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Official Guitar, Amp, Pedals, and Gear Thread - Page 433

post #6481 of 6540
Just ordered this for my Les Paul Custom.
post #6482 of 6540
Quote:
Originally Posted by patrickBOOTH View Post

Just ordered this for my Les Paul Custom.

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post #6483 of 6540
Nice warm punchy sound in a ES-336. My guess is that they will be a bit brighter in a LP. Hope you will like them.
post #6484 of 6540
What string gauge are you all using for your flat top acoustics? Anyone using .11? Was having my Martin set up with .12 but wondering if a hair lighter might be easier and enjoyable for playing. I don't really need full volume but I do want good tone.
post #6485 of 6540
I use .11s on my Martin D-28. Love them
post #6486 of 6540
Quote:
Originally Posted by GusW View Post

I have only played one with the Greasebucket tone circuit and that was for a short period of time but I was immediately impressed. The neck PU on a Tele always lacked "personality" and the standard tone control made the sound a bit more dull (rarely used it on my Esquire or Tele's) so this seems to be why I found both the TV Jones PU and this tone circuit to be so appealing.

Caballo Tono arrives Tuesday! I'm getting a half a dozen different types of strings from chromes to pure nickel to nickel plated to various other combinations. I even have a set of Thomastik-Infeld .10-.44 Jazz flat wound I'm itching to try.

As you probably know, many 50's and early 60's guitar greats used flatwound strings and not just for jazz or on archtops. The Beatles even used Pyramid flatwounds for a while. Some great retro guitar players like TK Smith use flatwound 12's on their Tele's for Western Swing and Rockabilly. Even if you aren't into these styles of music do a YouTube search for him and enjoy his playing as well as the beautiful guitars he modifies or builds from scratch.

I played flatwound strings for years. I only have 2 electrics - my 347 and my Ibanez RG. If I had a dedicated jazz guitar I might consider flatwounds, but these days I prefer a brighter, more sustaining sound anyway - even in jazz. IMO, the negatives outweight the positives, unless you have a lot of guitars.

They're dull sounding and lack sustain - which is great for certain styles of jazz, particularly bebop. But it's terrible for most genres of music. The only other positive I can think of is that you get much less fret wear. With that said, I've never played flatwounds as light as 10-44. I used to play the TI George Benson set, which is a bit heavier IIRC. I think around 13-50. Never seen such light gauge flatwounds.
post #6487 of 6540
Not exactly related, but after years of playing .10s, I'm now using .9s on my electrics and thoroughly enjoying it. I must have weak hands, because it makes a big difference on my ability to control vibrato through a bend.
post #6488 of 6540
Quote:
Originally Posted by GusW View Post

Nice warm punchy sound in a ES-336. My guess is that they will be a bit brighter in a LP. Hope you will like them.

I've heard clips of them in many guitars and I really like them. I spoke with Lindy Fralin on the phone and ran by my guitar and what sounds I want and he recommended the p-92's for me. I basically said that I play a lot of jazz on my neck pickup with the tone rolled back a bit and I like that 1969-era The Who guitar tone in the bridge. He's like, you're gonna be happy.

I use a hybrid set of strings on my electric 10 13 17 30 44 52. Pure Nickel.
post #6489 of 6540
@patrickBOOTH Couldn't you have just bought a Les Paul with P90s in it in the first place? I mean, especially if you're getting a black beauty and you play jazz.... the Alnico V probably would have been up your alley.
post #6490 of 6540
Well, I like options. Also, these aren't "real" p-90's. I feel like you have more options with a humbucker routed guitar than a p-90 routed guitar. Also, the humbuckers I have in it now are very p-90 due to the mismatched coils and whatnot. Furthermore, I've never seen a black Les Paul Custom with p-90's other than a real mid-50's one.
post #6491 of 6540
For me, once I start to tinker with a guitar it gets kind of hard to stop. It's fun and there are so many interesting options. I like to keep vintage instruments 100% stock. But for newer instruments tweaking and experimenting is a kick. I'm pretty sure I'm going to build an Esquire early next year. I'm looking forward to switching in and out a handful of different Tele lead pickup options. That would be a fun project. I would add a four-way switch to get the two regular Esquire sounds plus the "Cock" and "wah" circuits. Those options really explore the tonal range of any Tele lead PU.
post #6492 of 6540
Quote:
Originally Posted by double00 View Post

i might do that or just leave it be... tho i find it useless as is i feel like it might be complicating things to *find* a use for those controls.

altho in truth i'm more a picker than a strummer. my right hand lives closer to the bridge, not too far from this really:




oh my. so, see that amp behind gene oneal? thats my dads. not one like it.... his exact amp. My grandfather knew those guys, and my dad was a young kid and had been playing steel for a few years. Gene was at their house, and my dad was star struck and went nuts. I cant recall what kind of amp gene had, but my dad traded him..... and gene played it for quite some time.

Man, thanks for posting this. great old tune.
post #6493 of 6540
I was going through some boxes and came across a photo of a National Islander resophonic guitar that I used to own. This was the very last one that Don and McGregor made (I think they did a total of 100-200 of these). The headstock was laminated with pearloid MOTS, and the body was painted in a pinkish- teal heathered finish with a screened hula dancer on the front playing a uke. The back had an image of a large palm tree. I kept it hanging in my office for ages. Every artist that visited me loved it. Nice tone too. Very different from an all- steel body National. A bit more of a blend between the punch of a steel body and the mellow tone of wood. (The cover plate is plated in nickel. The angle almost makes it look black which it isn't)


post #6494 of 6540
I'm pretty jazzed. I bought a 50's Les Paul Special yesterday. I was lucky enough to be able to go through a stack of the best LP Jr's and LP Specials being sold by a well know Bay Area bands front man and picked the perfect one - excellent original condition, 100% stock, original pots & caps, plenty of meat on the frets, full neck, single cut yellow...they don't get better than this.

It's being set up now and I pick it up on Tuesday. Pics to follow.

There was a very nice double cut 1959 LP Jr in red in excellent condition with one of the best double cut necks I've ever played. It was also calling to me. But since I decided to choose just one my reasoning was that a really nice Special is far more rare and than a red Jr. and a bit more variety of sound with 2 PU's.
post #6495 of 6540
@GusW Congrats. Santana's best music was played on a yellow special.
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