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Lumberjack last won the day on August 21

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  1. The beard is where the shred comes from. Petrucci doesn't have that thing for nothing Ah that makes sense, I was wondering where that Queenish-mid-range was coming from in your demo. Have you ever had a chance to play the EL34 version of the 5150 III? I definitely don't "need" another amp, but the 5150 III's sound so good for modern stuff, and as much as I love the Mesa, it's 30 years old and isn't quite voiced for anything too modern. The 5150 iii is starting to temp me.... can't afford it right now, but....
  2. Is the 5150 III what you used to demo the Black Queen? It sounded awesome! And yeah I've definitely regretted selling some amps/gear over the years. Wish I would have just slowed down and thought things through before letting go of some of those keepers. I know the thumbnail looks spammy in this context, but for anyone curious I tracked a short solo yesterday to see how the guitar would sound in a full mix:
  3. This is just an absolutely stunning build, super happy to see you won GOTM for it! Very well deserved, and full disclosure, you had my vote
  4. Absolutely, that's partly why I got rid of the Axe Fx III; there was soooo much stuff in there I always felt like I was underutilizing it's potential, always wondering if a slight adjustment to the deeper parameters would improve the tone, wondering whether I had blended the IRs "correctly", or was I using the right IRs at all, should I be pre-filtering with an EQ or using a clean boost, and on and on. That's part of the charm of plugging into an amp: turn it on, that's your sound. The end. That's why I'm experimenting with the Captor. I'm really just looking for the easiest and most
  5. Thanks for the kind words! I just started posting "guitar stuff" on there during the covid-19 lockdown as a way to stay sane, thinking I'd stop once life got back to normal. But it's been fun, and well received, so I'll be keeping it up when I can. I enjoy the instructional stuff and writing tabs isn't nearly as torturous as I thought it might be, so there's definitely going to be more of that. I definitely don't have all that gear now! I'm thrilled for everyone that can afford to keep 15k+ in amps and studio gear around, but for now that's not me. I use the Mesa at home and
  6. Trust me when I say it doesn't take much encouragement to get me talking about gear This was tracked with a red stripe 1987 Mesa Mark III, recapped and modified at the Mesa factory by Mike Bendinelli with the "III+" mod, which is supposed to get the III sounding more like the IIC+. I used the lead channel with moderate gain, boosted by a Maxon 808, then running into a Torpedo Captor load box which takes the dry signal into my interface, into the DAW, where I used the free York Audio Impulse IR loader to slap an Ownhammer IR on there. It was a Mesa traditional 4x12 cab blended with an Ora
  7. Quick bit of noodlin' to test it out. Cheers!
  8. Finally done! Really enjoying the ultra-matte finish, this is the first time I’ve gone “all in” on matte, as opposed to satin/semigloss. It plays very well and the Bare Knuckles sound great, but I’ll record a little demo soon so you don’t have to take my word for it.
  9. Thanks for noticing! This definitely took quite a bit of experimentation to get right; I think the final mix was a blend of 5 different aniline dyes - a bit of brown, amber, yellow, red, and black.
  10. @Prostheta the dyes I’m using are water-based aniline, so usually they won’t interact with the clear I’m using. I’ve used lacquer to seal the binding in the past, but since I’m using a 2k finish over the whole guitar this time I went with a cheap hardware store acrylic clear since it dries quickly. I shoot 3 or so light coats to seal, and I’m not sure how deep it penetrates exactly, but I find the acrylic clear works just as well as regular lacquer.
  11. Yes I seal it, that’s the only way I’ve ever been able to get clean binding lines on “PRS-style” natural binding; I’ve tried using just tape and it *always* bleeds. I mask off the top and back with pinstripe tape leaving only the binding exposed and then hit it with a couple quick coats of clear (whatever you’re using, lacquer, acrylic, etc) so when I’m dying there’s actually no tape at all, just the clear coat keeping the binding safe. Then, once the dying is done you can easily wipe/scrape off any color that spilled over since the smudges are just floating on top of that thin coat of clear a
  12. My absolute favorite step in the build is dying the maple, here’s some shots of the process: First coat of black. Sanded back. Red added. Sanded back. Orange added and sanded back. Yellow added to middle, red added again to sides, both colors blended while wet. This shot was taken after drying out. This is a shot of the headstock when it was still wet, which is close to what it will look like after I add the clear coat finish.
  13. If your big honkin’ volute lasts for 4 or more hours please contact your doctor. I won’t even try to pretend my volutes aren’t inspired by your work, I love your volutes! I decided on inlaying a medal in this one.
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