Відео

I have a set of 5 year old Elixir Stainless Steels on one of my basses. Still sounds slappable, just looks ew.

Why would Leo Fender make his necks bolt on? Because he was thinking like an engineer.

I have had both over the last 30 years and honestly honestly I noticed no difference between them. They both played fantastic

Open G buzzes on my stratocaster. I’ve gotten a new neck, leveled the frets, bone nut installed, deadened the string beyond the nut and at the saddle, simulated the nut break angle, replaced and evened the saddles. It still buzzes and nobody I’ve taken it to can figure out why it buzzes. Anybody have insight on buzzing within the tremelo system, behind the saddle plate on Strats?

damn good info

Yassss 🙌

thats one gorgeous guitar

I used to be a fan of high action because I tricked myself into believing that acoustic tone equals amplified electric guitar tone. Two very different things. It's a myth akin to tonewood. Once past a point of ridiculously low where the strings barely move, there isn't much difference in the amplified tone. It's not an acoustic guitar so you don't need to punish your hands and fingers to get a great tone. Pickups are not microphones. Low is the way to go.

Everything is fine but my G string buzzes off last fret. Like a sitar sound. Looks like its kicked up . The fretboard doesn't look level where it meets the body.

Great vid ❤The old lap steel players used to utilise their extended open chord tuning and use alot of arpeggios across the neck to achieve jazz lines, not so much along the neck. Along the neck was more often semi-tone chromatic runs or leaps to other positions. Check out Joaquin Murphey for instance.

ZZ Top Cheap Sunglasses? Maybe a Devo song? Is it necessary?

Surprised that I preferred the 80/20. Disappointed that you did no fingerstyle for the demo.

I’ve owned both for 25 years and when soloing the neck pickup on the Jazz you start getting too muddy when you start adding in the bass. It does get in the P neighbourhood, but you can still hear the difference.

So its a baritone guitar

Cool idea! and you can capo on the 5th fret if you want to play it like a standard 4 string

It sounds absolutely horrible like a broken guitar that isn't worth fixing.

CLIPPINGGGGG

This is great, but it seems like you guys missed something…the string doesn’t start at the bridge and end at the nut (excluding Floyd Rose equipped guitars), it keeps going past the nut into the tuner, and into the tailpiece if we’re talking about a Gibson guitar. But no matter what guitar we are talking about, I’ve yet to see one where each tuner was the same exact distance from the nut. This is another sometimes huge variable in string tension. It’s the reason a lot of people install a reverse headstock on their Stratocasters, since the plain strings would then be slinkier because their tuners are closer to the nut, making less overall length of string. Also picture a guitar like a Gibson Explorer. The headstock’s machine head layout is very similar to that of a Strat. Starting from the low E to the high E, each string has increasingly more length. I feel this is a big factor in string tension, and even using a set of .009’s on my explorer makes the high E way more tense than I prefer.

The amp sounds thinner. You can see it in the waveform and the frequency analysis. You might need to turn up the bass on the amp a little bit. This makes sense because the tubes are compressing the signal. This will affect the lows more than the highs because there is more energy there.

What if I hear the buzz on my strat acoustically on open A and D string but dont hear it plugged ? Is it okey ?? Or should I do something about it ?

This is super helpful. The differences in sound are very clear.

I just wish y'all did flatwound strings then I would be sold

is there someone i can talk to… ?? i need to create a 3 string balanced setting set for my 3 string cigar box guitars. i’m a stickler for intonation and i use a straight (acoustic style) saddle… tilted of course

In other words, neither term means diddly shit. A distinction without a difference.

80/20 for me. Ofcourse I prefer PB on my guild. Different guitars react differently. P/B will tame an overly bright guitar. 80/20 will bring chime to a 2x4

Very informative video. I play a 7.25” and mostly play Hendrix/frusciante/corgan/mccready style despite large hands lol I play a 62 fender strat avri

Good

I haven’t played in standard tuning in over 20 years. I have 6 guitars all strung in a different tunings. NST is one of those tunings. Every time I pick up one of my guitars, I feel like a novice for about 20 minutes until I start finding places to land on the neck. It keeps the creative juices flowing.

Anyone ever tell you you look like a young Kurt Russel (complimentary)?

Thats a firebird pickup.

Thanks for the video. Can you also show nylon string classical, thanks!

When you say darker, do you mean tone as in not bright/trebly? Or do you mean darker meaning lower output volume? Or something else? I see between 9-11K listed for Vintage Precision bass hum-buckers,, what is ideal there? Or are you saying you cannot tell (from these values) because it could be wire gauge or something else

Stick to making strings

Less talking , needs example

My classic pings 1st 2nd fret. When I use 10s I don't have a problem. But I love using 9s I know about relief with the truss rod and all that I've been working on guitars for a while but the slots the grooves that the strings go onto play if you look at it closely if you use a 9 gauge strings there's a little bit of a gap

Checking relief with the naked eye…… 😅

Superb! Thank you!!

Also the Softube is not nearly as cool as the amp. Something in the amp signal is giving a wonderful bloom on that lowest note in the bass line that the Softube plugin did not provide.

I use my Cali 76 BC for this. The compression is an unavoidable side effect, but by no means why I use the pedal!

The fuzz is my favorite type of distortion even though I'm a shred and sweep player, but the actual fuzz face is one of the crappiest fuzz circuit architectures around lol. I'm nowhere near the Phd level, but my formal education is in electrical/electronics engineering. That crumbling you hear is the transistor stealing some of the guitar's input signal to bias and switch on. You're literally hearing another cause of it's distortion generated by the loss of input signal and the transistor clipping it just as it's switching on and off. Both are audible traits. That couples with the "organic" clipping created by pushing the transistor into the top of it's operating specs, so it naturally clips the signal. It's a highly non-linear circuit. It has it's highlights that make it unique, but overall, it's a rather low quality circuit and effect. People do things to improve upon them, but the low input impedance, and the biasing that runs them in a sloppy "Class-A/B" sort of way makes them a gimmick by an reasonable and modern standards. It's great for some genres of music, but if you're looking for outstanding note definition and separation such as when playing very clustered arpeggios, it's literally the worst fuzz you can choose from lol. I'm about to finish up a very high input impedance Class-A fuzz, but have been battling with myself over adding clipping diodes. An authentic fuzz is generated by running tubes, transistors or a member of the transistor family at their peak spec potential, and generating the clipping. *Anyway, when you hear a fuzz that's actually Class-A, they sound phenomenally better than these crude topologies whether it's the fuzz face, based on it or otherwise.* If I were playing punk, grunge, acid rock etc. then I'd probably be into a modified version for sure.

Sounds like you're hitting the strings harder in PBs as shown in your video. Or maybe the mic volume sounds louder? I tried both and it seems 80/20s suit my preference better.

Well spoken and good information. This is the best no non sense info about these guitars on UA-cam. Well done 😊

Why you not rop-wrap?

I've been playing since I was 7 I'm 21 now I've always used to wound third can't use a plain third they break easy I use Thomastik flatwound strings 11s except I replace 11s with 8s I pretty much use 8/47 flatwound strings and also I replace the 19 wound with a 18 wound g

Jackson's compound 12-16 just feels perfect imo... My Jackson Misha Mansoor 7 string is 20, crazy flat, but chording can become uncomfortable (even painful) after some playing

Whats the tuning?

Started learning/playing bass around 91/92 and hated the G string sound. When I came up with the idea to string my Samick BEAD, the other players around me thought it was weird/stupid. I didn’t care, I loved it.

I run a 4 string jazz with a Daddario EXL60BT in AEAD and it works for me. 120, 90, 67, 50. But I’ve recently become a huge fan of Stringjoy strings so I’m going to start doing a custom set in this. Might wanna beef up my 120 to 125 for A. The 120 in BEAD feels great but the A gets a bit flubby at 120. Only had to slightly sand down my nut

Are guitar players really confused by the rhythm setting- I hear it over and over but its far from complicated and when one uses it the flexibility of this guitar is realized- i did change my tone control to 250k for more flexibility but stock 50k is great for heavy fuzz so its not so bright

I've only gotten through 11 minutes of this, but it took me an hour because I was having so much fun playing new stuff. Thinking of it as strings 3,4,5 = major triad, strings 4,5,6 = 1st inversion, and strings 2,3,4 = 2nd inversion really helped me get my bearings in open tuning.