The Ever-Expanding Gear Thread

[Sputnik]

That is one fine-looking guitar - congratulations!!

Thanks!

1. The whole on this guitar is much greater than the sum of the parts, something which has been reached by a long process of what one might call 'methodical trial and error; 2. It's indisputably my guitar, reflecting my own personal tonal and playing priorities and how these have changed over the years; 3. I've had an awful lot of (expensive) fun getting there!; 4. I would have been much more reluctant to make the same number of alterations to a more expensive instrument that would have had a serious effect on its potential resale value. I have absolutely no issue, however with tweaking a cheap, but fundamentally sound guitar, however. And I love what I now have.

Couldn't have said this better myself. I increasingly think of hardware and electronics as ephemeral. If you have a good body and neck that you like, then do the mods you feel are necessary to get the rest of the guitar in line (assuming, as you said, this is an instrument that you feel comfortable modifying, which is an important factor). The guitar might wind up reflecting several milestones in your "journey," but as you say, it will be your guitar, and there is a certain joy in that which I'm also discovering as I tinker with a few of my instruments.

I think there's also a great lesson there as well that inexpensive instruments are not always "cheap." Ibanez has been building amazingly solid instruments for decades at extremely reasonable prices, and there are plenty of other examples today. So if you really don't have a lot of money to spend, or simply want to give something a shot but not spend a ton, you can find good instruments at lower prices; with the caveat that you may feel some parts need an upgrade over time. But if that neck and body are good, that's 90% of the battle, imo.

Bill

[Sputnik]

OK, you will probably think this excessive, but here's what I did. I'm having a shitty time at work right now, and the MTD bass really isn't settling with me. It's just too heavy, and it doesn't play as good as I hoped, and it sounds "OK," but not spectacular. So I engaged in a little retail therapy and bought this:

saqsvjigaott5yxxlfdv.jpgzshrcvqdwufxbi4ppgcc.jpgiuos56mkojolfxpg2o7m.jpg

This is a Muckelroy custom hand made bass (#105 apparently). Brady Muckelroy is a builder in Texas, and he is doing some pretty incredible things, particularly with fretless basses. This is a lined fretelss, 33" scale, Texas Pecan body, Rock Maple & Bloodwood neck, Lacewood board, passive Aquilar pickups, and Hipshot tuners. I got the bass Thursday, we had a rehearsal Friday, and we did a gig yesterday and I used it.

Simply put, this is the best bass I've ever owned by a mile. The playability is awesome, I love the 33" inch scale. The bass is just over eight pounds, so not heavy at all. Tonally, it took me about 15 minutes to dial in a usable sound for the gig. I got lots of compliments on the tone, and the band loves it because it it tight and focused, but cuts through the mix. Today I spent a bit more time tone-shaping, and now I've got it really groovin' (800K baby, that's the sweet spot!).

So, all's well that ends well. Obviously this cost a bit more, but selling the MTD plus a couple of other things kicking around will mostly cover the cost. Bottom line is, this is the bass of my (current) dreams, and really will handle just about any situation I'll need a fretless, though I am keeping the Toby Pro because it has five strings and I've written stuff specifically for that with Eccentric Orbit.

Hallelujah, fretless search is ovah!

Bill

[Plasmatopia]

800K? That really IS a "high end" bass.


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[Sputnik]

800K? That really IS a "high end" bass.

LOL! That's a frequency, not a price. Goose 800K and a fretless comes alive, apparently that's the "mwah" frequency.

The bass actually cost $2,000, though it had been marked down from closer to $2,500. It's easily $500 better than my Jaco jazz bass that I paid ~$1,500 for, so I think I got a good deal from that perspective, especially for a boutique, handmade instrument.

Bill

[kid_runningfox]

OK, you will probably think this excessive, but here's what I did. I'm having a shitty time at work right now, and the MTD bass really isn't settling with me. It's just too heavy, and it doesn't play as good as I hoped, and it sounds "OK," but not spectacular. So I engaged in a little retail therapy and bought this:

Bill

That is one sweet instrument, sir - congratulations!!

[Sputnik]

That is one sweet instrument, sir - congratulations!!

Thanks! I'm really happy with it!

Bill

[Rarebird]

OK, you will probably think this excessive, but here's what I did. I'm having a shitty time at work right now, and the MTD bass really isn't settling with me. It's just too heavy, and it doesn't play as good as I hoped, and it sounds "OK," but not spectacular. So I engaged in a little retail therapy and bought this:

saqsvjigaott5yxxlfdv.jpgzshrcvqdwufxbi4ppgcc.jpgiuos56mkojolfxpg2o7m.jpg

This is a Muckelroy custom hand made bass (#105 apparently). Brady Muckelroy is a builder in Texas, and he is doing some pretty incredible things, particularly with fretless basses. This is a lined fretelss, 33" scale, Texas Pecan body, Rock Maple & Bloodwood neck, Lacewood board, passive Aquilar pickups, and Hipshot tuners. I got the bass Thursday, we had a rehearsal Friday, and we did a gig yesterday and I used it.

Simply put, this is the best bass I've ever owned by a mile. The playability is awesome, I love the 33" inch scale. The bass is just over eight pounds, so not heavy at all. Tonally, it took me about 15 minutes to dial in a usable sound for the gig. I got lots of compliments on the tone, and the band loves it because it it tight and focused, but cuts through the mix. Today I spent a bit more time tone-shaping, and now I've got it really groovin' (800K baby, that's the sweet spot!).

So, all's well that ends well. Obviously this cost a bit more, but selling the MTD plus a couple of other things kicking around will mostly cover the cost. Bottom line is, this is the bass of my (current) dreams, and really will handle just about any situation I'll need a fretless, though I am keeping the Toby Pro because it has five strings and I've written stuff specifically for that with Eccentric Orbit.

Hallelujah, fretless search is ovah!

Bill

What a beauty.

[Plasmatopia]

And yes, I should've said....that is an amazing looking bass! Glad you found a great one.

[Sputnik]

What a beauty.

And yes, I should've said....that is an amazing looking bass! Glad you found a great one.

Thanks!

[Rarebird]

Thanks!

I really like those basses, that really show the wood structure.

[Yodelgoat]

I should update y'all on the Cozart 12 string, It came looking quite stunning. I am still trying to get the thing in tune. Its going to be tough to get a full song done without retuning, The tuners probably should be replaced. I lowered the action, and it seems to be better. I havent hooked it up to an amp yet, so as to the sound, I cant say. Generally, its quite nice looking, the playing seems OK, nice feel to the neck. Lighter than I expected. The neck is nice and wide, but feels fairly "thin", meaning my stubby fingers can reach everything.

I wish it was a Rick, but I didnt have to sell my soul to get it...

[Sputnik]

I should update y'all on the Cozart 12 string, It came looking quite stunning. I am still trying to get the thing in tune. Its going to be tough to get a full song done without retuning, The tuners probably should be replaced. I lowered the action, and it seems to be better. I havent hooked it up to an amp yet, so as to the sound, I cant say. Generally, its quite nice looking, the playing seems OK, nice feel to the neck. Lighter than I expected. The neck is nice and wide, but feels fairly "thin", meaning my stubby fingers can reach everything.

I wish it was a Rick, but I didnt have to sell my soul to get it...

Tuning issues typically are not the fault of the tuners. The real culprit, particularly on cheap guitars, is the nut. The nut is probably not cut right and is pinching the strings, so even when you tune it, the strings will "pop out" when you start playing.

The first thing I'd try is graphite or silicone in the nut slots and on the point where the string touches the bridge, or get some Big Bends Nut Sauce. Yes, laugh all you want at the funny name, but this stuff works, and it's not expensive. I've used it for 3-4 years, and guitars that formerly wouldn't stay in tune do now.

If those don't fix the problem, go to a repair shop and have them cut you a new nut out of TUSQ or a similar graphite compound, or maybe they could help you find one that would basically fit and then do the install and some "cleanup," which might save you some money versus cutting it from a blank. I suppose they could also try filing your existing nut, but my guess is they will look at it and laugh... which doesn't mean you got a bad guitar, this is just a typical problem with cheap instruments.

But first try the graphite or silicone, and don't be conservative with it.

Bill

[bjoneill74]

ohhh GEAR PORN THREAD... I'm in

G&L ASAT-S
Ernie Ball Music Man John Petrucci 7 string
Ibanez RG Prestige 7 string (upgrade to DiMarzio pickups)
Ibanez S 7421 7 string
Ibanez USRG 30
Fender Highway1 Strat - 3 color burst
Fender American Special shoreline gold
Fender Japanese Strat with Dave Gilmour EMG pickups
Ibanez RG 570
Epiphone Casino
Epiphone 12 string acoustic
Taylor 414 CE
Godin ACS tele - Nylon string
(I'm probably forgetting a few).

Mesa Boogie Mark V 90 Watt head
Mesa Boogie TriAxis midi preamp
Mesa Boogie 2:Ninety power amp
Mesa Boogie Lonestar 2x12 combo
Mesa Boogie Studio .22 Caliber
2 Mesa 4x12 Standard Recto cabs
Fender 59' Bassman RI
Vox AC30
2 2x12 BLB cabs with celestion G12's

Eventide Eclipse
Eventide Time Factor delay
Strymon TimeLine delay
Strymon Mobius modulation
Strymon El-Capistan dTape delay
TC Electronic X4 Alter Ego
TC Electronic Hall of Fame reverb
TC Electronic Shaker Vibrato
TC Electronic Corona Chorus
TC Electronic SCF Chorus
Anolog Man King of Tone OD
Fulltone OCD OD
Fulltone OctaFuzz
Fulltone FatBoost
Fulltone Fulldrive OD
Diamond Guitar Compressor
Demeter Comuplator
Keeley modded Dunlop Wah
Keeley modded Boss DS-1 Distortion
Keeley modded Boss TR-2 Tremolo
Keeley modded Ibanez TS-Flexi 9 Tube screamer
Boss DS-1 distortion
Boss MD-1 mega distortion
Boss PH-3 phase shifter
Boss DD-20 Delay
Boss DD-6 Delay
Boss CH-1 Chorus
Boss GE-1 EQ
Danelectro - Back Talk reverse delay
Catalinbread - Dirty Little Secret foundation OD
SoundBlox - Multiwave Distortion
Jack Deville - Tunnelworm through 0 flanger
Jack Deville - Eterna Shimmer Reverb
Push + Pull - Triton Fuzz
Push + Pull - San Bernadino OD
Fairfield Electronics - Unpleasant Surprise
RJM Tone Save
RJM Mastermind PBC

Great River MP2-NV
API 3124+
Alesis Q2
Lexicon MPX1
Lexicon MPX500
FMR Audio RNLA7239
Presonus Studio Live 24.4.2
Mackie HR824 x2
Avantone CV-12 tube microphone
R0de NTK tube microphone
2x Audio Technica 4033 LDC's
Studio Projects C1
R0de NT5 matched pair SDC's
5x Shure SM57
2x Sennheiser MD421
5x EV N/D 468
2x Beyer Dynamic TD50MKII
Shure Beta 57
Shure Beta 52
Shure SM7b
Electrovoice RE-20
AKG D112
AKG C1000s
2x Cascade Fathead II ribbon

I am sure I've missed quite a bit.

[Sputnik]

ohhh GEAR PORN THREAD... I'm in

G&L ASAT-S
Ernie Ball Music Man John Petrucci 7 string...

Jeez, and I thought I had a problem.

Just kidding, that's an impressive list of equipment there. I don't think I'd have time to play 1/3rd of that gear. Do you play professionally?

Bill

[kid_runningfox]

Tuning issues typically are not the fault of the tuners. The real culprit, particularly on cheap guitars, is the nut. The nut is probably not cut right and is pinching the strings, so even when you tune it, the strings will "pop out" when you start playing.

The first thing I'd try is graphite or silicone in the nut slots and on the point where the string touches the bridge, or get some Big Bends Nut Sauce. Yes, laugh all you want at the funny name, but this stuff works, and it's not expensive. I've used it for 3-4 years, and guitars that formerly wouldn't stay in tune do now.

If those don't fix the problem, go to a repair shop and have them cut you a new nut out of TUSQ or a similar graphite compound, or maybe they could help you find one that would basically fit and then do the install and some "cleanup," which might save you some money versus cutting it from a blank. I suppose they could also try filing your existing nut, but my guess is they will look at it and laugh... which doesn't mean you got a bad guitar, this is just a typical problem with cheap instruments.

But first try the graphite or silicone, and don't be conservative with it.

Bill

I use Big Bends Nut Sauce on my Ibanez Lukather, which has a traditional, non-locking trem, and it's brilliant, almost completely alleviates any tuning problems, even after the most intense whammy bar abuse. The only other thing I'd add to Bill's suggestions would be replacing the existing nut with a Graphtech equivalent, which when properly cut should resolve any tuning issues from the headstock end of the guitar.

[Sputnik]

The only other thing I'd add to Bill's suggestions would be replacing the existing nut with a Graphtech equivalent, which when properly cut should resolve any tuning issues from the headstock end of the guitar.

Didn't I recommend that as well?

Glad to hear others know of the joys of Nut Sauce. All those years thinking the tuners were bad or the strings were old, or whatever. Solved. Incredible product.

Bill

[Yodelgoat]

Good advice. I take it the nut sauce is readily available at my local music/head shop?

[Plasmatopia]

I should update y'all on the Cozart 12 string, It came looking quite stunning. I am still trying to get the thing in tune. Its going to be tough to get a full song done without retuning, The tuners probably should be replaced. I lowered the action, and it seems to be better. I havent hooked it up to an amp yet, so as to the sound, I cant say. Generally, its quite nice looking, the playing seems OK, nice feel to the neck. Lighter than I expected. The neck is nice and wide, but feels fairly "thin", meaning my stubby fingers can reach everything.

I wish it was a Rick, but I didnt have to sell my soul to get it...

I just got around to following your earlier link to the video for that guitar. Pretty cool looking instrument. I was wondering how you have it tuned. Are you tuning it to standard tuning (A=440 Hz)? I had a 12-string acoustic once and the guy who sold it to me mentioned always keeping it tuned down a whole step and using a capo to help preserve the neck. So I am wondering if perhaps the neck might be more stable (and result in more stable tuning) if it were tuned down a half or whole step? Just a thought. I suppose it could get worse with less tension...so probably the Nut Sauce is the solution.

[Gizmotron]

ohhh GEAR PORN THREAD... I'm in

G&L ASAT-S
Ernie Ball Music Man John Petrucci 7 string
Ibanez RG Prestige 7 string (upgrade to DiMarzio pickups)
Ibanez S 7421 7 string
Ibanez USRG 30
Fender Highway1 Strat - 3 color burst
Fender American Special shoreline gold
Fender Japanese Strat with Dave Gilmour EMG pickups
Ibanez RG 570
Epiphone Casino
Epiphone 12 string acoustic
Taylor 414 CE
Godin ACS tele - Nylon string
(I'm probably forgetting a few).

Mesa Boogie Mark V 90 Watt head
Mesa Boogie TriAxis midi preamp
Mesa Boogie 2:Ninety power amp
Mesa Boogie Lonestar 2x12 combo
Mesa Boogie Studio .22 Caliber
2 Mesa 4x12 Standard Recto cabs
Fender 59' Bassman RI
Vox AC30
2 2x12 BLB cabs with celestion G12's

Eventide Eclipse
Eventide Time Factor delay
Strymon TimeLine delay
Strymon Mobius modulation
Strymon El-Capistan dTape delay
TC Electronic X4 Alter Ego
TC Electronic Hall of Fame reverb
TC Electronic Shaker Vibrato
TC Electronic Corona Chorus
TC Electronic SCF Chorus
Anolog Man King of Tone OD
Fulltone OCD OD
Fulltone OctaFuzz
Fulltone FatBoost
Fulltone Fulldrive OD
Diamond Guitar Compressor
Demeter Comuplator
Keeley modded Dunlop Wah
Keeley modded Boss DS-1 Distortion
Keeley modded Boss TR-2 Tremolo
Keeley modded Ibanez TS-Flexi 9 Tube screamer
Boss DS-1 distortion
Boss MD-1 mega distortion
Boss PH-3 phase shifter
Boss DD-20 Delay
Boss DD-6 Delay
Boss CH-1 Chorus
Boss GE-1 EQ
Danelectro - Back Talk reverse delay
Catalinbread - Dirty Little Secret foundation OD
SoundBlox - Multiwave Distortion
Jack Deville - Tunnelworm through 0 flanger
Jack Deville - Eterna Shimmer Reverb
Push + Pull - Triton Fuzz
Push + Pull - San Bernadino OD
Fairfield Electronics - Unpleasant Surprise
RJM Tone Save
RJM Mastermind PBC

Great River MP2-NV
API 3124+
Alesis Q2
Lexicon MPX1
Lexicon MPX500
FMR Audio RNLA7239
Presonus Studio Live 24.4.2
Mackie HR824 x2
Avantone CV-12 tube microphone
R0de NTK tube microphone
2x Audio Technica 4033 LDC's
Studio Projects C1
R0de NT5 matched pair SDC's
5x Shure SM57
2x Sennheiser MD421
5x EV N/D 468
2x Beyer Dynamic TD50MKII
Shure Beta 57
Shure Beta 52
Shure SM7b
Electrovoice RE-20
AKG D112
AKG C1000s
2x Cascade Fathead II ribbon

I am sure I've missed quite a bit.

Yowsers! Lots of fine stuff. Good on ya!
But you would be all set if you just added a Strymon Big Sky to your collection.

[Plasmatopia]

ohhh GEAR PORN THREAD... I'm in

<snip>

Can I come over and borrow some stuff?

[progmatist]

One way to get graphite into nut grooves is with a #2 pencil. The "lead" is made of graphite.

Tuning problems can be caused simply by the "way" a guitar is tuned. One should never tune down to pitch, only up. If a string is sharp, go down way too far, then come back up to pitch. For real good measure, tune down way too far, give the string a good bend, then back up to pitch. Here's why: the worm and gear mechanism of a tuning machine has a little bit of free play. If one tunes down to pitch, the slack is on the up side. The first time extra tension is placed on that string, the slack slips down. However, if the string is tuned up to pitch, the slack is already down, so there's nowhere for it to go.

Needless to say, the cheaper the machine head, the more free play it's going to have. Thus, the more the above phenomenon will be amplified. A nut groove gripping a string too tight will also amplify it. By only tuning up to pitch, the problem can be eliminated with even the cheapest, flimsiest of machine heads, or the tightest gripping nut grooves.

[Sputnik]

Good advice. I take it the nut sauce is readily available at my local music/head shop?

I ordered it from Musician's Friend, they might have it at a guitar shop, I've never checked.

One way to get graphite into nut grooves is with a #2 pencil. The "lead" is made of graphite.

Tuning problems can be caused simply by the "way" a guitar is tuned. One should never tune down to pitch, only up. If a string is sharp, go down way too far, then come back up to pitch. For real good measure, tune down way too far, give the string a good bend, then back up to pitch. Here's why: the worm and gear mechanism of a tuning machine has a little bit of free play. If one tunes down to pitch, the slack is on the up side. The first time extra tension is placed on that string, the slack slips down. However, if the string is tuned up to pitch, the slack is already down, so there's nowhere for it to go.

Needless to say, the cheaper the machine head, the more free play it's going to have. Thus, the more the above phenomenon will be amplified. A nut groove gripping a string too tight will also amplify it. By only tuning up to pitch, the problem can be eliminated with even the cheapest, flimsiest of machine heads, or the tightest gripping nut grooves.

All true. The issues with using a pencil are that it is messy, and it can be hard to get the pencil into small grooves. But yes, many people use pencils to achieve what the nut sauce does.

Bill

[kid_runningfox]

I just got around to following your earlier link to the video for that guitar. Pretty cool looking instrument. I was wondering how you have it tuned. Are you tuning it to standard tuning (A=440 Hz)? I had a 12-string acoustic once and the guy who sold it to me mentioned always keeping it tuned down a whole step and using a capo to help preserve the neck. So I am wondering if perhaps the neck might be more stable (and result in more stable tuning) if it were tuned down a half or whole step? Just a thought. I suppose it could get worse with less tension...so probably the Nut Sauce is the solution.

It's not just the neck - on an acoustic 12-string there is a tremendous amount of stress placed on the belly where the bridge is attached if it's tuned to concert. Look at a lot of old 12-strings that have been kept to concert over time, and the degree of bulging is often truly alarming. I keep my own Faith 12 tuned a tone below concert for that reason alone. As a bonus, however, the reduced string tension that results makes it much easier to play tricky fingerstyle passages on.

[Gizmotron]

It's not just the neck - on an acoustic 12-string there is a tremendous amount of stress placed on the belly where the bridge is attached if it's tuned to concert. Look at a lot of old 12-strings that have been kept to concert over time, and the degree of bulging is often truly alarming. I keep my own Faith 12 tuned a tone below concert for that reason alone. As a bonus, however, the reduced string tension that results makes it much easier to play tricky fingerstyle passages on.

My experience is that a poorly designed and made guitar will have these problems and a well-designed and manufactured guitar will not. I have a 70's Guild 12-string and it is still perfect (always at concert pitch). And needless to say, my Taylor 12's from the early 2000's are perfect. (One of them is the LKSM, the Leo Kotke Signature Model 12 string. Mr Kotke is famous for tuning down his 12's but mostly so that he could achieve the piano-like sound he was after. The LKSM has heavier gauge strings and is designed to be tuned down to C# so that Leo can get his characteristic sound.)

I do agree that many older 12-strings are harder to play at concert pitch. I encourage people to try a modern 12-string Taylor or Santa Cruz or other, modern design.
Your mind will reel with the possibilities of their easy-to-play nature and outstanding intonation.

[kid_runningfox]

I do agree that many older 12-strings are harder to play at concert pitch. I encourage people to try a modern 12-string Taylor or Santa Cruz or other, modern design.
Your mind will reel with the possibilities of their easy-to-play nature and outstanding intonation.

I actually tried a used Taylor 12 before I bought the Faith I have now (which is a fabulous instrument I dearly wish I had here with me in China), and I thought the former truly nasty and horrendously overpriced, with numerous action/neck issues that needed attention, too. That said, that may have been a one-off, problem instrument, but I equally have to admit I'm not a big fan of Taylor guitars generally; I don't like their characteristic mid-heavy sound, and they are ridiculously expensive in the UK for factory-built instruments. Santa Cruz is sadly just beyond my budget right now, and in all honesty if I had that kind of money I'd go to someone like Roger Bucknall at Fylde, or Colin Kendall who built my 6-string acoustic, and ask them to make me a guitar from scratch according to my own preferences. I'm hoping that when we finally go back to Britain I'll actually have the money saved up to do this, as it's been one of my long-term ambitions for many years now.