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Check out my pawnshop score: It's an Antoria, which means it's actually a lawsuit-era Ibanez 2397 Model sold under the Antoria brand for export to the UK. Tracked the serial number down to 1974. Those are real low-impedance pickups instead of single coils in fancy covers, but doesn't have any of the fancy preamps like a Les Paul Recording unfortunately. Needs a lot of work on the action to make it playable but the rest of it is in perfect condition, I think it's been badly adjusted in the past and then put away in the loft for twenty years so the truss has suffered a bit but my luthier says it's fixable. Should be back out of the shop next week, touch wood.
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Nov 5, 2012 11:23
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JoeRules posted:Willing to spend up to $200 (preferably more like 160-170), new or used. Saw a couple VT40+s on CL for 150, so I figured price wasn't an issue for the 3 I listed. The VT series are great starter amps, either would be good. The only issue is the 40 will be more expensive and probably still isn't loud enough to gig, so it depends how loud you want to practice. You can always turn it down without losing anything but then you may feel the extra cash has been wasted and you could have gotten the smaller model.
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Dec 2, 2012 01:54
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Francostein posted:I just bought an egnater tweaker 15w combo about a month ago and, while a little overpriced, it has a nice clean sound and a lot of little switches to gently caress around with to get what you like out of it, and has an effects loop. Only issues I noticed are that it's single channel and has no reverb/onboard effects. They make a head version as well. Check out some reviews and give her a hear at a store or something. How does the Tweaker deal with pedals?
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Dec 21, 2012 19:27
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I used to go megaboard too, I cleaned out 7 types of fuzz from my spares cupboard the other day. For the last year or two I've gone down to a Boss ME70 + a comp or fuzz depending on gig and it was great, some basic stuff and one or two wacky bits for stupid sounds. Upgraded the board to an ME80 last week and it's pretty sweet. Still haven't given me a separate comp section I can set and forget, but they included a sweet twelve string emulation and an acoustic preamp plus a spring reverb. For a usual gig I'm carrying a hardcase acoustic, electric + backup in gig-bags, an amp for each plus an accordion so getting the board down to something I can carry in a carry-all gigcase with all my cables was amazing.
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May 1, 2014 23:48
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Kilometers Davis posted:In other news I read that Frank Zappa apparently never practiced guitar and not I'm depressed. He probably didn't but then he spent a good 25+ years of his life on the road playing viciously difficult music with some of the best players money could hire and that tends to rub off. A lot of pros won't have a regular practice regime apart from a warm-up before gigs and maybe working on new theory. If your full time job is music, either performing or recording, you spend so much time playing that it becomes mostly irrelevant anyway.
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May 6, 2014 18:35
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Open tunings can be useful for getting a better knowledge of the fretboard. In standard it can be very easy to fall back into pentatonic/blues stuff which is so much harder in alternate tunings, and that can encourage you to think in melodies and play something unusual. Obviously the trap there is that after a while it can also be very easy to fall back into your cliche DADGAD modal runs instead. Approaching different genres and methods of thinking is important to keep your playing improving. I play with a lot of jazz guys, although I'm hardly a jazz guy myself, and the great ones tend to have a second or even third instrument on the go: piano for chordal, a horn or woodwind for melodies and maybe a bit of guitar on top. You pick up bits of theory from each instrument that can be translated to the others and eventually you start thinking in 'musician' rather than 'guitarist' or whatever. Picking up Hammond and piano has helped my playing so much in the last year or two it's amazing.
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May 8, 2014 19:40
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Allen Wren posted:Stupid/related question - Is it reasonable to tune a baritone E-E like a Bass VI or is that the sort of thing where you just save up a few more dollars and get the Squier VI? For tic tac bass tuning like that you want to be looking at 30" or 32" scale. Off the top of my head Danelectro do one, there's a cheapest Gretsch Electromatic model and then obviously the new Squier VI you mentioned. They aren't really the best for chugga chugga stuff, they just weren't designed for that originally, but you can do a lot of interesting things with them. Your friend is tripping balls though, Fender and Squier are making some of the best low end guitars around at the moment, certainly the QC has been kicking the poo poo out of Gibson's over the last five years. There are special string sets for 32" scale available if you search for Bass VI on ebay etc, La Bella do some nice ones.
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May 17, 2014 12:19
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E-Money posted:Thanks for all the advice, everyone! I have tried rolling back the knobs on my guitar. I have found that dialing the tone anywhere off 10 turns everything into a pretty mushy mess, no matter what i set anything else to. Here's my full chain for now: Boss tuner -> Big Muff Pi w/tone wicker -> hardwire supernatural reverb (as of today!) -> Digitech jamman express -> amp. The Big Muff is basically mush in a box form. Great sound but does what it does and that's basically it. Huge amounts of bass and sustain, no definition at all, will sound like that on a $100 amp or a $10000 amp. There's a reason it became the definitive sludge rock sound. If you're still getting mush when the BM is off try rolling back the bass and mids slightly, but only slightly. LPs have a lot of bass and mid focus that help cut and sustain in a band context; they can be a bit nasally played alone though, especially if you have stock pickups. Daft question, you said you were coming from a classical background. Are you using a pick and have you got used to palm muting to damp the strings?
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Jun 17, 2014 00:45
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Dotcom Jillionaire posted:She is very pretty and very beautiful it's true :3 You will get some hum on single coils no matter you do, but if you're getting less when you touch something it's probably a grounding issue on top of the usual 60hz hum. Take the pickguard and bridge off, there should be another wire floating around in there (usually black) unattached. Solder or tape it to the nearest metal part, such as under the bridge, to ground it.
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Jun 30, 2014 18:02
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field balm posted:Weird question: I built a muff fuzz/muff overdrive clone and it sounds really awesome, but I get more volume out of my neck pickup with it on. In every other circumstance this is my quietest pickup. Is it an actual volume boost rather than a perceived one due to the huge amount of bass you get from a muff emphasising the bassy neck pickup? I can't think of a wiring schematic you could put in a pedal that would change the load on the neck but not the bridge. Not an electronics expert but surely that would have to be happening in the guitar before it hit the volume/tone pots.
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Jul 4, 2014 03:27
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Dotcom Jillionaire posted:I decided to do a little experiment today. I've got a POD X3 and wanted to see how sending a dry guitar signal from my DAW into the POD sounds vs just recording an effected signal from the POD. I don't know much about recording guitars in a studio setting yet, I assume most guitarists tweak their tone exactly and then record that signal but what if you wanted to change up something in the effects chain without having to re-record your guitar playing? Most guitarists who are not producers will get a bit weird at the idea of reamping. It's all a bit voodoo because the interaction between guitar and amp is a pretty fundamental part of the performance. Plus guitarists are autistic about 'tone', myself included. Sometimes a sound which is pretty nasty solo'd can work really well in context and reamping can be part of that. Producers love it because it means they get to record a track once and then the musician can gently caress off while they reamp and tweak and get some actual work done. Minimum of interaction with idiots and no spending two days loving around with 8 amps and 20 mics to have the guitarist say "actually, I'm pretty sure the first take was the sound I'm going for". Edit: I have used both methods, if it's 'my' session I'm going in amped and wet because I'm paying for time and I want to enjoy myself while getting poo poo down and who doesn't like a cranked amp in a live room. If it's a paid session then I will still bring options but the man at the desk gets final say. I will happily play straight to desk, or even through that 10 watt Gorilla practice amp if he so wishes because he is the man paying me. darkwasthenight fucked around with this message at 20:20 on Jul 9, 2014 |
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Jul 9, 2014 20:14
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baka kaba posted:Isn't it a better idea to pipe that signal off to an amp anyway? Either splitting it between the amp and the desk, or using a send or something. Dry guitar sounds like absolute poo poo and it'll just kill the most basic vibe, never mind trying to get a performance that actually works with the dynamics of the amp Usually you will split out of a DI or similar and go out to the desk and also back to your amp so you don't notice any difference until you come to the reamping process. There are boxes specifically designed for it with different impedances on each output to match the desk/amp.
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Jul 9, 2014 22:26
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No wrong tools, just wrong situations. I've heard tracks from a pro studio using high end custom interfaces; the producer I was working with had just had Editors in there and the week after Martin Simpson (the English folk guitarist)was due in. You could hear every scrape of the strings and it was great. Perfect for the songs. The week after I played with a punk band who recorded an EP in a literal shipping container lined with Styrofoam using £100 worth of mics and a digital recorder. We used an Ashdown bass amp and a Fender Frontman in stereo for the lead guitar, DI for bass and one room Mic + kick Mic for the drums. The second guitar had to overdub afterwards because we didn't have enough amps. When they finished tracking they smashed the masters through a brickwall compressor and then a distortion so it sounded like the hinges were falling off. Perfect.
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Jul 10, 2014 00:21
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Spanish Manlove posted:The day I stop playing heavy metal is the day I'm so old that my hands get too arthritic to even play guitar at all. Is it Jason Becker that got ALS? Monster guitarist paralysed in his wheelchair, writing music into the computer using his eyelids. Blink once for chugga chugga, twice for widdly widdly neeooow. Les Paul broke his arm and when they said setting it properly might mean he would never play again he just went 'gently caress it, set it so I can hold the guitar and I'll just have an arm out there at a right angle for the rest of my life, no big'. Mick Mars from Crue has some crazy thing where his bones are fusing and he goes out killing it in arenas whilst not being able to bend his neck or spine. Guess what I'm saying is there are worse things than having cranky hands to get round. Make the most of it while we still can.
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Jul 14, 2014 18:34
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pointlessone posted:What's everyone's thoughts on Behringer pedals? The price on these things are a fraction of the standard gear and sound drat near enough to what they're imitating. I just can't justify spending more than what I paid for my guitar for a decent sounding fuzzbox when the closest to an actual gig I play is carting stuff over to my buddy's basement to dick around until his wife yells at us for being loud. The Behringer Super Fuzz is one of the best cheap fuzz pedals around. Has three modes and does a nasty tonebender kind of thing, an octave fuzz and then a loud clean boost. It's my secret weapon, pulled it out on a few sessions without telling people what it was. The housing is poo poo but for £20 if you get a year out of it you got your money's worth.
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Jul 16, 2014 19:46
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Southern Heel posted:Well at this stage I'm a little fatigued so it's hard to tell - I scooped and boosted the mids, and played with the gain and volume controls and it seems pretty versatile, but as for "my tone" I'm not even sure what that is or should be. Is there a way of finding out? Spend a shitload of money on new guitars. That's my excuse anyway.
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Jul 20, 2014 19:30
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field balm posted:Hi thread, The Marshall pedals are all decent, reliable gear. Nothing earthshaking but the reverb and modulation have stayed on my board for a few years now; the mod one does a cool step phaser you only usually get on multi fx. Try find a secondhand one, they're solid metal and nearly indestructible so even if you find a battered one for cheap it's unlikely there would be anything wrong with the electronics. They go for about £30-40 GBP but I know you poor bastards have to take out a mortgage to buy gear.
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Jul 24, 2014 03:38
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muike posted:manson uses lots of nailbombs so i like him Manson never seemed that keen on the mattocaster thing. Think he was just a local luthier at about the time Muse were going up and then ended up riding with it because cash cow. I seem to remember him refusing to make the same guitar twice which is why the customs were all different except a few years later you could suddenly buy a standard MB-1 model with all the bits and fx built in to order.
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Jul 28, 2014 23:26
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Kilometers Davis posted:Does anyone make a Jazzmaster hardtail tail piece anymore? I feel like swapping out the trem in my JMJM. As in a traditional looking tailpiece but hardtail? Not as far as I know, you'd have to buy one of the Fender ones with the locking button. When they're set up right they're blocked for upward movement and if you take the bar out it's effectively hardtail.
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Jul 30, 2014 07:22
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iostream.h posted:Haha, maybe I'm misspeaking by saying 'doom', they're not THAT long, I really didn't think a 45-60 minute set was anything out of the ordinary. The groove kind of reminds me of 'the Sword' in some ways, but there's a lot of fast stuff, hell I dunno, I'd normally just say 'metal' but I'm old and poo poo. It's more the idea of a originals band that aren't arena level having multiple sets that was weird to me. My band do two 45 minute sets but it's a mix of original and reinterpretations and the jazz/world scene is a bit of a unique situation where it's kind of expected everyone has a solo to earn their money. Can't imagine doing it with a real band.
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Aug 4, 2014 21:32
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juche mane posted:Is there any true arpeggiator pedal out? I mean one that can break up the notes in your chord and sequence them, not just grab onto one (or all of them) and play a major/minor/chromatic scale off of it. Yes, it's called picking. Seriously though you're going to struggle to find anything like that out there besides a MIDI pickup into a synth or sequencer, which would do it easily but expensively. Straight audio technology is nowhere near advanced enough to be able to recognise and isolate individual chord tones in a performance context yet, we've only had polyphonic pitchshifters for a few years and they're still ropy. There's some audio software called Melodyne which is supposed to be able to isolate and change the pitch of single tones within a chord but I doubt it works in real-time.
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Aug 11, 2014 00:37
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Solid State vs Tube these days is entirely down to taste regardless of what guitarists say. Solid state is great for really really clean jazz and funk sounds and utterly filthy hi gain metal, plus it's light, cheap, convenient, reliable and will sound the same everytime you turn the amp on. It won't have the same dynamics as a tube amp, or react the same way to pedals. You might like that or you might not. Tube is 'better' at in-between breakup sounds, certain types of dynamic playing and old school vintage tones. A 40 watt tube amp will blow the ears off a 40 watt solid state amp because of how headroom works and how we perceive certain harmonics. They weigh a lot, can cost a lot to maintain and are the subject of a huge amount of bullshit and voodoo on the net because most guitarists are massively resistant to any type of change. I have a custom built amp based on a Fender Vibrolux which is my main gigging amp, it's 40w tube, loud and clean and the reverb is stunning. I really love playing it but its a oval office to transport and I play four instruments at each gig these days so space and weight are an issue. I also recently bought one of the new Hotone British Invasion mini amps. It's 5w solid state head, fits in the palm of my hand or in my pedal case, powers a 4x12, takes pedals amazingly well and most importantly cost about a tenth of what my Vibrolux did. My new favourite trick is running it at the end of my pedalboard straight into a cab and watching people try to work out where the hell the amp is.
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Aug 15, 2014 02:44
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supermikhail posted:I know it's my fault for not mentioning it earlier (kind of didn't occur to me), but I've been learning guitar for nine years. Anyway, not really a fan of text tablature, I prefer learning classical music from notation, although I haven't touched it for a while, because I arrange with TuxGuitar, and it's easier to work with tablature. Is that nine years of playing every day or picking it up and putting it down again every six months? I'm not trying to get into "x years means you should be able to play y" territory but generally people are a lot more comfortable with their instrument after that amount of time playing. I'd agree that you should look into lessons to get some advice. Looking at the recording you posted; from what you said I assume you're working from the Newton Faulkner arrangement of Teardrop which is probably one of the better known acoustic arrangements. He does the percussion and accompaniment at the same time by using two handed tapping so he isn't picking at all, but forget all the percussion for now and just work on the fingerpicking. It's a simple repeated pattern on the top three strings and then the bass notes change underneath that. You're never actually playing more than one note at a time so it's fairly simple once you've got it, start slow and work up. On a lighter note, gigging musicians aren't some rarified breed of superhuman; we're mostly either old farts that are too stubborn to retire or young twats who haven't yet had the soul beaten out of them by spending their life playing music for a job. I'm the second type rapidly becoming the first. Apparently there is a rumoured third type who get to play arenas for millions of screaming fans but for all I can tell they may as well be mythical.
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Sep 2, 2014 02:47
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Dirt posted:I see everyone here likes the Squire VM and CV Tele's... How are the VM Jaguar's? They're all marmite guitars and always have been back to the originals. I have a J Mascis Jazzmaster, a Japanese Jazzmaster and a VM Jaguar. The JMJM is probably the most friendly and versatile stock but isn't what you'd call vintage-correct. Covers a lot of ground and is a solid guitar, used mine out of the box for a few years and never had issues. Been playing with pickups but haven't settled, gone through the stock P90s, a pair of VMJMs, a quarter pounder and the stratalikes from the Japanese JM so far. The Japanese ones need new pickups if you want them to actually sound like jazz/jaguars but have the nice chunky necks and authentic bridge positioning. I upgraded pickups and the bridge to Mustang anyway, that's my gigging guitar at the moment. The VM series are solid enough but need a really good setup. I have a mustang bridge and new pickguard on the way, will probably upgrade the pickups at some point just because but there's nothing much wrong with the stocks. Short scale neck is a weird thing and I don't see it making it into regular rotation to be honest. It might grow on me.
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Sep 8, 2014 15:21
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Schpyder posted:FWIW, Jazzmaster pickups are NOT P90s. They look similar, but have some fairly significant design differences. They've got fewer windings than P90s for the same impedance, and the poles are individual magnets, rather than steel bars leading down into a unitary magnet as in a P90. These lead to a whole slew of differences in how they react dynamically, and the kind of sound and output you get. While true, the pickups in the JMJM are specifically P90 types in jazzmaster covers; slug magnets and all.
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Sep 18, 2014 11:51
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Warcabbit posted:I am willing to bet it was a reason most 1980s bands showed like 20 different instruments in a music video. Get a $60,000 advance from your record label to buy equipment, go to your friend's guitar shop and buy $20,000 worth of gear on heavy discount . He writes out a fake receipt for three times the price and you pocket the difference between you. Record company doesn't give a poo poo because they have billions to throw around (at least they did in the eighties) and you all get to write it off as expenses because you have a hotshot accountanting team who can hide it well. Its the same dodge as big stars having to "refit their studio" every two years.
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Oct 31, 2014 02:02
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Smash it Smash hit posted:this may seem braindead and stupid but why do you never hear of any bands tuning the E string up a step instead of down? (instead of drop D do a raise F#?) seems like it could be fun and get some neat chords doing it? Drop tuning gives you access to a lot of expanded intervals: suspended sixths and ninths become really easy. Tuning up would actually make that harder. There's no reason you can't, I quite like open G with the bottom E tuned up to a G instead of a low D, but generally it's not that useful. I think I remember Tinariwen using that technique a lot , tune the sixth string to the key of the song as a drone and then play the melody over the top.
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Nov 9, 2014 17:23
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KyloWinter posted:What do goons think about this? Pickguard would come off and I would install a stetsbar/B5 but love those banjo inlays. To say that dude is in a fairly massive band and probably worth a lot of money if he's involved with the clothing line they do he looks like a massive nerdy metalgoon that wouldn't be out of place at my local jam night. What the hell, rockstars?
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Nov 26, 2014 01:03
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Day Man posted:The volume doesn't really change much between like 2 and 10, but it cuts off the sound at 0. I'm hooked up to a Vox Modeling amp. Its not a huge deal, since I usually use the amp to set the volume, but I'd like it if they worked properly. Could it be affected by the amp settings? If it does that even on the clean settings it's probably lovely pots, it's pretty common to get vol/tone pots on low end guitars that only work over a small percentage of their range. Can you live with it? Changing wiring on a semi hollow is not something any sane person should have to go through. If you can't, take it to a repairmen. If you want to try it yourself get ready for a world of pain and wanting to throw it at a wall.
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Dec 21, 2014 21:10
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Xabi posted:I'm struggling with a proper first world problem: I think I've got too many guitars. It's not too bad, but I've got six electrics and one acoustic. Depends on your definition of excess guitars but unless you have a real attachment to a guitar or it does something none of your other guitars will do it's probably dead weight. That doesn't means there's no point in keeping it around, owning guitars is cool, it's just a way of keeping track. I have a humbucker jazzmaster as my workhorse, a single coil jazzmaster with flatwounds for jazz, a Jaguar for twangy stuff and a baritone for studio stuff and that covers everything I need for the most part in my paid work and most of what I play on the side. The guy I work with pretty often owns one great telecaster and that's it, don't think he even has a backup that isn't borrowed off me and he's a full time pro. Found one he likes and that's all he needs. The other guy I sometimes play with owns eight nearly identical dual-humbucker no-trem types and is planning on a ninth soon. He's an unemployed drummer.
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Dec 27, 2014 19:18
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Kilometers Davis posted:Dunno who cares but I'm gonna blab about my barijazzer a little more. I loving love this thing. If you really dig in and drive this thing it sounds so huge and thunderous. The way the body resonates against me is nothing less than inspiring. I'm glad they went with basswood for the body. I know plenty of people dislike it but on bass/downtuned instruments I think it's one of my favorite body woods. Seriously, if any of you guys who were interested in these get one, tune it up first thing and hammer the open A and feel it. It's massive. The sustain! The feel of this instrument is exactly what I wanted and now that I've had a few days to get used to the 30" scale I have to say it's shockingly easy to adapt to. I've been burned by 7 strings and 8 strings, tone wise and feel wise and this is much, much better. Leads are great, and I haven't had an issue with chords at all. Been looking into alternate bridges for mine and it's a pain in the arse. Tele will work but will leave big holes in the body from the current bridge. Musicmaster bridge may also work but not sure how the action will be. The neck is set quite high so I'm worried that the saddles will need to be set too high to be intonated in order to prevent choking.
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Jan 10, 2015 02:13
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As much as I love both jazzmasters and telecasters, and in fact I've just installed a tele bridge pickup in my JM to try and combine the two a little, I have to admit they're very different guitars. Teles are resonant, snappy and attacking; I always feel like I'm playing an acoustic when I get my hands on a good tele into a breaking up amp, lots of right hand action and brangggg. Something to do with that huge chunk of metal bridge and the heavy bodies means it comes alive if you hit it hard. Jazzmasters are more refined or controlled, certainly darker, they sit nicely in a mix but can do aggressive stuff too. They have their own special thing even if it's hard to identify them straightaway on a record. Can be plunky and attacking but there's a lack of the resonance you get with a good telecaster where the notes just keep ringing and ringing, probably because the trem affects the string tension. That might be for you, it might not. I play lead differently on a JM too, less inclined to dig in hard and rely on blues pentatonics. Quite hard to do your basic cut-price SRV poo poo on a JM, where if I pick up a Strat I just seem to fall into that mode and I hate hate hate it.
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Feb 3, 2015 00:33
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fullroundaction posted:My girlfriend caught me looking at guitars the other night and lost her poo poo (because I used the excuse of waiting until tax returns to talk about engagement rings) Anything with active pickups into a grindy amp and play with a pick. It's not difficult to get that sound, cut your mids and boost lows and highs with a bit of overdrive. Play with a pick, can't stress that enough. Squier do a few active basses these days but if you can afford something a bit more expensive then go low end Fender or second hand Musicman. Traditionally Jazz or Stingrays as previously mentioned.
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Feb 5, 2015 01:24
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Extortionist posted:Has anyone replaced the pickguard on a JM Jazzmaster/where'd you get the replacement? USA models should fit, I got a mint green one. Don't know about VMJM swapping but assuming only minor modification at worst.
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Feb 15, 2015 00:58
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Lavender Philtrum posted:I thought I might have been paranoid about you guys being sarcastic. Good to see you're actually just cool dudes who like guitars. You're not going to get a better sound of out the Danelectro. The micro cube may not be top of the range but headphone amps are nearly universally toys and will not have all the bells like reverb that the cube does.
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Feb 16, 2015 06:22
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Snowy posted:Turns out my $100 LTD EC-50 has a stripped truss rod nut. Guess that's why it was so cheap. Anyone know if there's other necks I can fit on there or do I need to buy an identical replacement if I want a working truss rod? Like maybe I could get a neck longer than it's current 24-3/4" scale. Unless you get a custom neck you won't be able to change scale length without going into moving the bridge. It's possible to get a retrofit but it's not something you can just buy off the shelf and will cost you.
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Feb 18, 2015 00:51
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baka kaba posted:The SD tone was pretty much a ton of layering with Big Muffs (and the ol' Mu-Tron Bi-Phase) but there were some sweet lead tones in there, like the signal is going out of control but still reined back in by the production Seem to remember hearing Fender Blender for lead sounds. Definitely an octave fuzz of some kind.
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Feb 22, 2015 12:50
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Dewgy posted:Yeah but Albert King style without restringing. Confuses the hell out of me. Hendrix restrung to left handed but preferred right handed strats as the bridge pickup would be brighter on the bottom strings because of the angled mounting. Playing upside down isn't that crazy really, I've done shows with a left-handed bass in a pinch. Not sure I'd recommend it but it's doable and I didn't have to think much. Chords are a bastard without retuning to something more sensible though.
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Feb 26, 2015 19:40
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Minto Took posted:Low as in note; not position. Dale strings upside down, as you can see from the picture above. He claims that's what gives him such a strong tremolo picking style but I think being generally louder than gently caress helps a bit. He started with multiple 50 watt Bassmen and they weren't enough, so got Fender to do him 100 watt Showman amps in the sixties. He used a few in stereo with slave amps and things and he's only got louder since then.
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Feb 26, 2015 20:41
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Southern Heel posted:So I played a few P90 semi-hollows today and I have come across two things: Surface-mounted dog-ear plastic P90s look like freshly squirted bum gravy and while the neck pickups universally sounded very warm and full, the bridge pickups were very scooped; like running a P-Bass through a Marshall guitar amp. Is the latter unique to the pair I was using, or is it a typical P90-bridge sound? I wouldn't say typical. They'll be a bit more scooped than humbuckers but I found they can be quite mid heavy and almost honky with overdrive. What guitar was it?
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Feb 27, 2015 00:47
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