Let’s talk Guitars!


Well, someone here is a BC Rich fan :slight_smile:

I limit my pointy guitars to Dean, Jackson and Chapman

The bass that I played the most is the fender in the rack. It’s been in the family since 1962. Back in 2001 it took a nose dive from 3rd floor (angry wife (now ex wife) threw it out) that shattered it’s neck, and now it has a replacement neck from a 1998 mexican fender (good fit actually)

The one I play the most nowdays is the fender resonator in the back of the rack


Ouch. But that stuff happens a lot. Never ever answer yes when your wife asks if you love your guitar or motorcycle more than her. :rofl: Just lie… One guy brought me an acoustic guitar with a bullet hole in it wanting it fixed. I said wow you must have really pissed her off and he just shook his head. :grin:


All of my instruments have nicks and dings. I’m tired at the end of a show and things get bumped. All part of being a geriatric musician I guess. Been lucky with wives and busting shit up. Never drug one home that did that. My current wife’s dad was a musician so she gets the territory.


Bullet in a guitar is tough :slight_smile:

My ex did a lot worse than break that fender’s neck. She got most of my guitar collection in the divorce. There were over 20 50’s and 60’s fenders and gibsons there …


Hell hath no fury like a… Obviously those are worth a huge sum of money as collectors items… But I’m with Ogre as far as instruments being utility items. They are meant to be played and that was one problem I could never overcome. People do not want to take stuff out to a club for very legitimate reasons, consequently the vast majority of instruments I made are locked away or in glass cases.

So I was all about ol skool, old world craftsmanship and in a very real sense shooting myself in the foot…sort of. That’s why earlier in the thread I said that I chose not to have the retail storefront nor did I attempt to manufacture anything. I made a living, nothing to shout about $, but the differences between collectible, utility, and custom is a blur fora lot of people. I always told people that I could a take a reasonably well made utility guitar and make it play as good as the rest. Its IS in the fretwork. Just last week I leveled and crowned the frets, among other things, on a brand new $7500 “Big Name” guitar. He was ecstatic.


I appreciate collectors for what they do. Some of the instruments you have shown are simply works of art in themselves. Were I to be of the nature to collect, I surely would not take them to a club or to a festival or for that matter any show. Where my interest lies in regard to your talent is exactly as you have stated. The neck and the frets for those instruments that have frets. Distance of the strings from the neck, relief of the strings on the neck, intonation across the length of the neck, the contact between the string and fret. Those are the Guru abilities of a luthier that I cherish. It’s 100% about the fingers for me. I don’t use pedals or effects. I use tone adjustments only to highlight what the instrument does best. I’m contemplating taking a drive to your neck of the woods and seeing what you think about setting up the Music Man for slap. I’ve not pursued that technique much as I can get a passable sound for show with what I have but I know there is a whole other world out there.


You would of course be welcome anytime for any reason other than to turn me into freezer stock. :sweat_smile: The only problem is that I’m not sure how to set a bass up for slap. But it all starts with good fretwork and other things like precision measurements at and in front of the nut etc and from there it would likely be a have you plug in and play and adjust the action according to your touch kind of thing. We can do that.

On the other hand I just read last night about the shakeup within Heritage Guitars in Kalamazoo (old Gibson factory) They lost 14 people over new ownership and investors basically killing hand craftsmanship and replacing it with cnc machines. They fired ten and 4 more quit in protest.That company sprang from old Gibson employees and they wanted to maintain hand craftsmanship in the spirit as they said in a statement that “some of the most valuable instruments in the world” came from that building. So if you are close to Kalamazoo you may find someone very skilled. Those guys are very good.


Visiting you would be much more fun. I’ll stop before I get there for a good meal.


Hey Jim whats your take on Heritage? If I remember correctly that was 1984 when Gibson moved and they took over.

Edit: My understanding is that new owners along with Rolling Stone want to turn the old factory into a tourist attraction/museum while eliminating the old methods and machinery. Kind of bizarre reasoning IMHO.


One of the music stores in Kalamazoo had a Heritage that I think they used as a display model to get you to order one. It was a beautiful double cutaway. I never played one of their basses and never even saw one in person, but I know you could special order them.
I did talk to and play with a few guitarists that played them and they loved them. I think Heritage was freed from the commercial corporate limitations of Gibson and the guys there added that next level of craftsmanship.


That’s an understatement! LMAO.
I’ve owned and/or traded more gear than many I’d wager… But yeah. I’ll have to see what i can dig up (pics wise) the next time I’m at the house! :wink:

Unfortunately, I lost a ton of pics of older gear when I lost an 8 gig hard drive due to the main pcb frying (and before I we had the tech to recover) back around 2000. :confused:


Yep. SO much truth! I’m Fender certified (Silver) on electrics, acoustics and elextronics (never had call to go higher with the resources at the place I was working at the time)… But I got to train with Benedetto and a couple older industry names, and it was an amazing experience! Really made me wish I was in the industry proper (as opposed to schlepping at a [albeit respected, and established] local music store). I just knew I could do SO much more, if I had access to the proper tools, and could get paid for moving…

Anyways, yeah, it’s amazing the life that can be breathed into an otherwise lackluster instrument with the proper TLC!


Last rehearsal we nailed “use me up” and I think I’ve got the guys talked into “Pappa’s Got a Brand New Bag” next. Keyboardist saz the horns are no problem and already informed me he found a good chart. Really diggin gettin some funky, open, airy tunes in the mix. Had a great mastering session with the band on Saturday and got six songs finished off. Have a little break right now until the holidays for shows which is nice. “Use me up” is tits on the upright. Hopefully we can run off a recording soon.


Yeah. That stuff is great fun and the crowds love it when you get those grooves going. If you guys ever do a show in Northern Indiana let me know and I’ll drive up. Used to go to a club in Angola right off I 69 going to Detoilet but I usually don’t like to drive any farther that that any more. Bad eyes.


“Detoilet” Classic!!! :rofl:


Amps will have to wait… As well as many of the other effects. chuckles But I did manage to dig out a few of my main favorites (that I still own) when I dug up an Anvil case I tucked away here with me.

I planned on bringing a guitar and DAW, as well as a Boss rhythm station to practice with, etc. But the majority hasn’t made it over yet sadly.

The chain order (connection, for those that don’t play) is top right to bottom left.

As most of you know, I go for quality and function first. Music gear is no exception, and obviously, with sound, even more so.

The Pearl compressor is a very transparent comp, with a pretty wide range of control. I have another I like better, but it’s ultra rare, and NOT something I’d risk carrying around in a general “gig rig”. Not that I’ve played out in years. But anyways… :laughing:

The Carbon Copy is currently pulling short delay duty (usually for cleans).

The Distortion III is a nice modern update on the classic MXR Distortion, and will do sounds all the way from the original and Plus, to modern metal.

The Delay 585-A is an ooooold 18v classic that rocks the Panasonic MN3205 chip IIRC. It powered many venerable and revered old stomp delays (in the day), and because of the 18v supply, has a huge amount of headroom, with a very reasonable noise floor for its age. Very organic, without the DM-2 price tag. Great for medium delays with a ton of body!

Ahh the old orange ROSS. Back when they were still made in Chanute KS, USA. As noisy as these can be, this one is pretty quiet. Primarily thanks to giving it the TLC it demands. ROSS had a unique way of doing things back in the day, and the biggest reason for problems was the fact that they tied the audio into the PSU ground. So it has to have it’s own isolated PSU for starters.
As for sound, there’s just nothing else that will get the same sound this does, thanks to a very customized chip that’s long since NLA.

The BF-2 is pretty much a legend to itself. Monstrously deep jet flanging for classic 80’s stuff.

The CS-505 is another old school classic, that runs on higher voltage, has greater headroom as a result, so it can dish out heaps of lush, rich chorus. (Think original Japan Boss CS-2, but quieter, and just as lush, if not more so!)

The last one, and I’m sure some are scratching the head about “two phasers?” :laughing: but this is my secret weapon. This one happens to do a highly respectable Vibe, at least to my ear. (Think Uni-Vibe, not the typical vibrato) And I’ve had the privilege of working on a couple of the real deal, wooden Leslie’s, bone stock. Unfortunately though, I didn’t own it at the time to compare side by side. So take the above with a grain.

Anyways, there’s many others I’ll be able to share in the future… But I’ll throw these up for now. :wink:


That’s a blast from the past for sure. Some of those I haven’t seen for quite awhile. I don’t use many pedals but have a few that I wouldn’t part with. One is an old MXR compressor I bought a long long time ago. I did have an old 808 tube screamer but got made an offer I couldn’t refuse. Got crazy $ for what I never thought was all that good. I have a Jacques Tube Blower that I think sounds as good or better. Have some other Jacques pedals. With all the vintage amps I have my favorite piece of equipment is a Mesa Studio Preamp and use the effects loop, then out to either an amp or direct. Can crank it and still maintain whatever volume I want and still have the tube sound. The Studio has really good reverb and the graphic eq is wonderful for shaping exactly whatever I want. Odd setup I know, particularly for an amp builder.

Nice stuff sparky.


No doubt! From what I’ve seen/read, the schems on that and the old Grey ROSS compressor are very close (if not identical), but it’s been several years since I looked into it. I always wanted to build that circuit. But the original chip used in them is so hard to find.

Oddly enough, when I was doing routine maintenance on an old signal generator I have, I learned that it’s actually got the chips I need to do just that! Lmao
The only problem is, I need to buy another signal generator in order to repurpose the chips in that one. So far, that hasn’t happened. chuckles

I’ve read some good things about them. Though never had the opportunity to use/hear one in person.

The Studio 22 is definitely a nice pre. I like that one and the Quad pre (and of course the Tri-Axis). But the Quad is so hard to find, and the Tri-Axis is not cost effective and largely overkill (at least for my needs). Though I’ve gotten much closer to doing a full blown midi rig (for home “studio” use) in the last ten years. For the simplicity of interaction with a DAW and cakewalk/sonar/reason etc…

Nah. Not at all IMO. But then I’ve long embraced custom environments. So I’m not exactly in the majority in this arena either (of course). :laughing: :wink:

To me, I’ll do whatever it takes (within my finances) to get the sound I’m after. Funny looks don’t bother me. grins


Those looks are pure fun, especially when you serve up a little humble pie for these guys that think they need 2 stacks to play at the local pub. :rofl::rofl:

Years ago I started buying stock from TV/radio shops that closed and have a ton of old parts. I doubt that I would have what you need though. Probably did and pitched it. But you’re welcome to check with me when you need something, particularly oddball tubes. I do have an old Eico generator but guessing mid 1960’s.


Lots of electric players here for such a small group. So this should follow: What is your all time favorite pickup and maker? For my personal stuff, I use EMG’s near exclusively and my favorite is their neck Tele PU.