Dad3353

I think that the 112 has a push/pull switch for coil-tapping the humbucker; the 012 does not have this coil-tap feature. Hope I'm right; hope this helps.

David... It's a bit of a handicap, but not much of one, I'd suggest, as long as you can grip the guitar neck with the left hand. As mentioned above, it's not 'best practice' to use the thumb for playing, or muting, the sixth string (the low 'E'...). No longer having that option won't prevent you playing all the rest of the guitar styles. Just pick it up and play, as most of us did, and keep 'Ol' Stumpy' on the middle of the guitar neck, in true traditional manner. The notion of going 'lefty' is not daft, though; there are many lefty guitarists who play 'righty'; it's simply a question of doing it; it becomes natural quickly enough. I have a brother, a hard lefty, who picked up my righty guitars at first, and was very soon playing far better than I was. His 'dominant' left hand was much more dextrous with chords and fingering, so I know that it can be successful. It would be to your advantage to try this out as soon as possible, though, and stick with it; it's not so easy changing once the brain has decided what each hand does. Good luck with your decision, whichever way you choose to go; neither are an obstacle to becoming proficient. I'd add my usual encouraging phrase, useful in so many circumstances... 'It's the first forty years that are the hardest, after which things sometimes tend to get slightly better.' ...

Daisy Rock 'Retro' series (I have a twelve-string one; it's excellent...). There's a 'Bangles' signature model, too.

It's a bit of 'how long is a piece of string', really. Our Eldest played for a few years in a loud-enough punk/rock/ska group with a Laney VC50. At 'concert' level, it was turned up to about 2, on a scale to 10. It spits fire. The Vox AC30 is as loud as anyone could wish for. Our Eldest now plays through a Mesa Simul-Class A 2:90, so in theory 180w; it's ticking over, and can't be turned up more, even through the Mesa 4x12 if you're in the same room. 100w means nothing, especially with valves. What to recommend..? I'm 'old school', so any vintage Hiwatt will do the job. I had a DR504 (50w...) which was splendid; the 100w DR103 has proved itself over the decades. You've not mentioned budget, though. Is that a factor..? Pedals..? Too much of a personal choice to be really useful. I play 'clean', mostly, but I have had decent tones from the dual Germanium Big Muff. Our Eldest has been running a racked G-Force for decades, with a Tri-axis, and I don't know of any tones it can't produce. Again, budget may be an issue (or not..?). Disclaimer : I'm a drummer, so what would I know..? (Can't listen to the track, I'm afraid. Not a 'Spotifier'...)

Open-D tuning (DADF#AD...) is a popular set-up for slide playing, for good reasons. To play along with minor-tuned instruments, tuning the F# down to F can be useful. Read a bit more about it here... Wikipedia : Open-D tuning ... Hope this helps.

Who are you, and what have you done with @ezbass..? ...

No, it's not affecting the signal until the LED bar starts to react. The 'Compression' level is the right-hand knob; turning this up will adjust for lower-level input signals. Top tip..? Turn all of the knobs to 'twelve o'clock' to start with. This 'top tip' works for 80% of everything in Life, and even more with Fx pedals. Once you've 12-o'clocked the controls, adjust the 'Comp' knob to see (and hear...) what effect it has (yes, whilst playing, you fool; it does nothing if you stop playing..!). Use the 12-o'clock as a starting point to adjust, one by one, each control separately, returning each to the centre each time. Then start combining, and listen to the result. Compressors can be a bit of a 'rabbit hole', but I'd suggest, without knowing this particular model that 12 o'clock should not be a rubbish setting, so, if it pleases, use it as a baseline and tweak around that. Hope this helps. Douglas

Good evening... You don't give any indication of your location, which may help. Why..? Because the best way to get started is to book a lesson or two with a competent tutor. Quite often, a first consultation could be free, or reduced rate, just to have a chat about what your requirements are, how to go about acquiring an instrument (and how to tune it etc...), specifically tailored for your case. It needn't be expensive, and is well worth its outlay in any case, as you'll be put on the right track from the outset. There is a plethora of U-tube videos, courses, methods, books and more, all of which can be a great help, but the best start, before even looking into this confusing amas of information, is to talk it over with an expert, ie: a tutor. Good luck with the venture whatever you decide; hope this helps. Douglas

Will it work..? Yes. Will it sound nice..? I doubt it. The clue, really, is the 'Muff' pedal. Acoustic guitars are not ideal candidates for Fx of the sort. I'd ask why you'd want such a sound, but am a bit afraid of what you might reply.

No, there's no 'Search' function with the criteria you've mentioned, but the Guitar Marketplace has not been maintained properly, either..! Once an item has been sold, or withdrawn, it should be 'Locked', and there is a filter (Top Right...) with which one may choose to see only 'Unlocked' items. This should reduce the listings to only those items still for sale. That'll help, I should think..? I'll get started on locking the 'Sold' items; give me a couple of hours and we'll see if it's any better...

Not at all; all grandmothers are very welcome here.

Good evening, @Gstringstrummer, and ... Plenty to read and amuse you here, and lots to learn and share.

This is my 'default' 'pedalboard'; straight into the amp ...

You've not seen these then..? Basschat Straplocks ... I've several sets, and they are Very Good Indeed. Just sayin'.

Looks and sounds like a kazoo to me, but there are also bird-call lures that could have a similar effect. A kazoo would be the surest bet, though. (And a damn rotten song, if I may give my opinion. Abominable, 'sung' by anyone, Calloway included...) .

That's understandable, and perfectly normal, as the double-necks are using stereo (TRS...) jack sockets for this very purpose, enabling signal separation. They are, obviously, passive, with no batteries to switch. Mono jacks would rob you of one half of the instrument, so carry on, with my blessing. Mono jacks for any others though.

Not ready to try mandolin yet, then. ...

The pre-amp in the guitar is switched on by the insertion of the jack plug, The jack socket uses the barrel of the jack plug as a shorting circuit which bridges the sleeve and the ring, allowing the battery to feed power to the pre-amp. Remove the jack plug and this short no longer exists, so the pre-amp no longer receives voltage, and the battery can rest until the next time. If the jack is left too long in the socket, the battery is drained, which is why one has to unplug the jack when putting the guitar away. There is no good reason that I can think of for using stereo (RTS...) jacks for guitar or bass, and for those with a pre-amp (your electro-acoustic...), this switching function is defeated, as there is no short-circuit created between the sleeve and the ring. Use a mono jack, as one should with all guitars and basses, and all will be well. You've just been lucky so far that stereo jacks work at all, as they are far from optimum in mono jack sockets. Hope this helps. Douglas

a) Maybe not at the moment, but t'will come in the fullness of Time. Just have patience whilst waiting for Patience to descend upon you. Go in peace. b) It's defined as the length of Time between the posting of the ad in the Marketplace and the successful passage of the instrument to its new owner. Hope this helps.

+1

Then my work here is done. ...

Elaborate..? Not a lot, really, as there's no hard'n'fast rules about stuff of the sort. It's up to the composer to 'know' which notes are important and which are less so. Maybe a way of thinking it through could be to imagine a simple Major scale, then imagine an arpeggiator adding in-between notes to that scale. The 'key' scale notes stay the same, but the 'in-between' notes are 'optional'; they add colour and movement in some circumstances, but distract and even irritate in others. What's best..? That depends on what the composer wants. One way in to these rabbit warrens is to keep in mind the age-old adage of 'less is more', and start off by adding as little as can be got away with. An example, slightly off-track, could be the way many songs are composed, on a strummed acoustic guitar. This skeleton is then arranged, with maybe banjo picking, piano, horns, bass etc... In the end, the original acoustic guitar is removed, and the finished song stands just the same, without its progenitor. With chords and melodies, a similar notion can apply : does it all still make sense if the original melody line is removed..? This doesn't mean 'Remove it'; just see if the song still sounds 'right' when it's not explicitly there. Just a thought. Sorry if this confuses rather than clarifies; If I was any good, my own compositions would maybe be listenable..! In the end, it's your own taste and judgement that count, and only by doing it will you know if it's OK or not. I do have a few words of encouragement for these situations, though... 'It's the first forty years that are the hardest, after which things sometimes tend to get slightly better.'

Another tip that I forgot to add : It's very often the last note of a song that tells us what key we're in, the note that gives a sense of 'it's over' (resolution...). From there, the other notes can be assigned their 'rank' in the scale. It doesn't work every time, as some song-smiths do strange things with 'standard' harmonic principles, but for a lot of stuff it's as good a starting point as any. Beware of thinking that the 'key' is the first note; it's very often not the case at all..! Just sayin'.