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TheFretShack
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| Number of Posts: | 1351 |
| Registered on: | 10/28/2015 |
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re: Do you have a nickname for instruments you own/play?
Posted by TheFretShack on 1/11/26 at 6:19 pm to Tangineck
A select few of mine have nicknames based on their cosmetics.
"Ruby" is the intense metalflake version of Dorothy's slippers.
"Barbie," short for BBQ, because the burst reminds me of a Carolina mustard sauce fading into a Memphis or Kansas City ketchup sauce.
The 1960 Fender (and Buick) custom color "burgundy mist" atop a 50s two-tone sunburst and heavily relic'ed is "burgundy pissed."
"Snake"
"Ruby" is the intense metalflake version of Dorothy's slippers.
"Barbie," short for BBQ, because the burst reminds me of a Carolina mustard sauce fading into a Memphis or Kansas City ketchup sauce.
The 1960 Fender (and Buick) custom color "burgundy mist" atop a 50s two-tone sunburst and heavily relic'ed is "burgundy pissed."
"Snake"
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re: How would you mod this 2008 Mexi-Tele?
Posted by TheFretShack on 1/11/26 at 7:58 am to deeprig9
The MVP bang-for-the-buck MIM Tele upgrade ... if you find the treble icy, pull the modern six-steel-saddles bridge and replace it with a vintage style - and warmer yet still plenty bright sounding - three-brass-barrel bridge. The market's best value performer is a Gotoh replacement that has their intonation-friendly compensated brass barrel saddles.
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Before you consider pickup upgrades, make sure the control plate is CTS potentiometers. If not, I am a big fan of Mojotone's vintage taper 250K short shaft pots for Strats and Teles. You will pay a little more for the "MOJO" stamped pots, but they have a sweeter wiper sweep, a tighter spec tolerance, even the turning friction is perfect, not too stiff, not too loose. Available at mojotone.com and via Sweetwater and Musician's Friend.
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Before you consider pickup upgrades, make sure the control plate is CTS potentiometers. If not, I am a big fan of Mojotone's vintage taper 250K short shaft pots for Strats and Teles. You will pay a little more for the "MOJO" stamped pots, but they have a sweeter wiper sweep, a tighter spec tolerance, even the turning friction is perfect, not too stiff, not too loose. Available at mojotone.com and via Sweetwater and Musician's Friend.
re: Spanish / Classical Guitar recs?
Posted by TheFretShack on 1/2/26 at 11:27 am to Fishwater
Best bets are Yamaha for more traditional at an incredible value price point; or Cordoba for more contemporary (electric guts, cutaway, etc.) at an incredible value price point.
re: City most deserving of RnR HOF?
Posted by TheFretShack on 12/30/25 at 2:43 pm to Cdawg
Memphis, with absolutely zero question or hesitation.
re: Yamaha FG700S upgrade?
Posted by TheFretShack on 12/15/25 at 6:17 pm to Sheepdog1833
A/E guts would be the logical upgrade. I recommend the LR Baggs HiFi system. I have sold and installed many of them. They are off the charts for value. The HiFi uses contact transducers attached to the bridge plate with supplied adhesive squares (refer to the photo below). A supplied jig makes installing them very easy. There is a vol and tone control that attached inside the soundhole with the same adhesive tape, and the 9V batt box pouch sticks to the neck block.
It does not change the fundamental sound of the host instrument, it is under $200 street, it's an easy and cheap install via most techs, and it performs absolutely phenomenally. On sale right now at Sweetwater for $172. Do some Google and YT searches for demos and more glowing reviews.
It does not change the fundamental sound of the host instrument, it is under $200 street, it's an easy and cheap install via most techs, and it performs absolutely phenomenally. On sale right now at Sweetwater for $172. Do some Google and YT searches for demos and more glowing reviews.
re: On wireless guitar systems
Posted by TheFretShack on 12/11/25 at 9:03 am to F1y0n7h3W4LL
I used Nady in the 1980s, Samson in the 1990s, then Shure in the 2000s. You cannot go wrong with whatever Shure is available in your price range.
Slightly cheaper ... I've heard excellent things about Boss's WL-20 and -50 systems, and Line 6's wireless offerings. Those utilize a "pedal" receiver that double as transmitter chargers from what I've seen, that you house on a pedalboard. SO much smarter than an amp-top console receiver.
If they don't have your price range covered, there are many bug-style wireless systems on Amazon that are stupid cheap in price. One bug is the transmitter, the other plugs straight into the amp or the console.
Considering good technology in general is more affordable than ever, and considering Amazon's bulletproof return policy if that first hypothesis is incorrect ... I may buy one of the bargain bug systems on Amazon to see how well and how conveniently it would do its job around the workshop. One less cable to potentially trip me up is always welcome.
Slightly cheaper ... I've heard excellent things about Boss's WL-20 and -50 systems, and Line 6's wireless offerings. Those utilize a "pedal" receiver that double as transmitter chargers from what I've seen, that you house on a pedalboard. SO much smarter than an amp-top console receiver.
If they don't have your price range covered, there are many bug-style wireless systems on Amazon that are stupid cheap in price. One bug is the transmitter, the other plugs straight into the amp or the console.
Considering good technology in general is more affordable than ever, and considering Amazon's bulletproof return policy if that first hypothesis is incorrect ... I may buy one of the bargain bug systems on Amazon to see how well and how conveniently it would do its job around the workshop. One less cable to potentially trip me up is always welcome.
re: Big Muff 2
Posted by TheFretShack on 12/11/25 at 8:42 am to wareaglepete
Shameless show-off cue ... my very modified alpha-omega BMP circuit my very good pal Jim in Virginia built for me. Closest comp is a vintage ram's head, but with some very sweet and useful changes ...
The most viciously sweeping tandem tone and mid controls in history (goes from a VERY scooped V to a VERY tall and peaky lambda).
A "crunch/munch" switch to control volume level as it pertains to saturation, aka bedroom/studio vol vs balls-out live vol.
And a close-up of a hot pink fuzzy boa for visual ooohs.
I so, so desperately need to do a demo vid of this pedal to show it off and call my friend Jim's incredible work out. I've found no better standard or modified BMP variant to date.
The most viciously sweeping tandem tone and mid controls in history (goes from a VERY scooped V to a VERY tall and peaky lambda).
A "crunch/munch" switch to control volume level as it pertains to saturation, aka bedroom/studio vol vs balls-out live vol.
And a close-up of a hot pink fuzzy boa for visual ooohs.
I so, so desperately need to do a demo vid of this pedal to show it off and call my friend Jim's incredible work out. I've found no better standard or modified BMP variant to date.
re: Vocal Mic Recommendations
Posted by TheFretShack on 12/8/25 at 5:04 pm to Mizz-SEC
Can never go wrong with a 58 for vocals or a 57 for miking instruments. Value priced, readily available, virtually indestructible.
If you can only afford one mic for both purposes (home recording), get the 57.
If you can only afford one mic for both purposes (home recording), get the 57.
re: Guitarists- Running effects in Parallel vs Series
Posted by TheFretShack on 11/28/25 at 12:29 pm to Shanegolang
Speaking of pedalboards, heads up on a cool Black Friday special on Amazon. I rolled the dice on one of these a couple years ago when I needed a small board for bare necessities stomps.
While the plug-in power (an 18V wall wart) is flimsy, neither it nor any aspect of the product has ever let me down. The board is sturdy, the carry bag is quality, and the onboard power supply is quiet with multiple common voltage offerings. On sale nearly half off right now.
I ordered a second one this morning so I can put fuzz/OD/dist boxes on one board for my Super Reverb, modulation, delay and verb boxes on the other board for my Boogie. Or link both boards together when I'm feeling saucy.
While the plug-in power (an 18V wall wart) is flimsy, neither it nor any aspect of the product has ever let me down. The board is sturdy, the carry bag is quality, and the onboard power supply is quiet with multiple common voltage offerings. On sale nearly half off right now.
I ordered a second one this morning so I can put fuzz/OD/dist boxes on one board for my Super Reverb, modulation, delay and verb boxes on the other board for my Boogie. Or link both boards together when I'm feeling saucy.
re: Black Sabbath Volume 4
Posted by TheFretShack on 11/11/25 at 5:38 pm to midnight1961
Vol. 4 and Master of Reality
re: Blackberry Smoke Tonight in BR
Posted by TheFretShack on 10/31/25 at 7:31 pm to TheFretShack
re: Blackberry Smoke Tonight in BR
Posted by TheFretShack on 10/31/25 at 7:28 pm to yallgood
From my social media feeds ...
A mutual friend put Carondelet P-90s on Charlie Starr's radar last year and he's been a friend and a fan ever since.
Charlie invited me to Blackberry Smoke's soundcheck in Baton Rouge yesterday (!), and no pickup winder meets up with modern Southern rock's patron saint of P-90s without something special in tow.
Behold three very custom Carondelet "Hog Ear" dog-ear P-90s, inspired by Charlie and hand-wound by yours truly to Charlie's preferred specs.
Specifically, an overwound (9k DCR) pure vintage Gibson single coil blueprint, featuring two roughcast A4 magnets, vintage inspired metallurgy, and an unpotted coil wound with 1950s spec enamel-insulated wire.
Charlie has two of the Carondelet customs, and he said one goes asap into a project '58 Les Paul Junior he has back home, so it can join the Smoke touring guitarsenal (!).
The third custom "hog ear" resides in my personal '55 Junior, which I brought to soundcheck so Charlie could get a relevant test drive. Raw Android A/V video snippet below. The amp is Charlie's go-to 1960 brownface Fender Concert combo.
Carondelet P-90 test drive with Charlie Starr
A mutual friend put Carondelet P-90s on Charlie Starr's radar last year and he's been a friend and a fan ever since.
Charlie invited me to Blackberry Smoke's soundcheck in Baton Rouge yesterday (!), and no pickup winder meets up with modern Southern rock's patron saint of P-90s without something special in tow.
Behold three very custom Carondelet "Hog Ear" dog-ear P-90s, inspired by Charlie and hand-wound by yours truly to Charlie's preferred specs.
Specifically, an overwound (9k DCR) pure vintage Gibson single coil blueprint, featuring two roughcast A4 magnets, vintage inspired metallurgy, and an unpotted coil wound with 1950s spec enamel-insulated wire.
Charlie has two of the Carondelet customs, and he said one goes asap into a project '58 Les Paul Junior he has back home, so it can join the Smoke touring guitarsenal (!).
The third custom "hog ear" resides in my personal '55 Junior, which I brought to soundcheck so Charlie could get a relevant test drive. Raw Android A/V video snippet below. The amp is Charlie's go-to 1960 brownface Fender Concert combo.
Carondelet P-90 test drive with Charlie Starr
re: Lace Sensor Pickups
Posted by TheFretShack on 10/28/25 at 8:26 am to Shanegolang
there is a note on the zip lock bag it's in that says "5th string pole lost volume" I assume it's repairable??
Sounds like the pole, which is a rod magnet, was somehow demagnetized. If that's the issue, I have a machine that supplies a good as new easy, fast fix, meaning it's a cheap fix too.
And thanks for the kind words, you're in good hands with Patrick on the installation and whatever else TLC.
Sounds like the pole, which is a rod magnet, was somehow demagnetized. If that's the issue, I have a machine that supplies a good as new easy, fast fix, meaning it's a cheap fix too.
And thanks for the kind words, you're in good hands with Patrick on the installation and whatever else TLC.
re: Wasp: Wasp - 1984
Posted by TheFretShack on 10/24/25 at 11:31 am to MaxxPain2
The name was inspired by a wasp buzzing around first bassist Rik Foxx when he and Blackie were trying to come up with a name for their new band, formed from the ashes of Blackie and Randy Piper's former band. Circus Circus.
Blackie came up with the idea of adding periods between the letters of "wasp" so it would appear to be some sort of acronym. The hope was fans, the press, anti-fans, etc., would speculate all kinds of crazy stuff, kind of like when Bible belt conservatives in the late 70s accused Kiss of being short for "Knights in Satan's Service." Then Wasp, like Kiss, would refuse to confirm or deny whatever fans or the press speculated the initials stood for, adding to the mystique.
To add fuel to the fire, they put "we are sexual perverts" in the debut album's liner notes but offered no explanation.
The name, the alleged acronym, the stage act, etc., eventually got Tipper Gore's PMRC crosshairs on them, which subsequently sold a ton of records.
So it worked.
Blackie came up with the idea of adding periods between the letters of "wasp" so it would appear to be some sort of acronym. The hope was fans, the press, anti-fans, etc., would speculate all kinds of crazy stuff, kind of like when Bible belt conservatives in the late 70s accused Kiss of being short for "Knights in Satan's Service." Then Wasp, like Kiss, would refuse to confirm or deny whatever fans or the press speculated the initials stood for, adding to the mystique.
To add fuel to the fire, they put "we are sexual perverts" in the debut album's liner notes but offered no explanation.
The name, the alleged acronym, the stage act, etc., eventually got Tipper Gore's PMRC crosshairs on them, which subsequently sold a ton of records.
So it worked.
re: Anyone Try Nylon Strings on a Steel String Acoustic?
Posted by TheFretShack on 10/7/25 at 9:08 am to Mizz-SEC
Do a Google search for "silk and steel" strings. They are made to give steel strings a softer, more playable feel and sound. Great string for children, new players, players suffering from arthritis and/or weak joints, or for who don't have player calluses.
re: G&L Guitars Out of Business
Posted by TheFretShack on 10/7/25 at 7:35 am to SingleMalt1973
G&L's biggest problem historically was their inability to effectively tell what could be (have been) American guitar-making's best story, at least in a way that that was able to convert ads, impressions, page views, etc., into actual sales.
If I was the CEO of FMIC, knowing I have the personnel and the ad/marketing budget to work with ... I'd pay whatever reasonable price I could to acquire G&L. What's at stake? Not only the G&L name, but Clarence Leo Fender's name and signature in all forms; rights and usage to every G&L, CLF and/or Leo-owned Music Man patent and IP I could get my hands on; the actual G&L facility (the old pre-CBS plant, down to tooling and Leo's office, untouched since his passing); unfinished prototypes; all of Leo's notes; and the list likely goes on.
First thing I'd do would be to move the Fender Custom Shop and the Fender Museum "back" to the old Fullerton plant. Then I'd execute a MASSIVE ad/marketing/promo campaign telling G&L's "coming home" story and why anyone should care. You'd be surprised how the people who know the story behind the G&L headstocks, MFD pickups, the Dual Fulcrum and Saddle Lock bridges, the PTB circuitry, etc. ... focus on Leo's ingenuity and innovation and reasoning for it, rather than surface cosmetics.
Here's my '96 Legacy. I've owned it longer than any guitar in my playing history. It has my pickups, my preferred wiring circuit, a Fret Shack refret with super jumbos, a trunk and fingerboard conversion from the stock satined poly finish to hand-rubbed Danish oil. I've had people offer me trades worth ten times more my G&L's value, the guitar is just such an incredible example of a S style solidbody. Not for sale. Especially now.
If I was the CEO of FMIC, knowing I have the personnel and the ad/marketing budget to work with ... I'd pay whatever reasonable price I could to acquire G&L. What's at stake? Not only the G&L name, but Clarence Leo Fender's name and signature in all forms; rights and usage to every G&L, CLF and/or Leo-owned Music Man patent and IP I could get my hands on; the actual G&L facility (the old pre-CBS plant, down to tooling and Leo's office, untouched since his passing); unfinished prototypes; all of Leo's notes; and the list likely goes on.
First thing I'd do would be to move the Fender Custom Shop and the Fender Museum "back" to the old Fullerton plant. Then I'd execute a MASSIVE ad/marketing/promo campaign telling G&L's "coming home" story and why anyone should care. You'd be surprised how the people who know the story behind the G&L headstocks, MFD pickups, the Dual Fulcrum and Saddle Lock bridges, the PTB circuitry, etc. ... focus on Leo's ingenuity and innovation and reasoning for it, rather than surface cosmetics.
Here's my '96 Legacy. I've owned it longer than any guitar in my playing history. It has my pickups, my preferred wiring circuit, a Fret Shack refret with super jumbos, a trunk and fingerboard conversion from the stock satined poly finish to hand-rubbed Danish oil. I've had people offer me trades worth ten times more my G&L's value, the guitar is just such an incredible example of a S style solidbody. Not for sale. Especially now.
re: Vintage guitar fret job - Is it worth it to spend $$ on an older guitar?
Posted by TheFretShack on 9/26/25 at 4:54 pm to Crow Pie
That $300-350 ... is that for a refret or for a level, recrown and polish? I ask because $350 would be considered very cheap for a refret in most reputable shops, or very expensive for a LCP (even via Plek) in most reputable shops. If the tech to whom you spoke at whatever shop didn't specify more than "fret job," get that question asked before you hand your guitar over. FWIW a $350 refret would have me personally as leery as a $1.99 steak dinner. Don't know if I wanna roll those dice.
It needs fretwork because you played the OEMs down to nothing. Guitars that suck don't get played to that extreme. So it is a no-brainer that you love playing the guitar and that alone makes it worth the investment in the fret bed. Especially if you throw in the sentimental/heirloom value, it's a Matsumoku build (superb), plus any and every other significant factor I could go on and on about.
If you want The Fret Shack to take a look at it, call 917-789-3371 and talk to Patrick Welborn to set up an appointment for inspection, diagnosis and cost estimates. All that is free of charge. He is our new full-time luthier and tech at Fret Shack and he is GOOD. I still own Fret Shack but my focus nowadays is Carondelet.
If you come to see Patrick, you can also talk to me about pickup upgrades.
It needs fretwork because you played the OEMs down to nothing. Guitars that suck don't get played to that extreme. So it is a no-brainer that you love playing the guitar and that alone makes it worth the investment in the fret bed. Especially if you throw in the sentimental/heirloom value, it's a Matsumoku build (superb), plus any and every other significant factor I could go on and on about.
If you want The Fret Shack to take a look at it, call 917-789-3371 and talk to Patrick Welborn to set up an appointment for inspection, diagnosis and cost estimates. All that is free of charge. He is our new full-time luthier and tech at Fret Shack and he is GOOD. I still own Fret Shack but my focus nowadays is Carondelet.
If you come to see Patrick, you can also talk to me about pickup upgrades.
re: Best "Marshall in a box" pedal?
Posted by TheFretShack on 9/26/25 at 4:05 pm to Jef75
re: Players, what’s on the board?
Posted by TheFretShack on 9/17/25 at 6:20 pm to TheFretShack
And right after I posted, USPS delivers two more VERY modified versions of classic Nashville dirt circuits (ODR-1 and Mostortion) from one of my pedal builder buds. Christmas in September.
Andromeda demo
Quantum demo
Andromeda demo
Quantum demo
re: Players, what’s on the board?
Posted by TheFretShack on 9/17/25 at 5:37 pm to wareaglepete
I have too many pedals and subsequently an ever evolving pedalboard.
My newest pursuit is fuzz pedals and man, what an insane rabbit hole in which to fall. Not only do you have a seemingly endless variety of classic circuits (fuzz faces, tone benders, muffs), you have inconsistency from unit to unit in many of those circuits, especially those that use Ge transistors. I see now why Eric Johnson says he buys every vintage Fuzz Face he comes across and then resells 95 percent of them for not making the cut.
My favorite fuzz pedals this week (LOL) are VERY modified triangle and ram's head clones built by friends; an AMZ Tweed Stack kit built by a friend; and the actual TB Mark 1.5 clone seen and heard in this video ... 66 Bender by Manlay Sound (Spain)
My "must have" effect is delay (atop the amp, always on) and my go-tos are a Source Audio Collider or the TC Electronic Flashback for my high gain amp. I have a Boss Waza Craft version of the DM-2 that is stellar with my old Fender combo.
My favorite "out in front" pedals are the Source Audio Spectrum for envelope filtering (I can't use a pedal wah after my left heel was surgically reconstructed); and the Boss Super Phaser PH-2 for the occasional swirlywhirl.
My newest pursuit is fuzz pedals and man, what an insane rabbit hole in which to fall. Not only do you have a seemingly endless variety of classic circuits (fuzz faces, tone benders, muffs), you have inconsistency from unit to unit in many of those circuits, especially those that use Ge transistors. I see now why Eric Johnson says he buys every vintage Fuzz Face he comes across and then resells 95 percent of them for not making the cut.
My favorite fuzz pedals this week (LOL) are VERY modified triangle and ram's head clones built by friends; an AMZ Tweed Stack kit built by a friend; and the actual TB Mark 1.5 clone seen and heard in this video ... 66 Bender by Manlay Sound (Spain)
My "must have" effect is delay (atop the amp, always on) and my go-tos are a Source Audio Collider or the TC Electronic Flashback for my high gain amp. I have a Boss Waza Craft version of the DM-2 that is stellar with my old Fender combo.
My favorite "out in front" pedals are the Source Audio Spectrum for envelope filtering (I can't use a pedal wah after my left heel was surgically reconstructed); and the Boss Super Phaser PH-2 for the occasional swirlywhirl.
re: You have $2,000 to spend on guitar(s):
Posted by TheFretShack on 9/10/25 at 12:39 pm to auggie
Labor is more expensive in the USA vs Asia, no question. But be aware that Gibson is NOT union labor. That is one of the main reasons Gibson moved from Kalamazoo (unionized Michigan) to Nashville, TN ... to evade unions.
Other factors that contribute to the higher cost of USA labor vs Asian labor is the former's employee health, dental, eye and life insurance packages, retirement packages, paid vacation and sick leave, workman's comp and other liability insurances, periodic merit and cost of living raises and promotions. AKA, things we all need and want from our employers.
Most players absolutely can afford an expensive guitar, but the approach to gear over the last three decades has favored quantity as much if not more than quality. Look at the catalyst question on this thread for an example, the should I get one "great" or two "good" instruments. When I was younger, we all had one nice electric, one decent backup, one nice acoustic, and that was it. Today, however, that's the exception, not the rule. Most of my clients have no less than a half dozen guitars, with many imports in the mix. Because they can be obtained so easily and cheaply.
Meanwhile, to test affordability alongside price, I just pulled a major retailer's page for a brand new vintage sunburst Gibson SJ-200. Without even looking at my credit score, income or household expenses, the retailer's page says they can put that $5,700 guitar in my hands for $119 a month for 48 months with zero interest.
Google tells me that is equal to the average monthly cable TV bill in America; and about $30 less than the average monthly cell phone bill in America. So nope, if someone wants and fiscally prioritizes owning a really nice, expensive American guitar instead of a half dozen Asian also-rans, there are ABSOLUTELY ways to make it affordable.
Other factors that contribute to the higher cost of USA labor vs Asian labor is the former's employee health, dental, eye and life insurance packages, retirement packages, paid vacation and sick leave, workman's comp and other liability insurances, periodic merit and cost of living raises and promotions. AKA, things we all need and want from our employers.
Most players absolutely can afford an expensive guitar, but the approach to gear over the last three decades has favored quantity as much if not more than quality. Look at the catalyst question on this thread for an example, the should I get one "great" or two "good" instruments. When I was younger, we all had one nice electric, one decent backup, one nice acoustic, and that was it. Today, however, that's the exception, not the rule. Most of my clients have no less than a half dozen guitars, with many imports in the mix. Because they can be obtained so easily and cheaply.
Meanwhile, to test affordability alongside price, I just pulled a major retailer's page for a brand new vintage sunburst Gibson SJ-200. Without even looking at my credit score, income or household expenses, the retailer's page says they can put that $5,700 guitar in my hands for $119 a month for 48 months with zero interest.
Google tells me that is equal to the average monthly cable TV bill in America; and about $30 less than the average monthly cell phone bill in America. So nope, if someone wants and fiscally prioritizes owning a really nice, expensive American guitar instead of a half dozen Asian also-rans, there are ABSOLUTELY ways to make it affordable.
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