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leftybassman392

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Everything posted by leftybassman392

  1. Welcome. You'll find a lot of love for Telecasters around these parts.
  2. Unfortunately I'm not in the market for this, but it looks like an excellent idea. Good luck with the project.
  3. I have these: Which IMHO are about as good as you can get for the price. Amazingly versatile, great sound, and they're programmable. Thomann has the FlashbackII in stock at £118 at the time of posting, HoFII expected in a couple weeks at £111.
  4. Hi mate, and welcome aboard. Teles and Strats of various styles and hues seem to be weapons of choice for many around here. Check out the various forums on those subjects in the Guitars and Gear Porn sections. Depends a bit on what kind of music you're looking to play really.
  5. It's a thought. If I were in the market for one, it's definitely something I'd consider. Save a massive amount of wodge too. Getting it to look authentic with the pre-CBS headstock and such would be the trick - I think the pups are redos of the '60s originals, but there's loads of choice in the third party market for Strat pups (or at least there was when last I looked).
  6. I think this is the one: Fairly pricey too IIRC. A lot more than a U.S. Standard of the time (late '90s). Might even have been a Custom Shop version (but I'm guessing a bit here...).
  7. Nope. I checked at the time. Apparently it was for righties to stand in front of a mirror and pretend. https://www.fender.com/en-GB/electric-guitars/stratocaster/jimi-hendrix-stratocaster/0145802300.html The one in the ad is a modern version with the body set up for a right-handed player. The original was an exact mirror image of Hendrix's guitar. I'll see if I can dig up an image...
  8. I tend to fall into the 'got a business to run' camp myself. I don't think I've ever owned a signature model, but I get the rationale. I was a huge Hendrix fan back in the day, and would gladly have had any of several sig models that came out in his name. Sadly none of them were made as lefties...
  9. I actually bought my first pedals in 11 years not long ago. In truth I've never been that big on drowning the guitar's natural sound in mush of one sort or anoth... but I digress. Anyhoo, I got one of these: and one of these: After playing with them for a while, I thought to myself "fuck me, pedal technology has moved along a bit since I last looked!" I do like them though, even though I have no foreseeable opportunity to use them in anger. In fact, I may well invest in a looper as well: I'd like to look at an RC-30, but not sure I can justify the outlay for home noodling.
  10. You could put it towards a Porsche...
  11. No worries. I just happened to be in the neighbourhood.
  12. Yep. Looks like a fairly decent instrument to me. It's never going to be worth a huge wad of money, but if it plays ok and sounds ok then it's all good.
  13. Hi Jag and welcome to the forum. Plenty of expertise around here, so never be afraid to ask.
  14. Hi there @Johnsy and welcome to the forum. Some excellent advice here from the estimable Mr. @ezbass. The few thoughts I could add are based on my ownership of an '84 335 dot. It is indeed a fantastic and very versatile instrument, well suited to the sort of music you plan to make (not to mention Jazz - may not be your thing of course but just so I've said it...). I've always thought it a very well balanced guitar as it happens, but that's just me I suspect. I can understand why some would consider it a touch bulky, but I've not found that to be the case personally. That said, the 339 is in most respects very similar to the 335, and the smaller body shape should address the concerns of anyone who likes the instrument but is worried about the 335's size. I tried out a 339 in a shop some years ago and liked it very much (but I still wouldn't swap my 335 for it ). As to amps, suffice it to say there's lots out there, and choosing one needn't be a difficult task provided you're reasonably clear what sort of music you're planning to play (and I would concur with ez in that while you don't actually need an amp to make an audible noise - especially with a 335/339 style guitar - a decent amp is as much a part of the sound you make as the guitar itself). Personally I wouln't bother too much about effects at this stage, but again that's just me. IME lots of effects can become a bit of a rabbit hole if you're not careful. If the amp has them then fine, but I'd be inclined to work at getting a decent basic sound out of it to start with and think about how you can tinker with it further down the line. As always, just my opinion.
  15. Just happened across this guy. Never heard of him before but he seems pretty good to me...
  16. What it says on the tin. A place to post performances that you have particularly enjoyed. Can be live, studio or anywhere in between. Any style whatsoever, any player(s) whatsoever; as long as it features one or more guitars as a central (and hopefully noteworthy) feature of the song/performance, this is the place to post it. I do a lot of YouTube surfing, and from time to time things appear in front of me that I wasn't expecting or in some cases was even aware of. For example, a few minutes ago I found the following piece by a guitarist I'd never heard of. It's ragtime - which not everybody will like - but given the brief I set for the thread it's bang on. Ragtime on a guitar is difficult to play well, but this guy pretty much nails it (after a slight false start which I'd like you to conveniently ignore). The piece is a Scott Joplin tune called Pineapple Rag. Enjoy:
  17. Ok, thanks for the extra info. First off, I should say that I'm not a big Malmsteen fan. That said, he does have a very advanced technique that would take time, talent and tenacity to get anywhere close to. I'm not too sure what you're getting at wrt the video if I'm honest. However, another thought that occurs to me is that one of the techniques Malmsteen and others of his ilk use a lot is something called legato, which is essentially producing notes with the fretting hand use a range of techniques under a general heading of slurs. Although Malmsteen is a shredder, it's a technique that can be used in any style on pretty much any kind of guitar. If you like Mike Stern by the way, you may also like Guthrie Govan (caution: don't try this at home ) https://www.youtube.com/watch?v=-yPEewaalik Guitarists can spend years trying to get the sound they have in their head out of the guitar. You've had some great suggestions on this thread that you can spend time exploring, and while I'm at it, for smoother sounds you could also try high gain with the tone rolled off to taste - possibly with some fairly heavy compression and a very light picking technique so the gain does all the work. Many ways to skin a cat; have fun experimenting.
  18. Hi there and welcome. The pick sound is part of what makes a guitar a guitar, and is not something most guitarists would want to get rid of. Not completely at least. That said, there are two (possibly three) approaches I'm aware of that can pull it back into the sound a bit: 1. Use a bow. No, really: https://ebow.com/ 2. Use lots of gain. Also varyingly called distortion, overdrive, fuzz, etc., but as much as you can possibly muster. My guess is that this is more likely to be the kind of sound you're after, which in turn suggests a metal sound of some sort. The idea is that the signal chain is being driven so hard that there's no gain left for the pick strokes to stand out. (3. There is a third way, but I'm not sure you can still buy the kit you'd need, or indeed would want to even if you could. A noise gate with a variable attack time that can be set to kill the initial pick sound. TBH I'm not sure you can even buy one these days as they're a bit of a throwback to the days of noisy amps. Modern equipment suppresses the hiss better to start with so nobody really uses them anymore afaik - certainly not in stomp-box form. In any case it wouldn't work well with a continuous sequence of notes as it needs gaps to reset itself. Not really an option in your situation, and I only mention it for completeness as something you might want to look at further down the road.) It's also worth saying that the Telecaster's characteristic sound is actually quite bright and pingy to start with (it's very popular with, for example, country & western guitarists for that very reason), so you're a little bit up against it. Doesn't mean you shouldn't try of course...
  19. I don't hanker after gear these days. Sad but true. I still enjoy looking at nice guitars, but with 8 of my own including several all-time classics and two others custom made for me (plus a very expensive bass, a fairly pricey 5-string banjo and a very old and somewhat secondhand banjolele, as well as a small-but-perfectly-formed collection of amps and pedals) I just don't feel the need any more. I always tried (with varying degrees of success to be sure) to live by the mantra of any equipment I bought being able to pay its way in terms of gig income and/or recording and/or teaching duties, but with no gigs in my foreseeable future I can't justify spending money to add to an already significant collection.
  20. Not a fan of Gretsches mesel' (although I do rather like the White Falcon lookalike above).
  21. You might care to have a word with @stingrayPete1977 over on the bass site, as he's been using a digital setup for a few years now.
  22. This: Realised by Rob Williams. Technically a Telecaster, but with the following mods: Body contours as per a Strat. Mahogany/Maple as per Les Paul; Sunburst finish kept tight to the body edge (not a fan of SB finishes that hide the grain of the wood); Neck profile as per Gibson 335 dot (set neck), but with Strat scale length; Pups as per pretty much any superstrat, HB coil-tapped, and featuring a trick switch that allows any combination of pups (11 distinct options). Minimalist controls. (Originally specified with a series/parallel switch on the HB but Rob couldn't get it to work without shorting the electrics to ground.) Pups handwound by Rob himself; Wilkinson Trem. (Should really have left this out as I've never actually used it in anger.)
  23. I used to love improvising. For me it was the most enjoyable thing I did, and these days is pretty much the only reason I still play at all. Don't get me wrong, I was all for plenty of practice and rehearsal in all formats, but putting one's own interpretation on a performance is telling your audience something about you. I spent a while doing solo cocktail gigs, and were it not for improvisation they'd have been a lot shorter than they were. That said, I used to know a classically trained woodwind player. Fantastically good musician (and much in demand), he could play anything you put in front of him at the first time of asking, but (and by his own admission) he couldn't improvise to save his life. If it wasn't written down, he had no clue. Each to his own...
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