Kiwi

Welcome alpro - got any fixin' stories?

They can be contested, yes. And potentially lost. Back in 2021 Fender tried to trademark the stratocaster body shape but the application was denied after a load of other guitar makers appealed including Schecter, Dean, ESP, Suhr and others. (Not Charvel though, because they are now owned by Fender.) But basically the collective contested on the grounds that the strat body shape had been widely copied over the last 50 or years and Fender didn't object the. So why try and trademark a property now that they had no problem sharing before? Incidentally, public Rights of Way operate on the same basic use-it-or-lose-it principle

PRS SE of almost any description although my personal preference is the hollowbody first followed by the Swamp Ash HSH. Having said that, when I fancy a new guitar, I make one. This might sound like a dream but its happened every year for the last few years now as I've developed confidence and a couple of them are REALLY good. However I'm now caught between running out of space and not wanting to sell any. Honourable mention for the Ibanez AWD83T, amazing guitar for the price used. One of those gems that deserves more recognition once the neck pickup has been swapped out for one from the more modern Artcore range.

Trademarks don't require 'use' because they are validated through rights assigned at registration. They have to be renewed periodically though and trademarking ideally should be enforced too, in order to safe guard against applications to cancel (due to lack of enforcement action). Unlike patents, trademarks can exist in perpetuity so long as they are renewed.

You have just described the last 4 weeks for me. I'm up one self build with another in the works and two opportunistic bass purchases. I have officially run out of space and now have to set a rotating display on my hangers of the ones I don't play so often. Welcome brother...

A seymour duncan 'semi super switch' would give you an extra position which could be wired to combine coils from each pickup.

This might be the crux of Behringers defence. If Klon haven't been selling them and making profit, Behringer might say how can Klon claim damages when they haven't been losing money...and the Behringer circuit is in all likelihood an emulation rather than a copy knowing that timbre can't really be copyrighted or trademarked. In the PRS vs Gibson battle, Gibson's case hinged on there being the potential for confusion between the PRS single cut and Gibson LPs which didn't really stand up to the scrutiny that was eventually applied. Klon's lawyers may come back and say 'copyright or trademark infringement' based on the potential for confusion (depending on what is actually registered as a trademark) Or get a Digitech Bad Monkey :lol: Yeah I went there.

I use a Seymour Duncan 'semi' super switch, I can change position 3 from middle pickup to bridge and neck.

And it's done. Had to do a lot of routing to get the bridge located properly including plugging and redrilling one bridge post 1mm further way. The wiring was a challenge, I spent three days of eliminating possible causes to arrive at only one conclusion, the pickup selector switch was faulty. My midboost preamp didn't work and I wasn't going to spend a week trying to troubleshoot it, so I bought one only to discover that the guy who build it didn't include separate earth and -9v wires. So had to jury rig something up to provide the output socket with an earth connection, the boost is definitely warm but it lacks the glassiness I expected. So I have on order a genuine Demester Fat Boost (Tyler style) and at some point I will probably wire the switches so they are series, phase and parallel. Although they were fiddly to solder as well. However, after a fret levelling and proper set up, it plays very nicely and has more sustain than my other two strats. I have no idea why. It's quite a warm and loud sounding guitar as well acoustically. More aging is needed on the sides and back but I have other things to attend to in advance of being in the UK next month.

Firewood: Any Gibson bass from the eighties. I don't care about flammable potential, I'm performing a public service here godammit! Weapon: Steinberger GL2 - wood is just not up to the task and original Steinbergers can really take a beating. Player: Probably the guitar currently being built for me if it turns out to be everything expected. Otherwise #1 MSG with the Armstrong pickups.

What is the fingerboard radius on the guitar you play? Radii of 10" or less often lead to strings choking on bends. 12" or more should be fine though.

Absolutely, it's about selling dreams...as in 'buy this and get closer to living the dream'...whatever that dream is.

Mostly thirds.

Look at barre chord shapes and use those notes as a guide to what to play, then experiment with different positions up and down the neck. Then, if you're brave, try it with inversions and THEN with modes. See how far you can push things without it sounding irrelevant.

OK I think I've reached the end of the road with this one. Or at least I've gone as far as I can... The Ernie Ball VP Jr arrived and works great although there isn't enough space on the already quite generous pedal board for it. Over the weekend, I also discovered someone selling Eventide Pitchfactor for about 230 quid online and so pulled the trigger because it does Eventide Harmoniser detune. So that has replaced the TC Electronic 3rd Dimension. And a second Pigtronix Echolution arrived as well but I may have actually over cooked it a little because just one can handle stereo AND both the RV500 reverb AND the pitchfactor have delay as well...hmmm. Slight buyers remorse perhaps. The only thing left in the set up is another pair of Loudster power amps which I'm in no hurry to buy right now given the Marshall power amp does the job adequately for practice purposes. I'll post a pic of the actual pedalboard once I've finished the re-wiring. Now I should probably go and learn some songs...