Guitar and Bass Discussion - Sperg about players that inspire you, gear, share your experiences, etc.

Interdasting. I was toying with the idea of Fishmans in my FGN.

I like the Fishmans. I never expected to, but they are so neat and glassy, they suit a modern HH or HSH perfectly (if you're into active electronics). Apparently there is a new Fluence out with a third voicing as well, but I really just mess around with the standard voice of the pickups as it is good enough for me. Like I said I have never really been too anal about my pickups, as long as they aren't objectively garbage you can make most pickups sound pretty good through playing and amp settings. until recently I have avoided "metal" pickups like the plague but I have to give props to the Nazgul, it's just got a great sound profile.
 
IDK how the Nazguls compare - I'd imagine they're similar in this respect - but the Distortions are sublime for pinch harmonics. You could wire a Duncan Distortion up to a fence made of no.8 wire and sound like Zakk Wylde.
 
Anybody fucked with a Variax?

I'm going to be traveling a lot for work for the foreseeable future and will only realistically be able to bring one guitar and an ampless rig, and I'm wondering if it's worth it over a HH with coil splits.
 
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Once I learnt that the 67 reissue Flying Vs are routed from the factory to (just) accept P90s, I converted mine with a set of Wolfetone (lol) Mean and Meaner.

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Don't mind the non-matching screws, I have to take it off and mount the neck pickup higher.
I'm thinking about cutting the pickguard behind the bridge posts so I don't have to remove the whole bridge every time I remove the pickguard.
That is one of the cool things about Flying Vs, though. Everything's wired to the pickguard like a Strat.
So I have this pickguard and another with humbuckers (I added nickel covers and messed around with different magnets with the stock 500T/496R and some other pickups). I added a quick connect clip to the wiring so it's easier to swap between them. Next will be a bridge-only version with an EMG.
 
Anybody fucked with a Variax?

I'm going to be traveling a lot for work for the foreseeable future and will only realistically be able to bring one guitar and an ampless rig, and I'm wondering if it's worth it over a HH with coil splits.

I'm pretty sure they are Piezos with an onboard DSP.

Are you deep into the Helix/Line 6 ecosystem? Do you need midi from a guitar? Does line 6 even sell Variax pickups/electronics. I thought you had to buy one of their rebranded Yamahas?

Ps. For a travel guitar I would highly recommend a chambered headless. My old Korean Strandberg weighs less than a math textbook and it's probably compact enough to fit in an overhead.... then you just get the most compact DSP/Multi-FX that you can afford/suits your needs, or get some compact USB interface and do the DSP on your laptop if you really want to go light and don't care about having foot control. Also regarding Variax the Helix (especially the full sized one) is a rather bulky/heavy unit but they do have the Helix Native software.
 
I'm pretty sure they are Piezos with an onboard DSP.
Yeah, the gimmick is that each saddle is a piezo and the strings are supposedly processed separately to some extent before the signals are summed. AFAIK anyway. I have a guitar with an aftermarket piezo bridge so I could probably get close with EQ and VSTs but it would be nice to hear the models in real time.

Are you deep into the Helix/Line 6 ecosystem?
I have an HX Stomp and Helix Native but I don't use it for much more than amp modeling, and as an interface. Same with Tonex. In the past I've run them into the effects returns of real amps/cabs so I haven't messed much with cab sims or IRs yet.

Do you need midi from a guitar?
No, not at all.

Does line 6 even sell Variax pickups/electronics.
Idk, idc. I'm talking about the guitars, and about buying one for this use case.

Ps. For a travel guitar I would highly recommend a chambered headless.
I'm not super worried about weight and size compared to versatility, I currently have seven guitars (down from ten) and I'm willing to sacrifice size/weight to have a decent facsimile of them on the road.

or get some compact USB interface and do the DSP on your laptop if you really want to go light and don't care about having foot control. Also regarding Variax the Helix (especially the full sized one) is a rather bulky/heavy unit but they do have the Helix Native software.
This is actually what convinced me to buy the Stomp; Native + interface does the job as reamp utility but the latency was too much for tracking.
 
I'm not super worried about weight and size compared to versatility, I currently have seven guitars (down from ten) and I'm willing to sacrifice size/weight to have a decent facsimile of them on the road.
It's ugly as shit but the Steinberger Spirit is a great travel guitar.


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It's ugly as shit but the Steinberger Spirit is a great travel guitar.


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Sounds like it doesn't even have coil splits? I'm looking for something to sonically stand-in for LP, tele, super-strat and ideally acoustic as well, that's why I'm asking about the Variax. Just wondering if anyone has experience with them.

Unless the models are seriously ass or there's some major shortcoming I'm unaware of I'll probably treat myself to one and try it out.
 
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Currently procrastinating on this project, an ES135. I have to look at the neck pickup, and continue sanding but I made the mistake of stringing it up after repairing/replacing the tuners that needed it.
Still not sure what I want to do with the finish, whether to stain or paint, and what colour.
I like to do something different. That's the main reason I don't pics here, I sell them online and they're usually unique enough to be identified if someone could be bothered.
I'd like to do a green or blue, like sherwood green or olive drab. Back to factory cherry red is a possibility as well.
That's the good thing about procrastinating, you've got time to decide.img1[2690].jpg
 
I ended up buying an Ibanez PIA.

The PIA is slightly different from your garden variety RG style super-strat. Very similar, but with some very slight changes. The bezels are more rounded and initially I was having some pain and discomfort (I'm too used to the RG-style body). After dreading the idea of having to return the PIA, I found that after a few days I got used to it and thankfully it was only momentary.

It's definitely one of the most beautiful guitars that I've ever been around, let alone owned. It feels weird because on one hand, I don't feel as though my playing level justifies owning this thing...but it's also inspiring me to try and get better so there's that.
 
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Does anyone have or play a short scale bass/guitar?
For some reason I've been eyeballing the Ibanez miKro stuff as perhaps a fun alternative.
 
I'm finding myself intrigued by the vibrato on these Rick Toone guitars. At nearly $6k for a Strat-type guitar, I won't be buying one any time soon, but the bridge is very interesting and if it becomes available as a retro-fit, I might well mod one of my old Tokais with one. The claimed pitch range is between a perfect 5th down to a minor 3rd up, and it bends in tune, much like the Steinberger system, only (apparently) less complicated.

 
Anybody fucked with a Variax?

I'm going to be traveling a lot for work for the foreseeable future and will only realistically be able to bring one guitar and an ampless rig, and I'm wondering if it's worth it over a HH with coil splits.
I have a Variax guitar. JT-89. (The James Tyler series - no Floyd, but not the $10k version)

The profiles are good. A talented ear can BARELY tell they are simulations, but not through a pedalboard.
It was a good purchase. I enjoy the fuck out of it. Also, customer support is #1. I had issues with the proprietary batteries - so they sent me 3, free under warranty.

My favorite function is the 'Workbench HD' - where you make your own guitar tones based on a virtual profile
Also you can program different open string notes - like 'flip a switch, now drop-D (or drop-E, or DADGAD, or EEEEEEE lol).

However - the raw material is prime. The humbuckers (my version) are excellent and I play it sometimes w/o the variax circuit. The finish and shape are everything I wanted in a strat-style guitar (sumptuous glossy-black, HH strat style) (made by Yamaha - James Tyler designed)


P.S.
If you want to stand out - you can literally program a tone that is totally unique (also there is a tone-sharing community).
Want splits? Want taps? Want both? Want kill? Want all?
Every button and switch on the guitar is programmable.

It really isn't a joke/meme guitar. Very professional and very adaptable.
 
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Alright my gentlemans. The temporary neck is repaired, finished being painted and polished, and finally bolted on. This was a mother fucking rollercoaster and total nightmare of a project to complete. I will try to (as quickly as possibl) detail all that had to be done.

Let me say right off the bat that I am aware that the pink is not identical. But it's close enough especially after the trouble I went thru looking for it. When I eventually get the Warmoth neck I will send it off to be professionally painted with swatches and the whole nine yards.

Nevertheless, I am still pleased with how both temporary necks became. Now that the scalloped neck is off, I will proceed with leveling the two dead frets and sanding the clearcoat off that headstock so I can paint that one next.

Forgive the wild strings, I am waiting till they stretch to clip them:
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Here were the chores:

1. I had to put the proper Original Floyd Rose studs in. It was a terrible pain to remove the ones in the guitar, which I found out after installing the scalloped neck were worn out and overlong. These new studs and bevels were equally hard to hammer in, but they are Perfection (I mean they did come with the bridge, so...)

2. I had to nigger-rig some tuners. Big time. I had no extra normal or locking tuners, and this current set is broke broke broke. I managed to rig them up to work, and I can use them while I am waiting for the new set to arrive in the mail. This was an even more gigantic pain than the studs, and involved basically building a few of my own gear teeth. They definitely won't last permanently, BUT once I get these strings stretched and the nut locked down, I won't have to mess with them until I replace the whole set.

3. I had to blind-order a fuckton of paints until I got a pink sparkle that came even REMOTELY close to the body color. With the USPS mail being delayed for weeks due to the dangerous and clearly lethal weather hazard of ~45 degree temperatures (lmao), finishing this neck involved a lot of waiting. And waiting. And frustration. And more waiting.

4. Remember that this was the neck that arrived broken, so I had to fix that. before doing anything else.

5. So this build is clearly cursed. But, the neck plays wonderfully, and I am very happy. I will keep the two cheapo necks as spares once the Warmoth arrives, and probably eventually have all three professionally painted. I like both of them so far. A lot. They exceeded my expectations and I am very pleased.

Finally, I know the headstock paintjob isn't perfect. I did everything with some painters tape, 4 colors, some clearcoat and a little 3000 grit sandpaper. It was as close as I could get to the reverse of the ESP Kamikazi pattern, which the body copies. To make up for several spots that are not identical to the original, I intend on possibly putting a cool sticker across those parts, probably with the "1986" kanji on it. Here is what that will look like:

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The second sticker (circle) is where the ESP logo went on the original, which is why the paintjob there looks so wonky on my version. Some might say it looks okay and that I am nitpicking, but it bugged me enough to order some stickers to be made...so. yeah

Anyway, that's it. I will post pics of the Warmoth neck when it comes. The specs in case you are wondering are: Wizard profile, 16"radius, 22frets (prefer 24 obv. but this body is too short of scale), birdseye maple neck and fretboard, pearloid Nightswan inlay and a "Slapshot" headstock, of which is basically the same headstock as above but I will have to sand off the "Legal Nubbin" that Warmoth puts on all their licensed designs so they don't have to pay a fee.

Thanks for checking out my new completed project, it really was a rollercoaster ride of shit getting this thing put together. But I like it a lot. Busy breaking in the neck as we speak, it's got a bare wood and oil rubbed finish and feels wonderful and soft to the touch.
 
I have a predicament and I would really appreciate some advice.
I am learning mandolin and guitar. I can play simple shit on each, but it’s the new semester and I’ve fallen off practicing (ie noodling around). I now have like a half hour a day between my various obligations, more on some days of the week I’m off work.
What should I be focusing on during my short days? Chords? Strumming? Scales? All of them on different days?
I definitely need an actual structure to my practice, I know by now that’s how I stick to things better, but I have no idea how to properly go about that.
Any help would be appreciated.
 
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