Jump to content


  • Content Count

  • Joined

  • Last visited

  • Days Won


EliasMooseblaster last won the day on March 25

EliasMooseblaster had the most liked content!

Total Plectrums

5 Neutral

About EliasMooseblaster

  • Birthday 31/07/1985

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. A friend of mine did perform some extensive surgery on his Squier Strat to enable him to select the Neck + Bridge positions together (I couldn't swear blind, but I think he used that setting on this song). I'm inclined to agree with you about the bridge pickups, though - most Teles have a very particular "snarl" to them, which just seems to be more of a "quack" on a Strat.
  2. Potentially a good band name, but more to the point: if you have a tremolo pedal, where's your preferred spot for it in your signal path? I expect this to come down to experimentation and personal preference, but I've always used the following sequence as a starting point: Guitar -> Dynamic pedals (volume, compressor, wah, etc) -> Distortions and Overdrives -> Modulators (chorus, flange, etc) -> Amp Trouble with the above is, tremolo is an amplitude modulator, so I'm not sure whether to see it as a dynamic effect, or as a modulation effect. And I'm aware that the above is far from a hard-and-fast rule. So, save me using my brain and tell me what you do.
  3. Danelectro DJ-2 "T-Bone" Distortion Pedal for guitar I've had this pedal for something like 15 years now, and the sad fact is that, for most of that time, it's been gathering dust. I originally bought it as a cheaper alternative to dedicated bass distortion effects, where I found it worked surprisingly well, and it offers a nice, warm distortion sound when paired, as intended, with an electric guitar. As you'll see from the photos, I managed to knock the shaft off the Distortion knob. It still turns perfectly well under a bit of pressure from a fingertip, and besides this damage the pedal appears to still work perfectly well. Includes a 9V battery, and the original box, which has seen better days! I work in London and live in Surrey, if anybody wants to meet up to collect, or I'm happy to arrange postage, which should only cost a few quid on top of the sale price.
  4. It's definitely more pronounced on the bass version! I've never found it to be a deal-breaker myself, though friends who've borrowed an SG for a gig in place of their normal Strat or Les Paul have commented on it. I'm sure the degree to which it bothers a player will depend on their playing style.
  5. The question popped into to my head as I was once advise against buying a Bass VI to adapt to a Baritone, because the pickups are (unsurprisingly) tuned for bass frequencies, so I would have struggled to get the sound I was after. So I assumed that Baris probably used "regular" guitar pickups, but then started to wonder whether there was any market for a pickup that favoured that "in-between" range!
  6. I've heard this mentality from some Strat and LP players - the notion that the Tele and SG were "supposed to be cheaper, mass-produced guitars," and that there's no point in investing in the expensive, high-end American versions, you may as well save your pennies and get the MiM / Epiphone versions. Granted, the SG is a far simpler construction than a properly chambered, curved-top Les Paul, but I still think it's a thing of beauty in its own right. Yes, it's got that rough-and-readiness about it through association with groups like The Who and AC/DC, and indeed some punk bands, but it's worth remembering that Cream-era Clapton and Santana's early work showed how they could really sing.
  7. A little update to announce that my quest is at an end. My dilemma began with the choice of TS9 vs TS808, and it ended on that theme without me having to make a decision. I was fortunate enough to stumble across a (very cheap) Chinese clone called the "Tubescreamer Demon" - same controls as a regular TS (Drive, Tone, Level) plus a toggle switch to flick betwen TS9 and TS808 modes. In short, both circuits in one pedal, for a fraction of the price. I'm sure the audiophiles will be able to play with it and tell me where it's lacking over the original Ibanez pedal(s), but it does the job as far as my ear can tell. The only drawback is that they labelled all the controls in Comic Sans...
  8. Daft question alert: do manufacturers make/recommend specialised pickups for baris? Or are they regular guitar pickups?
  9. I'm glad it's not just me - I think you've described the difference in their tones far better than I could, and it's good to know the difference wasn't just in my own head. There's definitely something a bit less grandiose but more aggressive in the SGs I've tried.
  10. I suppose the key thing is that it's optional. The biggest pitfall would be to create something which has so many options, it's impossible to find the "classic" sound(s) that you expect, e.g., a Les Paul to produce. As long as the core tone is all present and correct, you have a simple, usable option, without being forced to explore the additional bells and whistles...but if they can't get that right, then they're really in trouble!
  11. Quite. I shopped around for a Telecaster because I wanted a SC guitar; when I found one with two HBs and a coil tap it seemed like the best of both worlds! I do believe the Wilkinsons I popped into my SG copy could also be tapped if I were to buy some switches or push/pull pots to connect the extra wires, and I am tempted every now and then.
  12. (...vs Explorer vs Flying V vs Firebird, etc...) Is there, fundamentally, a difference in tone? Obviously a Les Paul Standard has a very different body construction from an SG Standard, and different players have their preferences. Personally I've always felt there's something a bit too "bombastic" about the tone of a LP, which I don't hear so much in SGs. But then, if you take a more reductionist view of these Gibson designs, the pickup placements and wirings are the same. Ditto the Flying V, Explorer, Firebird - all their twin humbucker designs, basically. And there's no denying that there's a vague and generic "Gibson sound" which they all produce. So: can anyone with more experience tell me whether a Les Paul will sound fundamentally different from an SG, all other variables being equal? Or is it (a) my imagination? (b) something about their build/weight/feel which inspires one to play them differently? (c) something else entirely?
  13. Well, they certainly sound like Les Pauls! Guess it's hard to tell without actually playing one, but I would have thought the coil-tapping/phase-switching would be useful features to include on a modern range. Anyone care to clarify what exactly the "blowout" switch is that they kept referring to on one of the models?
  14. I've never been particularly fussy (though I found quite early on that I wasn't too keen on Ernies) - usually I've stuck to Rotosound and D'Addario, and sometimes Martin for acoustic strings. (One limitation has been finding companies who make a .16 set for the resonator!) Though recently, I did give a set of Martin Monel strings a punt on my regular acoustic - a very different feel from most modern phosphor bronze sets, and I have to admit I've found myself warming to the sound of them (no pun intended).
  15. I had stumbled across the Bonsai in my searches, and I will admit to being tempted just to bite the bullet and buy one of those instead! Thanks for the link to the Anderton's video - it's impressive how much variation people have managed to wring out of that design with various mods over the years...and actually, it's reassured me that I'd probably only use two or three of the nine modes if I did buy one!
  • Create New...