ezbass

I have various, including a Prime Tone and am always happy to try something new. However, I always seem to come back to Dunlop Jazz 3s.

Very Bruce Springsteen; nice.

I don’t know the model number I’m afraid. If you could post a photo, I’m sure some of the folk here will be able to add something.

I’m assuming that you mean your right hand (for a right handed player). The simple answer, as Dad says above, is practise, pace (start slow) and patience. When I took lessons as a young boy, when dinosaurs walked the Earth, I was taught arpeggios and pattern picking and I still have those under my fingers 50 years later. However, anything that doesn’t fall under those ingrained patterns has to be practised over and over to get right (yes, you, Jimmy ‘bloody’ Page! I’m looking at you and your weird, ever changing patterns in Bron Y Aur). My point is, the actual mechanics don’t really become much easier, you just know that these things take time, better than you did when first starting out.

Mic your cab up and use the PA for support. DG will definitely be doing this. Small amps have thankfully become the way to go, rather than massive 100w beasts with numerous 4x12s (always ridiculous down at The Dog & Duck) but the trade off is less power onstage. PA support is the easiest solution and will only cost you the price of an appropriate mic and lead, rather than more/bigger cabinets, which might not cure the problem, as you can only do so much with the power being supplied to them and then there’s the logistical problem that goes with more, big boxes. Oh yeah, .

An interesting point, it certainly wouldn’t hurt.

Sounds like a quite crunchy distortion/overdrive with lots of treble and reverb. Not sure I hear a 12 stringer in there though but, then again, my hearing isn't all that bright.

Nice, something a little different from the norm.

Yep, a 112, it punched way above its price point. It was B stock, so was even more of a bargain. Really good chassis for upgrades if you like to tinker.

That takes me back! Yes, you can get them in there, but it takes time to get it smooth.

With that budget, I’d go used.

There are various nut widths available, the widest tend to be classical guitars, but you should be able to find something that suits; measure the width of your Hohner and go from there. It’s hard to wrong with anything from the Yamaha stable, IMO, they don’t make a bad guitar at any price point.

Sore fingers are a rite of passage on all stringed instruments. Don't overdo it and you'll have nice calluses soon enough.

Sorted! Quality guitar with a headphone output all ready to go and at a bargain price too.

A mean, green, Tele machine. Nice!

Perhaps put a multimeter on the pickup leads to make sure it isn’t open circuit? You should be able to read a resistance not dissimilar to the bridge pickup. I’d also resolder all the joints in case there’s a dry joint there. The switch could be faulty too.

Those 2 notes are plucked together at the same time, not strummed. So thumb and finger of your choosing, or with a held pick and middle or ring finger (hybrid picking).

Over doing it in any new pastime is a rite of passage. You’re excited and want to give it your best and with stringed instruments, this means discomfort. I remember using all sorts of things to try and toughen my fingers up quicker, but nothing beats playing and little and often, as @Dad3353 says above, the way forward. It’ll come, but not in days, in fact you’ll probably not notice the improvement until you go to do something that was impossible seemingly the day before and is now achievable (it wasn’t the day before, it was weeks previous). I had Bert’s Play in a Day, I think everyone did back then. My nephew, who is a formidable player and left me in his wake once I showed him the blues scale, once played in a backing band for Bert.

It's the perception that distorted is loud, at least this what I have suffered from in the past. Add to that, playing in your personal practise space, is very different to playing with a band in bigger rooms. What's probably happening is the fuzz is compressing your signal somewhat and possibly adding some harmonics that are matching what's going on with the other instruments. If your fuzz has any kind of EQ, try adding treble. Although it might sound like a wasp in a jam jar soloed, in the mix it might be just the job. Another route is to have a dry/wet mix so that you maintain some of you 'clean' tone.

Looks like MDF OK, serious head on, aluminium?

Welcome to world of guitar with all its wonders and frustrations. Feel free to ask any questions you may have, we might have the answer collectively. And dive into existing threads, the way I see you have already; good for you..