rockabilly69

I would love to do that, get one right from the source, and have it setup perfectly to my liking while I was there!!! I play alot of acoustic guitar and resonator with my band, and because of that we have to keep our volumes approriate. I posted this in another thread, but in this song I doubled my Martin HD28 with my National M2 reso. Listen to the drums, you can tell that we aren't that loud. We record in my very small studio so anything really loud would overtake the room.

Did you get any sound samples of the app before you delivered it, it looks pretty cool.

Well rock and roll can be unkind, but we keep our stage volume and rehearsal volumes at a totally reasonable volume. Now that nonstop cacophony at Heritage, which doesn't let up, is sure to kill some ear drums! And BTW, my main gig is playing acoustic, and it's funny, I went acoustic so I wouldn't damage my hearing

How the guys that work there avoid hearing damage is beyond me. That is one noisy environment.

Pictures, cause people like pictures... Gotoh 510 standard 18:1 Gotoh Luxury Engraved 510 21:1 Schaller M6 Schaller M6 top locking back view Schaller M6 top locking top view...

I've switched between Gotohs 510s and Schaller M6s, for both aesthetic reasons and for different tuning ratio, 21:1 on the Gotoh 510, and cannot hear a difference. I personally love M6 tuners. I have them on a PRS and 3 Zemaitis guitars. You sure you got genuine M6 tuners, I've never heard of sharp buttons.

I've never heard a set of the '59s that I really liked. But I have had some good luck with the Seth Lovers and Dimarzio 36th Anniversarys. 36th Anniversaries are what the higher Zemaitis reissues shipped with, so I have had mulitiple sets, and I left them in two of my Zemaitis guitars and they are getting the job done. I swapped out the original Pearly Gates pickups that my newer H150 had in it, for some some Seths and I liked the Seths much better. I later swapped the Seths for a set of Duncan Custom Shop non potted Peter Green pickups (without the reversed magnets), and they sound great! But the best sounding low gain PAFs I've heard from Duncan is the lowly Jazz pickup which most people just use in the neck, I loved the Jazz bridge pickup, I got some killer tones out it with my Marshall amp...

Oh my that's a stunner

you'll love it!!!

Tim, that is one of the best music books that I've ever read. I'm glad you posted it as I hope others get turned on to it! And thanks for the nice words on my playing and listening to the song.

Yeah I've never seen or heard of a Fender amp earlier than this one! And that Nachoburst was pretty cool too!

Thanks DB, I am pretty lucky to know Lynn Wheelwright. When he needs someone one to demo his stuff, he usually calls me, or the other guitar player in our band Vorraro, Ryan Hawthorn. We have goten to play some seriously cool guitars and amps, stuff people dream about, and more than once, Lynn has allowed me to keep guitars/amps overnnight so I can really learn about them. Lynn is a a walking encyclopedia of knowledge when it comes to vintage electric guitar stuff, but when it comes to actually using the gear and making music with it, he loves to get feedback from Ryan and I. Check out Lynn's work on this book... https://pinecasterbook.com/the-authors/

I thought this might be a fun thing to talk about. Last night I spent at least 8 hours playing through a really cool historic amp, a 1941 Fender amp, which you could read about here in these two articles... https://reverb.com/news/the-vibro-set-where-fender-really-started https://www.fretboardjournal.com/video/hear-one-of-leo-fenders-first-musical-instruments/ (that's actually me playing the Strat and the ES125 in some of the videos posted) Last night I was recording the tones of the amp with some different guitars than the ones we used last time. All of them belonging to me, except for one (see below). And the owner of the amp, famous guitar historian Lynn Wheelwright, had me test it out with a new speaker that was custom made for the amp by the Jupiter Speaker company. Lynn built an external speaker cabinet for it, which was probably a good idea, because I was playing with the amp at almost wide open volume at times. The amp itself had just gone through a tune-up, so we were checking it out how to see how it was performing. The amp was plugged into a brown box voltage regulator. The amp performed great, and even after 8 hours of being on, there was no sag in tone that I could hear. And it was really a quiet amp compared to many of the vintage amps I've played through (most every model 50's tweed, and 60's blackface amps). Here's a picture of the Vibro amp (only one volume control which works on the mic channel only, no volume for the normal channel) with the external cabinet miked up as it was set up in my studio (brown box to the right)... I had some rhythm tracks recorded before Lynn got there, so I just played the lead fills on each guitar, so we could compare the sounds of each if them through the amp. I played my Strat, my Tele, and my Gretsch G6120T 55VS (DeArmonds) through it. I chose the Strat and Tele guitars because they are partscasters that I built, and both are better than my Fender Custom Shop guitars. They are three of my favorite instruments, which I have played through some great vintage amps, and Lynn really wanted to know how I felt this original '41 amp compared to these amps. We had already tested the amp with vintage guitars a while back (55 Strat, 56 LP Special, and an early sixties ES125). Lynn may have some reproductions of this amp made in the future, so we were doing some research to see how well the amp played with some modern guitars, and how it compared to modern boutique amps. I say if they got the reproduction right, this would be a cool amp to own because it has some really cool tones. Especially for someone like me, that really likes slightly dirty vintage guitar tones. It gets great clean tones with lots of harmonic content, and some pretty great dirt when cranked, but I really loved it with just a bit of hair on it. It just has a unique voice. I ran the amp through it's paces playing from whisper quiet, to rattle the external cabinet loud. And like most amps, it had it's sweet spot were it revealed the qualities of each guitar. There really wasn't a guitar that it didn't like! The only thing we hadn't tested it with was a humbucker guitar. Well Lynn just got a new Nacho Les Paul, and I told him it would be cool to test the humbucker sound with it. He was thinking the same thing, so he went home got his Nacho, and brought it back to my studio. Here it is... And we plugged it in and it sounded great. It sounded very vintage. The body was very resonant, and the pickups had the microphonics that people associate with a good PAF. The action was a little high, but low enough for me to get the job done. I got the takes with the Nacho on the first pass. I really wanted to hear more of the Nacho, but it was getting late, so I asked Lynn if he would leave it and the amp with me, so I could see I could find some really good tones. Only thing, when I was testing out the other guitars, I was going for some fast picking on the Gretsch, which had on some heavier .012 flatwounds, and I developed a blood blister on my fingerpicking hand (I rarely use a pick). So I was mainly looking to play less aggressive with the guitar while testing for tones. I thought it would be cool to find some tones that would be unique to that guitar and amp combo. While I was twiddling the volume knob on the amp, I heard this really cool acoustic like tone out of the middle position of the Nacho, very Stones like, so I wrote a little slide guitar song around it. There are three tracks, the first rhythm on the middle position, slide guitar with the bridge pickup, and a little solo with the bridge pickup for the third track. BTW I was plugged straight into the amp, no pedals here As a matter of fact if you listen closely, you can hear those Nacho pickups getting some cool compression and double tones. And the amp was just turned up enough to get a litte hair. This is what I came up with...

That's why Page tried to make his Les Paul so much like his Tele Frankly though, I kind of do the same thing. I wired my humbucker Zemaitis guitars with a high pass filter so I can make the humbuckers sound like singles when I need to. I got that idea from the PTB (Passive Treble Bass) cicuit that's in my G&L Legacy. And my Teye guitar has what's called a mood control that does the same thing. I think Page moved to the Les Paul because he preferred the way the his Paul could conjure up the heavy tones with his stage amps, and when he backed up the volumes, the PAFs could get into the Tele zone.

Meant to say "the goal of the PAF was to sound like a P90 without the noise" whoops

They are just saying that the goal of PAF was to sound like a PAF without the noise. There are many people, including the early pickup designers that feel the P90 is the best pickup that was ever made. And some of those early PAFs do sound quite a bit like an hot Balckguard Tele pickup.

this the Sebatron...

Thanks I got a new preamp in the house, a Sebatron VMP2000VU, I use the 4 channel version of this in my studio, although my studio one doesn't have the VU meters. I don't think there's better multi-use tube preamp for home and project studio use. I love it on everything. All the drums you heard from my studio were through the Sebatron. And it sounds great on bass and guitars too. I recorded a cleaner and slightly longer version of this song with my Jaguar through the same mics and pre...

Congrats, and as Rich said glad it turned out great for you!

well that's a great idea!

I almost sold mine, but it was too good sounding after I put the Wolfetone pickups in it (Dr Vintage neck, Marshallhead bridge), and when I changed out the switch, I put new CTS 500K pots in , Sozo .022 cap, all new cloth pushback wire, and a switchcraft jack, so it's good to go!

Frankly, it kept me from playing that guitar!

Thanks Rich, I had a big condensor mic on in the room and when I was tapping my foot I noticed it picked up a pretty good thump from the carpeted floor And... I always tap my foot when I play Blackbird!!! BTW I posted the wrong pickup combinations, this is the right combos... Left Side position 1: neck position 2: neck and bridge In Parallel / In Phase position 3: bridge Right Side position 1: neck and bridge In Series / In Phase position 2: neck and bridge In Series / Out Of Phase position 3: neck and bridge In Parallel / Out Of Phase

A few days ago I replaced the single coil Nocaster Cavalier Holy Grail pickup in the partscaster Esquire that I built with a Seymour Duncan Billy Gibbons BG-1400. I love having a great sounding single coil sized humbucker in it, especially because it's humbucker quiet! The Nocaster Holy Grail was great sounding too, but I hated dealing with the single coil noise when recording by my computer monitor. And just last night I replaced the 5-way switch in my PRS Custom 22. I never liked that switch, as I never knew what position I was in. And grasping the 5-way switch with sweating hands while under the stage lights was a pain! Fortunately there's a company "Free-Way" that makes a great 6-way toggle switch that is fairly straight forward to install. I used model Number 3X3-08 Here's the guitar with the Free-Way switch installed... The switch has 2 banks of pickup selections. There's a left and right side of three postions each... Left Side position 1: neck pickup (coils in parallel) position 2: neck and bridge in phase (coils in parallel) position 3: bridge pickup (coils in parallel) Right Side position 1: neck and bridge (in series) position 2: neck and middle (in series) Out Of Phase position 3: neck and middle (in parallel) Out Of Phase So here's a demo of the Esquire as the rhythm guitar, and my PRS with me switching through the switch positions starting with position 1. I'm also playing bass, snapping my fingers, and I mic'd the floor so you can hear me tapping to the beat:)

congrats, nice looking combo and great sounding amp!