@drog Nice guitars and the Fender amp's a beauty, but where's the Kemper?
Show your latest guitar
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I just ordered from Folreden, too (thanks for the tip, Bert haha!). Not a custom job this time around, but maybe next time
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I'm going to put this pickguard on it and black knobs. Should look great!
Haha, you're welcome Sam. Very nice guitar, the lipsticks sounds fantastic !!
Bert
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I just ordered from Folreden, too (thanks for the tip, Bert haha!). Not a custom job this time around, but maybe next time
Next time? Double session on Monday for you, brother.It's really great work that deserved a new guitar as a foil, haha!
Foil? You can't foil your therapist, buddy.Make that a triple session; I'll only charge you for a double.
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I just ordered from Folreden, too (thanks for the tip, Bert haha!). Not a custom job this time around, but maybe next time
[Blocked Image: http://www.folredenguitars.com/wp-content/upl…den-charlie.jpg]
I'm going to put this pickguard on it and black knobs. Should look great!
+1 for black knobs.
Beautiful guitar. -
i bought this fender custom telecaster special edition series intentionally as a backup guitar 3 months ago but totally fell in love with it...
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I just got this guy. Ibanez AR300RE-CS , made in Japan.
That is a thing of true beauty. Truly gorgeous
What do the two toggle switches do?
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The new one is in the middle. A Maybach.[Blocked Image: http://i615.photobucket.com/albums/tt233/bablemikey/File%2012-03-2016%2018%2036%2044.jpeg][/URL]
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My latest addition to my collection.
A completely original 1958 Fender Strat played by Bob Dylan during the Traveling Wilburys recordings.
Plays and sounds amazing. Was last playing it using M Britt's 'Vox AC30 B3 Red 2' profile and it was insane sounding - couldn't put it down for hours and hours! Just love that profile with this guitar!
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I've got this waiting for me when I go to Tokyo in April. Bought it purely on the reputation and because I fell in love with the finish, so fingers crossed.
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I've got this waiting for me when I go to Tokyo in April. Bought it purely on the reputation and because I fell in love with the finish, so fingers crossed.
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[Blocked Image: https://lh3.googleusercontent.com/-RZo4l5wZD4E/V…Ic42/image.jpeg]You won't be disappointed. My Tyler is my favourite of any guitar I've played on.
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That's what I expect. I've owned all kinds of guitars and always keep going back to Strats. I've never played a Tyler but have only heard good things, including people owning super-expensive ones like Lentz Reserve and D'Pergo, then to go back to Tyler.
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It's funny, because initially I was really disappointed. I thought that the finish didn't live up to what I expected, the neck was thick, the action higher than the guitars I was playing at that time... Now every other guitar feels foreign in comparison, and I love everything about the Tyler. It feels like coming home, every time I pick it up.
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When I got the Thorn I had the initial honeymoon of holding and playing it. But after a week I noticed the action wasn't where I liked it (it played great, so this was just me being picky) So i emailed Ron Thorn who gave me suggestions for how he sets them up, but also how I might like it setup from my description of personal playing style. So I did it his typical way, then his suggestions for my way, and both worked but I stuck with my way. It really gelled how to do a setup the way I like it.
Before, doing a setup was hit or miss because I knew some things but not all things. (that is, knowing actual measurement numbers) I had the Stew Mac gauges etc but wasn't using them right. I also bought a Fret Guru gauge cause I liked the white markings on black background better.
Now I can grab any of my guitars and in 15-30minutes have it setup exactly the way I like it. So last night I tackled my Taylor 510. I had a bone saddle put on a few years ago and it buzzed like it never did before and I just learned to lived with it. I got a new saddle off Amazon to raise it, but forgot I'm a lefty and realized I can't put a righty bone saddle on (the compensation is backwards!) So I took the wood calling card that Ron Thorn gave me (possible double-sided bass wood card) when I purchased his t-shirt, and cut a saddle slot shaped slug out of it, put it under the piezo so it would lift the saddle but have wood-on-wood contact. After doing so, the action measurements were where my electrics were (between 0.060 and 0.070, although the truss had the neck a little straighter than I'm used to, like 0.003 at the 12th when capo'd at the 1, ridiculously flat) and only the A string buzzes IF I pull real hard. Normal playing, no buzzing. It plays great. Put on Elixirs and had a blast.
So now I'm quite happy with the Thorn's action and the improved action of the Acoustic. I wonder, Sambrox, if you can talk to the builder of your guitar and get some setup tips unless you love that action now. Or get gauges to measure it now so you can keep it this way and maybe setup other guitars similarly so you don't get finger shock changing guitars.
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My latest addition to my collection.
A completely original 1958 Fender Strat played by Bob Dylan during the Traveling Wilburys recordings.
Plays and sounds amazing. Was last playing it using M Britt's 'Vox AC30 B3 Red 2' profile and it was insane sounding - couldn't put it down for hours and hours! Just love that profile with this guitar!
[Blocked Image: http://i1042.photobucket.com/albums/b421/mwinter77/My%20Guitars/12717929_10156497866925627_6824936831373546554_n_zpsvgklnmfw.jpg]That's a piece of music history right there.
Amazing, tks for sharing.
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Its right-handed though...
Thing about Dylan is, when you look up his guitars, he's no slouch. He picks some nice sounding gear. Just he isn't particular about how it's recorded. At all.
Ok, I'm drooling now, the history part is affecting me. I'd put a lefty bone nut on it for sure.
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@db9091 Actually, I did lower the action of my Tyler, come to think of it, using Suhr's stock specs as a rough guideline. It's still ended up slightly higher than all my others apart from my USA Tele though, but I actually like them to have differences, depending on the style of music I play with that particular instrument. The lowest is my JS1000 set up to Satriani's own preferences (ridiculously low).
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http://intl.fender.com/de-DE/guitars/…-olympic-white/
Sounds like it looks. u can hear it on my channel, if you want to (astral traveller). A beauty.
But goodness, i wanted this tyler for more than 20 years ... -
@db9091 Actually, I did lower the action of my Tyler, come to think of it, using Suhr's stock specs as a rough guideline. It's still ended up slightly higher than all my others apart from my USA Tele though, but I actually like them to have differences, depending on the style of music I play with that particular instrument. The lowest is my JS1000 set up to Satriani's own preferences (ridiculously low).
I've gotten used to 9's on Strats but 10s on LPs, PRS and Tele. But the Thorn came with 10s and I decided it played so well I'd keep at 10's for the extra beef in tone. Doesn't feel like I'm sacrificing bends as the guitar is so well designed. I've been using a heavy end set of strings so that affects everything (intonation, neck etc) One big difference is I typically use Slinky's on Strats but since the Thorn had D'Addario I decided to give those a try. I typically only use those for humbuckers, but they sound nice. Only problem is the pickups sound VERY hot and I was wondering if there is a difference between Slinky vs D'Addario in terms of magnetism or maybe it's just the pickups. The slinky's do have more give to them, but if you play finger style, the D's hold up better to twanging with the thumb. I'm experimenting with finger style, which I do with Acoustic, but am very comfortable with a pick on electric. Knofler said the pick comes across better when recording even though he's a famous finger style player.
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I've gotten used to 9's on Strats but 10s on LPs, PRS and Tele. But the Thorn came with 10s and I decided it played so well I'd keep at 10's for the extra beef in tone. Doesn't feel like I'm sacrificing bends as the guitar is so well designed. I've been using a heavy end set of strings so that affects everything (intonation, neck etc) One big difference is I typically use Slinky's on Strats but since the Thorn had D'Addario I decided to give those a try. I typically only use those for humbuckers, but they sound nice. Only problem is the pickups sound VERY hot and I was wondering if there is a difference between Slinky vs D'Addario in terms of magnetism or maybe it's just the pickups. The slinky's do have more give to them, but if you play finger style, the D's hold up better to twanging with the thumb. I'm experimenting with finger style, which I do with Acoustic, but am very comfortable with a pick on electric. Knofler said the pick comes across better when recording even though he's a famous finger style player.
I have 10s on all of my electrics except the JS1000 and Charvel GG, which both shipped with 9s. The first JS1000 I had I swapped out the 9s for 10s and set it up, only to find that bends choked out above the 12th fret. I took it back to the guitar tech at the dealer, who sent it back to the factory citing a manufacturing fault. I've since come to suspect that it's a general symptom of the fingerboard radius, so when I got the replacement, I left it as was (I since learned that Joe uses 9s anyway). The Charvel was immaculately set up from the factory and plays like a dream, so I didn't want to jinx that either!
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My Thorn is a 10" and I think the Taylor is a 15" which is probably why I can set it up flat as a board. I think it's more an issue for 7" radius necks. I've not had a probably fretting out except when I got a 50's reissue MIM. Hated it. It was 7.25" radius.
I'm more a "Super Strat" kind of guy. Love locking tuners and easy peasy frets. Stay in tune forever, sustain like an LP. I think the LP and PRS pushed my Strat needs more in that direction. Well, Music Man was first. Their locking tuner bolt-on neck stays in crazy good tune. Normally I like a dove-tail bridge but the Thorn's got a floating bridge yet the tune hold without a nut lock. Very unusual.
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