating musically much easier, and you'll be able to work with a wider variety of musicians.
Turn it down and mic it through the PA maybe.
Yup. Depends what youre doing. For clean sounds, jazz, pedal steel, etc there are some great options. For overdriven sounds, not so much. Too square wavey and harsh sounding. A pro reverb will do both, and of course this is the one that fender decides not to reissue. You can get a 70s silverface for arou d 1k usd
Pic related and dont overtighten. There is no need to be scurred.
I don't play violin because I'm scared of failure
I dont play violin because I have no strings.
anon, i'm completely ruined and forlorn. please please make me happy and send me your violin. I will string it and learn to play it and love it forever anon pls
I've got a couple tailpieces and a bridge. I have a chin rest somewhere too. I need to get one of the bows rehaired. It has a questionable looking headstock repair, but Id like to try to set it up for bluegrass.
i think that is not true really
sure if you picked it up at a young age youd pick up on it alot faster but there is no reason you cant learn later in life especially if youre going to get lessons
I've used both a lot, I currently own the Behringer clone. It's fucking awesome †bh ƒam, just be really careful dialing-in your tone. It responds weirdly to the slightest changes. Sounds d'icious though, really does. And baby it, it's plastic and cheep so don't stomp it or anything. The electronics are sound, the build is flimsy
This is a musical theory question.
So I'm working on a song right now and the chord progression, and I found that a chord that's out of key still sounds great, despite being out of key. The progression is Emaj Amaj Dmaj Bmaj.
I can't find any key that has all these chords, but it still sounds nice. Is there an explanation as to why they sound good together?
Does anyone here have experience with this guitar/can tell me if it's decent for a beginner? I'm stuck between this and a Yamaha Pacifica. This is the only one I was able to try out, and I liked it, but I don't know if I'm the best judge...
ill post progress pictures of the kelly now, just dumping this
I can stop playing that soft E to A change that cpt. anderpants did in the baritone review video.
Im looking for a guitar with more upper neck access compared my Epi Custom Pro. I was thinking Ibanez/Jackson/ESP models,
Any specific models I should be looking at? Any other brands that im looking over?
>start jug band
>dress like cream of wheat guy
idk dude. I like each genre for different reasons, and see each one as a medium or different kind of emotions. wouldn't really want to mix em
hmm.. you might be on to something...
first coat; on
You can still see all the little bumps and dings, which is what I was going for initially... however, there are a lot mroe of them than I had anticipated, so I'm considering completely sanding it all back to get an even finish but then the guitar won't look old and beaten to shit. (The whole point is to re-vamp my first guitar without removing the premise that my first guitar got abused to hell and back)
Actually, it may be more correct to call it E major with a borrowed chord from E Mixolydian
The tonic note is E. You can feel how the progression wants to end back on E major, especially because of the V chord at the end of the progression
I was under the impression that borrowed chords only worked with the major/minor of a key. Like, if you had E major you could only borrow from E minor. Is there a musical theory explanation as to why I could borrow from E Mixolydian? Or can you borrow from any key's respective modal scales?
I had to get rid of the bajillion mm thick poly finish that was initially on it. That was the most tedious fucking part.
Okay, I restrung my Ibanez RG2550 and tried that weird Karnivool tuning (BF#BF#BE, so, open Bm tuning) and I gotta say I have mixed feelings. Playing chords is a shitton of fun but I have no idea how to properly play soli with this tuning or open tunings in gerneral. Is there some kind of learning kurve with open tunings or do I have to get my lazy ass to learn scales?
>That body finish/pickguard combo
Absolutely lovely! It's really a shame you hardly ever see a non-custom-shop guitar with this design.
Alright, thanks for the help man! Although it technically wasn't the correct answer (the guy who said E major with borrowed chord from E minor got it), it made me look up a bunch of stuff on the modal scales and it's pretty cool.
The simple explanation is notes that aren't within the key you are playing in can still sound good. The only note you have in any of those chords that isn't in the key of E Major is D natural. Without actually playing it, I would assume it sounds good because normally the 7th that would be D#-F#-A, a tension/leading chord, is probably made to be less tense by flatting the root, allowing you to go back to Bmaj before resolving back to 1. Essentially, by shift that one note, you can retain some of the the tension from using the D# diminished while still creating tension that is resolved nicely by going up a whole tone from the fifth of Dmaj (A) up to your next root of B, then using the strong V-I to bring it back home strong.
So it builds nicely going from Emaj to Amaj - I-IV
Then builds up a bit of tension going form Amaj to Dmaj, but not too much since you stay with a major chord that only has one flatted note.
Then the 5th of that Dmaj helps you move into a Bmaj because moving up a whole tone from the 5th of a chord is a standard movement that sounds solid.
Lastly, having the V-I is typically the most "powerful" or "complete" resolution that creates `a strong sense of finality.
I could be wrong, I just started learning this stuff a few months ago so if anybody else has a different take or I am mistaken, feel free to throw it out.
I didn't build the body myself, I would never use three different coloured bits of wood (not even the same amount of wood for each part) and then coat it in 3mm thick poly, jackson did.
I'm working to make it look nicer, but the stain takes ages to set in.
Hey guys, I have a Fender Deville 410 amp, and it's extremely bassy to the point where my guitar sounds really muddy if I do a fingerpicking thing on the lower strings, I've literally turned the bass all the way down but it's not enough.
I have a guitar with a high pass switch and it gets almost manageable with the high pass on and the amp bass at 0, but not quite...
It also sounds a bit worse with the high pass on so I'd rather not use it...
Do I need to get an EQ pedal?
I don't understand the mass amount of different scales. I understand them in theory and also how modes work, but I don't get why there's so many different kinds.
I have a book with loads of scales and chords in it for reference, but the scale diagrams are different compared to just being major scale shapes with the root notes changes up and down the fretboard. Do I need to learn these?
I'm trying to find a picture of what I mean, but there's so many different shapes and diagrams it's hard to explain.
Scales are just ways of organizing notes. I doubt most guitars players, even many professionals, know more than 15 or so anyway. Learn what you need to learn in order to make the kind of music you want to make. Different styles of music demand different skill/knowledge sets.
Once you get beyond the modes of the major and minor scales, most scale names are just simple descriptors of the ones you know already but with small changes, like "Lydian #5". That pretty much tells you what you need to know about the scale but some background knowledge on how to construct a Lydian scale is required.
No Prestiges in sight with SDs mate, sorry.
I saw some RG655s in eBay sold for as low as $670 so maybe you'll be able to find one.
Mine was $800 brand new thanks to the Make Offer button.
Well no shit you can buy used pedals cheaper that should have already been obvious but what you can buy used is limited by what people want to sell and i've seen a much greater range of pedals as DIY kits online than I have as second-hand.
>2016 charvel lineup
If I was going to buy another 6 it would be this.
Yeah it can be pretty surprising what you find after you strip it. I got a samick strat off the free section of craigslist that I decided to strip. I stripped off all that poly with methylene chloride and a heat gun. It was made of fucking plywood. But on the bright side, someone had stuck a 80s seymour duncan jb maricela juarez in there. If you do strip yours back down, check out reranch.com for great info/supplies.
What's your dream amp /gg/?
I really want a Orange Thunderverb 200/Sunn Model T/Fender Quad Reverb
yeah I tried my best to keep (what i assume is) the light wood veneer on the back, because the one block of wood is so much darker than the rest that it fucks with the colour of the stain so much. Not sure if I should just go ape shit with the sander and go over it again, thoughts?
>on the plus side the colour is what I was after
got red and yellow for a cheeky fade on the front.
probably a huge orange stack, but I would have to move far away to play it half as loud as I'd like.
In other news, that new Verellen (>>61885089
) is interesting. Imagine getting 6 or 7 of these and BTFO'ing Sunn O))) 's wall of Model T' s.
I feel you guys. Having a high end/vintage orange would be great, but it hardly means anything if you can't crank it to get that sweet power tube distortion