ginandcigarettes

Fit and finish and general build quality are comparable to American teles. However, the MIJ electronics leave a lot to be desired: plastic-y switches, miniature pots, and anemic sounding pickups (of course, the stock American pups are kind of lame, too, just not as lame). Swap all that out, and you'll have something pretty unbeatable for the price. But wait! The specs are typically a little different on MIJ teles as they tend to be reissues of vintage teles. In comparison to modern American (standard) teles this means vintage sized frets, narrower nut widths, slot tuners, glossy neck fi

Speaking of which, I have a Casino; what kind of replacement tuners are people putting on these?

I like the safe-t-post slyle slotted tuners for my Fenders for precisely the reasons mentioned above. I have a Dano that could not stay in tune, so I swapped its tuners for some Grover mini locking ones. It still really doesn't stay in tune that well, though it's much better than before (I suspect that the strings are getting bound up in the super soft plastic nut -- I'll replace that with bone sometime). Other than those situations, aesthetics. VOODOO ALERT! Some people think that the mass of the tuners has some great effect on tone. Of course, because this is voodoo, the opinions go

JHC, I haven't seen you in forever! Glad to see you here, buddy. (Sorry to be a thread hijacker, Lamrod. We now return to our regularly scheduled programming.)

Oops, no this is the opposite of what will happen. The boost AFTER the overdrive will not alter the tone from the pedal but will increase the volume going to the amp, which will make you louder overall. If you put the boost before the overdrive pedal, it will make your overdrive dirtier (because you are overdriving the overdrive pedal, so to speak). It might make you marginally louder, but not as much as putting the boost after the overdrive. Guitar --> Distortion/Overdrive --> Boost --> Amp is what you want.

I don't have a lot to add to the discussion, but to say that using all of the above suggestions for different situations has worked for me. In an ideal situation*, I use my volume knob to vary the level of overdrive, two separate overdrives set at different grit levels, a clean boost for solos, and a volume pedal after my overdrive to vary the volume of the already-overdriven sound. Different places you have something to adjust volume will effect your tone in different way. In the above example, lowering the volume knob on the guitar will reduce the overdrive I get from the pedal (it will

Excellent run down. I'd also add that there's a swell function on the Line6 Tone Core Echo Park for around $110 new as well as the Line6 Delay Modeler for around $250 new. Both pedals also have a backwards delay function if you want to skip the imitation and go straight for the real(ish) thing.

It looks like an Ibanez Talman TC 630 IV.

I would guess that you'd chip (cut, file) pieces off of it until it was the appropriate pitch. It couldn't be really different than a glockenspiel or any other pitched percussion instrument.

You know, I love my Fuzz Factory, but I don't think it's all things to all people. I mostly use it when I need to bludgeon the audience or when I need a wacky, Velcro-y fuzz tone or squealing feedback. It's wonderful for those things, but if a Fuzz Face is your idea of fuzz, or if you like fuzz that's close to overdrive, the factory won't really get you there.

Check of the digitech jam man: http://www.digitech.com/products/JamMan/JamMan.htm It looks more verstatile than the Boss version (though it doesn't have reverse). I don't have either, so I can't say. I do have the Line6 and its looper function is pretty rad with the reverse and half-speed options. As far as George Harrison's sound, you might look into something that gives a good slow leslie effect. That sound is all over Abbey Road, but it's unfortunately hard to get through a pedal without it just sounding like chorus. I know the prohibitively expensive H&K Rotosphere does a pre

I would think that nut width would make more of a difference than fingerboard radius to those of us with smaller hands. I checked out their website, and I could find precious little about nut width save for a description of their replacement necks, which are an aircraft carrier-sized 1.71 inches (Gibsons and modern American Fenders are typically 1.6875"; vintage Fenders are 1.625"). Scale length would also make a difference, but since you play both Gibsons and Fenders (24.75 and 25.5 respectively, I think) this doesn't seems like much of an issue. I hope this helps.

I'm pretty sure there was a relatively complete catalog somewhere on here, but I can't seem to find it. Anyhoo, just off the top of my head: Keyboards: Roland RD600 Wurlitzer 200a (?) Hammond A100 Nord Lead 2(?) Grand Piano Upright (tack?) piano Pump Organ Marimba Effects: Korg KAOSS Pad Digitech Space Station

No problem. My guess is Jay came up with the part. At the very least he plays it, since the part seems to require some ring finger snapping of strings, which is tre Jay, and it seems to be a single take with the intro lick the rest of the lead guitar in the song.

Ask while I am sober and you shall receive: 0..+.....+.....+.....+.....1..+.....+.....+.....+...... e--------------2-----------|-----------0--------------| B-----------2-----2-----0--|-----0-----------0-----0--| G-----2-h3-----------3-----|--1-----------------------| D--------------------------|--------------------------| A--------------------------|--------------------------| E--------------------------|--------------------------| 2..+.....+.....+.....+.....3..+.....+.....+.....+...... e-----4--------4-----------|-----6--------2-----------| B--------5--------5--------|--------------

Are you talking about the piano part in the chorus? 1p.+.....+.....+.....+.....2p.+.... e--------------------------|------- B--------5--7--5--4--------|-------- G--4--6-----------------6--|------ D--------------------------|-------- A--------------------------|----- E--------------------------|------- Note: the second time it comes around in the chorus it starts on the upbeat of 'four'. Or the guitar part during the descending line? 1v.+.....+.....+.....+.....2v.+.....+.....+.....+...... e--------5-----------5-----|--------5-----------3-----| B-----7-----------6--------|-----5-------

Yeah, this doesn't make any sense because the tab isn't quite kosher. Try this: Intro . . . . E . . . C#m . . . F# . . . | . A . [E] Like a cloud his [G#]fingers explode on the [A]typewriter ribbon the [F#]shadow grows [E] His heart's in a [C#m]bowl behind the [F#]bank [F#] [A] [E]And every evening when [G#]he gets home [A]To make his supper and [F#]eat it alone [E] His black shirt cries while his shoes get [F#m]cold [Faug] [A/E] It just a [b7] dream he keeps Here

Oh, hold it with all three? Yeah, I'll sometimes do that, but rarely since I use my middle finger so much for chicken pickin'. I think Eddie Van Halen plays with the pick between his thumb and middle finger.

Not really. You start the scale on a different degree within the scale. So instead of DO RE MI FA SO LA TI DO, if you played RE MI FA SO LA TI DO RE you would be playing a scale with a Dorian flavor, MI FA SO LA TI DO RE MI = Phrygian. (Spellcheck wants to turn "Phrygian" into "theologian" -- I guess spellcheck don't know nothing about my soul. I thought you'd be amused. Sorry.) I think there's a better way to, um, think about it since no one runs scales up and down unless they're Phillip Glass. Remember that theory is just a way of intellectualizing what you're already doing. So if y

Hmmm... I can't imagine that he is actually picking using the pick this way; it doesn't seem like you'd have any control over the pick no matter how much you practiced. I can't be sure without watching the video, but I'd imagine that he was just saving the pick there as other people would palm the pick when they're using their thumbs. I'm not coordinated enough to have anything in my palm when I use my thumb, so if I want to use the thumb, the pick goes in my mouth. Most of the time, I just use my pick (between the thumb and first finger) and the middle finger (and rarely the third finger)

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Thanks Sarah! I love SpongeBob, too; I'm pretty star-struck.

Hey thanks, MattZ. I really appreciate it!

I think you'll be fine. The vintage "ashtray" bridge has the same four-screw mouting spacing as the Mexican tele. I think American teles use three screws, and squiers use all sorts of different combinations. I was able to swap the vintage style bridge from stew-mac with the bridge in my MIM Nashville tele with no problem.

Thanks! I use the Carl Martin AC-Tone. There's a youtube video of it done by one of the editors at guitar player magazine. I'd link to it but youtube is being uncooperative (though the sound quality of youtube is so bad that I'm not sure if it's the best way to evaluate a pedal -- you just have to kinda take the guy's word for it). I think it's a wonderful pedal -- it's got 2 identically voiced channels that you can set for different levels of gain plus a clean boost switch that works independently of the overdrive so you can boost either of the overdrive channels or just your un-effect