TELEBOY

i have a samick les paul copy brought to me by an individual who is a serious player with limited resources ($'s) the neck with strings removed & truss rod disengaged has .060+ relief in 7th to 9th fret area i have read of heating fingerboards to soften the glue with the neck clamped in slight backbow to help correct this problem i have the stewmac fret jig in my shop as well as a fretboard sized heating blanket which i use for fretboard removals so the above technique is easily doable my question... should i score the finish on the neck at the glue line to prevent fracturing the finish at that point or will the heat soften the finish enough to allow it to move with the slip of the fretboard anyone here with any experience in this area thanks ray

been jamming to marshal tucker's together forever cd working on my comping nice up tempo set of tunes fairly simple progressions i'm lovin ever minute of this

i've shaped a couple of bridge pads for archtops from ebony it's harder than the synthetic nut materials ive cut about the flatwounds yea...it took a bit of pondering before i tried em i've got a set on my epi chambered les paul they thickened the tone quite a lot however like the nut material if i don't like change it i love having options

i have a tele inspired project that is getting close to being strung up for the first time it's a heavily chambered core body with top & back caps sound holes over each chambered area all in black walnut the neck is also walnut warmouth's woods page says walnut is not as stiff as maple but stiffer than mahogany so i used it on this one for visual continuety slotted my first fingerboard for this one walnut also ebony plugs for marker dots i'm planning to use flatwounds for jazz on this guitar anyway i'm going to use ebony for the nut at least initally & was wondering if anyone else here has tried it & what were/are your impressions thanks ray

try www.jimdunlop.com i buy my wire from them they have a huge selection of sizes

if all else fails dan erlewine has an excellent video on scratch building a strat every aspect of layout, construction, etc is covered it's available from stewmac.com

I got my Dunlop Cry Baby back in the early 80's. I spent years not being impressed by the sound that came from it. One day during band practice, the battery went dead. The bass player was in the Air Force and he slapped a military issue Duracell in there. I couldn't believe my ears. The thing was increadible sounding. I spent some time experimenting with batteries for a while after that. I would peek at what was going on with an O-scope. The military issue batteries where hotter. They could deliver more current on demand. That was the big difference in the tone. Those batteries could pump out as much juice as it needed to so there was no loss in tone at all. I eventually called Dunlop and asked one of their old timers out there about what I had discovered and he gave me some ideas to build a voltage follower to mimick what that battery was doing. I never finished that project. could you wire it up to use a hot dc power supply rather than a battery & acchieve the same effect?

frequently if you could/would help someone who has gone through a crossroads situation as michael has the results are not as beneficial as one would hope in the article he admits that it all started due to acute stagefright he drank to loosten up in order to perform & escelated then it led to pills prescribed by a british md don't remember the rx but it was the same **** that killed john bonnam michael has to determine at this point in his life what his direction is he paid the price once in disciplining himself to learn to play he'll pay it again if he disciplines himself to step through the door get clean...stay clean & once again be the killer player who influenced so many to excell

perty happy with my rig i want more time to play!

i have an older crybaby it's ok wish it had more sweep on the sound i'm lookin too

i was just reading an interview in the april guitar player mag with george benson one of the questions was how do you come up with fresh material he said i go to my guitar every nite even if i'm setting watching tv i'm noddeling when i hear something i didn't play testerday i work on that the rest of the evening it brought it to my attention this is one of my biggest frustrations as a player as well it buggs me to be in a jam when i'm in an improv state of mind and nothing new is there granted...when your workin on cover stuff or developing original material that's taking shape you focus on a predetermined matrix to get it seamlessly under yer fingers but...sometimes i'm just in the mood for a new direction and mr bensons approach is also my approach just keep the guitar in yer hands as much as possible which brings up another major frustration that i have to spend so much of my time attending to the bull **** of the "business of living" cuts into my playn time man anyone else encounter this

that's what i really want to do at this point met a guy at one of the music stores who's a degreed audio engineer he's gonna coach me through what i need set up a little system with my computer & a burner the concept of being able to do some overdubs etc is real exciting for me

that's really cool i think classical stuff makes excellent sounding guitar music i'm working on paganini's 16th caprice interesting thing... the melody & intervals are such that instead of shredding it as is traditionally done i'm playin it as a power blues type thing and gettin off on it like a fat rat live to jam

yngwye is gettin a little chubolla too much good life i guess oughtta jump on his perty blond wife a little more often & sweat some o that blubber off

i understand their is also an audio cd from this years tour as well three veeeeeeeeeery talented gentlemen

yea i guess it is thanks fer the compliment

when the jam realy gets goin it's like i'm in a trance almost bein out of my body watchin me play i hear the music but i don't think bout whats goin on i got a good jam partner he's like the guy in the old dier straits song "he knows all the chords" he can lay down the groov from hell man then i noodle around what he's doin then i'll do some compin he takes over n does his thing he likes to sing knows a lot of songs everthing from dylan to alice in chains we work on that but mostly we're improv we just start off & see where it goes my signature perty much says it all tape our jams... got some really scary stuff in the vault he's on a frankenstein creation that i built for him through a 100w carvin head & home built 2-10 box i'm on one of several through a blue voodoo 60w head & 4-12 cab use a couple of pedals on it as well as a cry baby for more texture fortunately...i'm in a house & the neighbors on both sides are real cool

so sorry

YA THEY'R PERTY COOL TELES' NOT ALL I GOT BUT I GOT SOME MILES ON ME & I SORTA FEEL CLOSE TO EM ME & TELE'S BOTH BEEN AROUND A WHILE KNOW WHAT I MEAN?

SORRY BOUT THAT I DIDN'T KNOW

JEST WANT TO SAY HEY HAPPY TO CONTRIBUTE WHAT I CAN