StratDudeDan

well...when do we get to see pictures of it's beaten self brought back from Haydes, after being played by the hands of Beelzebub?

i've been troubleshooting a Fetzer Valve for a good month on and off now, and i can't get it to work. i was actually about to try using that FET preamp/boost in its place. lemme know how it turns out.

i don't suppose there are any Mac programs out there for this sort of work?

KoL (Kingdom of Loathing) Radio. the DJ's rock and there's always something strange going on. there are a lot of things that have to do with the game in there, though, so if you don't play it, you probably wouldn't get it. if you're interested, go to the KoL site (http://www.kingdomofloathing.com/) then click "radio" along the top.

well...it's a mexican squier, which means it mostly likely is a maple ply like my first. however, that one sounded wonderful. i'm gonna get a set of Lace s-100's (out of production, very cheap). granted they have a slightly lower output, but that doesn't really concern me. just getting the sound brighter. and as for knocking squiers...whoa...don't go there. most of the guitars i work on are squiers, and i love them. yes, they have a ton of room to become better, but the neck on my "dragon strat" that a few of you have seen pics of is by far the best neck i have ever played on. also, it's a 2-piece alder body, which was factory. gorgeous, and wonderful tone. and finally, IMO, the big headstock is way cooler.

the destroyer, but i'd like to see a different headstock. it looks too big. otherwise, score.

i recently aquired an old squier strat. plays nicely, needs a little bit of fret work and setup, but otherwise it's along my standards as squiers should go. however, its tone is so freaking dark, it sucks. normally, i'm for a warmer, deeper tone, but in this case, it's gone far too much. i have 250k pots and a .047uF cap. should i go to a higher value cap? lower? change the pots? btw, this is universal. the bridge sounds like a quiet neck pickup, and the neck sounds like a pickup truck in the mud. thanks in advance!

the place looks great. i love the "new" look and feel of it. much more high tech, and it creepily matches the theme and setup on my comp right now...i'll post a couple screenshots 'cause it's just THAT creepy. it is, however, funny to read through all the old topics and see the little "unloaded picture" where ever there was a smiley. hehe...

depending on your choice, which wes brought up, you'll have to go with either stranded or solid wire. there's not a TON of difference between the two when it comes to carrying current (at least in the guitar world with the short lengths we use). the biggest thing is flexibility. solid is just what it sounds, a single, solid wire with a insulative coat on it. when you bend it, it stays put. stranded wire, on the other hand, is lots of little wire all wound together until they're as big as a solid wire. they're flexibile in the way that if you bend them, they won't stay. IMHO, i prefer solid. it's easier for me to solder, and as wes said, i like the fact that i can bend it and it'll stay just how i wanted it to. there are the exact same arguments made for stranded, and when it comes down to it, it's just preference.

my hand always freaks out on me while playing upright. it's just rough on it, especially during a true uptempo swing or dance piece. mainly the muscle at the base of the thumb ('cause it's doing the work of four fingers holding down those strings from the back of the neck), but occasionally in the palm as well. i find that stopping playing for a half hour or so is the best option, or switching to something easier to play, like for me, being electric bass. may not sound the same, but it gets the job done and is a total rest for the hand. ...meanwhile, other electric only players might be thinking, "what? playing bass is RELAXING to your hand? whoa...he's crazy." i say, if you haven't played an upright, your hand is no where as strong as you think it is...

my friend recently hooked me on Coheed and Cambria, and i was wondering if they had the same hypnotic pull on anyone else as they did on me. they fall in that lineage of Rush and Dream Theater, to me, which is good. their guitarist isn't the greatest in the world, but he still rips, their bassist is nice and phat, but the guy that got me was the singer. well, the backup singer, to be specific. in their first song (second track) from "In Keeping Secrets of Silent Earth: 3," the background singer just tears in the upper range, and is so clean and dead on. i love it. so, any thoughts on these guys from the other listeners here? comments. what's another album to look at? etc.

putting one together now. very indie inspired. three of us are local pro musicians (me on bass, 3 years+ exp, piano 7+ pro, and a drummer that i pretty much share jobs with). the others are old friends of mine and the piano player's from high school, and one guitarist that's my bro's friend currently in high school. the best part is, all of us but the drummer play all of the other instruments, so we're very capable of switching around until we find a mesh we like best. unfortunately, that makes it look like i'm gonna end up on lead guitar and backup vocals, my bro on bass and lead vox, jon (piano) on piano/guitar and backup vox, drummer on drums, and the other two guitar players on guitar. one plays acoustic, which is just nice to have in the background. plus he can dance, and we all can sing, so everyone will have SOMETHING to do if not just stand around...

i must say...wow... i read through the topic, and that first pic i saw i thought the same thing as matt, how much... very good looking, keeping the grain in back was a kill decision, made the thing just pop and have such a sweet look to it. very well done. i will buy it if you give me a price.

yeah, i used to be all about the neck+mid on my strat, and then i started getting more into punk than jazz, and slowly but surely, the mid alone, then the mid+bridge, then the bridge, and finally a bridge humbucker found its way to my guitar. that doesn't mean i think the neck is too warm or mushy. when i play blues, i'm on that pup like flies on stink. the bridge has its place. the neck has its place. some people like different things than you do. settle, el capitán.

props to the shroom. when i first saw that in progress, i knew right away that i'd be voting for that. it's just such a nice twist to see from the classic design. true originality surpases a beautiful paint job and construction like was on dave's, which i loved mind you, just, i've seen RG's before, both factory and non-factory made. also, props to AlGee on that EVH paintjob. that looks very clean and well-done. i offer a tip of the hat to you on a very succesful paint job that turned out wonderful.

very nice work. i love the curve of the body and how it kinda swirls around until it all peaks at a point. very nice look. can't wait to see it finished. oil? clear? gloss? what're you thinking?

that is one of the coolest looking guitars i've seen in a while. i don't know why, 'cause it's really freaking ugly, but it looks so awesome, i'm gonna talk one of my buddies into letting me do that to his squier.

for guitar, i love (and i know i'll be razzed like mad for this) fender solid state amps. i'm a jazzer mainly, and they just create the vibe i love. when i go and do the dirty in garage and basement bands, the drive channels sound so awful, it's just fun. plus, with the right ear and an aquirement for the sound, they actually have a cool sound to 'em. i love my UltraChorus, i'll probably only upgrade to a Marshall or perhaps Mesa Boogie. for bass, i love Mesa Boogie, Warwick, and Gallien-Krueger. not much else. occasionally you'll find a diamond in the rough (Peavey NitroBass, AIMS by Randall BASSO), but that's rare.

i had this same issue with my strat. shielded it, still hummed like mad. tried everything, then realized that the actual shield wasn't grounded, instead acting as a massive antenna for noise. i ran a jumper wire from one of my pickup screws to in beween the washer and the nut on the output jack. i know it's crappy, but i kinda like the look, and it works. you might have something like that going on. i found this out, 'cause when i touched the screws, it [the hum] got louder. grounding that solved all of my problems except for the fact that i still practice under a flourescant, blasted thing...i just turn it off and turn all the lights in the room next to me on, open the door. i'm fine.

first of all, what application will this have? are you planning on something like the "ric-o-sound" wiring? if so, they use a stereo and a mono jack. the mono is just a standard output, while the stereo is the "ric-o-sound" jack, used to send each pickup to different amps, or to different channels on a stereo amp for the craziness that could ensue. if you're just planning on sending it to two different amps, do that. the problem is, if you ever wanted to use just one amp, you'd need a stereo to mono cable, otherwise one of your leads (the ring) will just be connected back to ground or not used at all. the way to get around this would be to wire up a separate mono jack (like ricenbackers *sp*) and use that for your "mono-amp" situations. to do anything with just one output, you're gonna have to talk to some of the higher-ups of the electrical world on this board. the only thing i ever use them for are ric repairs and stomp boxes.

infected with rabies...

electrics guitars: Mexican Squier "Dragon" Strat, low profile frets Mexican Squier Olympic White Strat, high "school bus" style frets Mexican Fender Standard Arctic White Strat, but it's getting a new paint job soon Ibanez JetKing 1, vintage orange Epiphone LP-100, heritage cherry burst Gibson Faded SG Special coming soon: Gibson Melody Maker Ibanez Artcore basses: 1938 Kay M-1 Upright, blonde Dean Razor Neck-thru Custom Series, #732 Peavey Foundation, black (i hate that bass, but i still own it, just kinda kick it around and let my little brother mess with it...) acoustics: mid-70's yamaha 1958 Stella Harmony Jr. baritone ukelele made by some pissed off guy in taiwan or something, 'cause it sucks... bass amps: Fender BXR 60 (my usual practice/jazz amp) AIMS by Randall BASSO w/ a Peavey 15" black widow, love that amp Gorilla practice amp guitar amps: Ibanez H-100 half stack Fender UltraChorus, 65w bi-amped stereo amp, 2x12" that i'm working on adding on a 2x10" cab *NOTE* the above amp is NOT the Ultimate Chorus, though very similar. it's a shorter run that came in the early '90's. no effects, but when i need 'em, i borrow my friend's GT-6 multi.

i don't know why, but that just really made me laugh. anywho, do you have any pictures from while you were working on it? specifically from while you were doing your truss rod routing? i've been kinda looking for some pictures of how different people do that kind of work. p.s., looks great.

whoa...lotta knobs, couple switches. what does each thing do? if no one has a diagram, i'm sure with that info, we'd be able to mock something up that would work the way it's supposed to. my guess is the sliders are on-off switches for each pup, then perhaps four volumes and two tones? that's a toughy to figure out, so if you could just let us know which knobs do what, it'd be easier for the more powerful masters of electricity on the forum to help out.

i'm usually not much at all for multi-effects pedals, but one of my friends happens to have the GT-6 (actually, as his band's lead guitar, he uses that, while their rhythm player has the GT-3), and i must say, i was remotely impressed by it. the amount of stuff you can tweak in each effect is all that really makes it anything. you still have to know how and want to program each of those to sound decent ('cause 1 of 1000 factory programs might sound good IMO). if you're shopping between the two, i can't get you any advise on the other, but being against multi's, the GT-6 is "okay."