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Discussion in 'Non-Fender S-Type Guitar Forum' started by cappei, Nov 25, 2017.
I got mine used on Reverb.
It's probably a Chinese fake. They use fake unicorn tears.
And they all sound the same in space anyhow.
Yeah I learned a social lesson about gear when I said to the other guitarist in my garage band they his amp sucks. He was offended. I said man you don’t suck, you’re great (and he is), that amp is just crap. I didn’t get why his feelings were hurt. Now I get it. Because it’s not the gear, it’s the brain and the fingers, and if you tell someone his amp sucks you’re saying he sucks.
But man that amp really is a POS . I had him play through my AC15 and he was like whoa baby.
I don't think I can hear any real difference between a Thinline Tele & an ordinary Tele when playing, plugged in, at home! I always assumed that the main advantage of a Thinline Tele is that it's prettier than an ordinary Tele.
I belive that Hendrix would sound more like Hendrix on any gear than all of us would do on his gear . My point is that the "mojo" and skills are in our soul and mind and not in the gear. To me, the perfect guitar makes me fall in love with it and wanna play it all the time and has a sound and feel that I like. It is a very personal choise for all of us I guess.
and . . remember.. the sound YOU hear is NOT necessarily the sound THEY hear.... we all hear differently.... what sounds great to you can well sound like cack to the next guy... and worse, that guy probably plays better 'n you. . . I hate it when that happens...
that's why all these "tone" discussions are really nothing useful.. it's good exercise for our fingers, and keyboard practice, but it is impossible for it to do, accomplish, little else, until we all hear the same... that's not gonna happen.
It really wouldn't matter if Jeff Beck or the like popped in here and said he thought "X" made the best tone... it's still only his opinion based on what he can hear, and I betcha after the years of his standing in front of the gear he was standing in front of before the thought of hearing protection arose, he pretty much has some horrible hearing.
You're right, using the phrase "in theory" wasn't very precise. I just didn't feel like getting into a description of least perceptible differences.
Wood! yes the age-old material, with arguments to match!
For the body, some heavier woods, such as swamp ash in one Strat I have, may produce better sustain - all parts being well set up.
But its the neck slab that can make a substantial difference.
Maple is hard and pickups tend to sound very bright and crystal-bell clear. aka, 1950's guitars and vintage Alnico pups. If you like that quacky tone on mid/bridge, lower the middle pickup a little to accentuate that classic quack tone. It comes out well on maple boards.
Rosewood is softer and tends to absorb some frequencies. (Exactly which frequencies would require a detailed fourier analysis). But Rosewood makes a difference. Humbuckers sound awesome on rosewood but brighter, clearer (Jazzier) on maple. Some may not like that tone on maple. There are even Gibson Les Pauls that come with maple necks but I haven't heard one.
Fender Custom Shop Texas Specials excel on rosewood. I tried them on a maple neck and they sucked! But put them on a rosewood neck and they come to life! So if you want SRV or Mark Knofler, put Texas Specials on rosewood.
The Fender guitars changed to rosewood around 1959 through the 60's, and the Fender tone varied a little. Some original early 60's guitars (if you can find or afford one) sound stunning for that darker, bluesy tone, especially with the original 1960's pickups. If you like humbuckers on your Strat, use a rosewood neck, especially if the humbucker is at the neck position.
I have Stratocasters and Teles with Lace sensors, EMG SAV, DiMarzio Humbuckers, Seymour Duncan and from the Fender Custom Shop. I spent years experimenting and changing different pickups on rosewood and maple necks.
In the end you need to decide for yourself what combination best suits you. Hope this helps.
not trying to be argumentative, a statement like that requires some valid data to support it... I see more guitars in a week than most see in a lifetime, I could not lend support to such a statement.
in practice the contribution of, say the fingerboard, can easily be countered with another seemingly, completely unrelated component.
a guitar is NOT a cacophony of a lotta parts barking, it is a harmonious chorus.. with everything doing their part, but each quite dispensable from a sonic consideration.
I have a full hollow body Gretsch...
It sounds very distinctly different from any solid or semi hollow guitar I have ever played. And I'm talking about with the band, at volume. I suppose there are so many factors other than just the hollow body (the Bigsby, floating bridge, shallow break angle over the bridge, long string length behind the bridge), that it is hard to pinpoint exactly what makes the most difference (perhaps the sum of all of these factors) but the difference in tone and sustain between the Gretsch and my Les Paul, Strat, or Tele is quite substantial, and noticeable, and nothing that I would attribute to the pickups.
The way the whole guitar vibrates at volume is totally different than a solid body, and I can (at least I think and believe I can) hear the difference.
I'll stand by what I quoted.
I spent ages swapping pickups on guitars trying to get before/after comparisons with the same gear setup. Some pickups came out not so good (my taste) and others sounded just right.
..and I do like Ebidis' comment about hollow body. Pickups or not, I haven't even tried comparing a hollow body.
I have a Strat with a rosewood board, and 2 with maple necks. The rosewood Strat is brighter than both of the maple neck Strats.
Just goes to show me how things work out differently.
I'll stand corrected based on your experience. I;d be interested to know more about those guitars.
I totally agree. I could take that argumetation ever further. What I hear today might not be what I hear tomorrow. One day a set up sounds great. The next day you hate it .
I strongly belive as I stated in another thread (this is a popular subject I have noticed), everything attached to create and form the tone matters and in that process the player matters the most. And might I add the mood and musical connection of the player that very day .
Of course it’s the gear, Ron. If it wasn’t, that would mean we’d have to invest hours and hours of our time over the course of years to be any good at this thing.
Ridiculous, I know...
Don't surrender on my account, I'm just saying I believe many factors can affect the voice of any given guitar, and it's hard to point to one thing and say "this will sound like this every time".
The two maple strats have alder bodies and decked bridges. One an American Standard with Fat '50s pickups (2014 so it has bent steel saddles), the other is a Squier Classic Vibe with alnico III pickups, a quarter sawn neck, and a MIM bridge with full mass block. The rosewood Strat is a partscaster with a MIM ash body, U.S. Highway One neck (2006 with large headstock), U.S. Highway One bridge (floating 6 point with steel block), and '50s vintage style alnico V pickups.
The rosewood Strat sounds brighter, clearer, and has a snappier attack, both acoustically and electrically, than the other two. I'm not even going to try and speculate which factor makes the greatest difference, but the difference is obvious.
On the neck making a difference:
How about changing the neck to another, ideally same 'type' of neck, maybe even from the same year --> sounds very different + bigger difference than between (vintage type) pickup from manufacturer x and y
This is a great TED talk regarding this matter. I think Paul Reed Smith is spot on. Just saw this today and I highly recommend it .
Subtractive... keep that in mind... stuff does NOT make a guitar sound better.. it can only change what is already there at best... if you like it, it's better, if you don't, it sux.. it's all up to you..
and Paul and I are far more in agreement than not.. As I have tried to share.. the importance of embracing Physics, and the dynamics of a guitar... they are one and the same...
however... the problem with playing a famous guitar is.. you know its history.. it would be a different experience if it was played without knowing it's heritage.. that I would like to see...
No matter what you do, the nut will always have a finger, capo or a slide plus the fret between it and the "business" end, except on 6 notes.. it's gonna take real valid data, not supposition, to convince me that among any reasonably good nut selected, it's sonic contribution can still be significant between that vibrating string, and the finger, capo or a slide plus the fret. I wanna know how...
I'm sorry, an electric guitar and an acoustic guitar are not the same animal..as per Bill Lawrence.. so who do ya believe.. Point.. two equally knowledgable people can have opposing opinions and still produce great products.
and. . From about 13:00 is where the best part of that video is found...