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Everything posted by Spitfire

  1. Someone recently gave me a "Gravity" Jazz bass copy. When I went to clean the pots I found it had a chip-board body. It sounds #### great though, I use it for recording.
  2. The sound of a Gibson J200 is the eighth wonder of the world
  3. Seymour Duncan Pickup Booster. Essential and transparent. Brings out the best of guitar and amp.
  4. it's a high inductance choke coil, the only way I can describe the effect it has is to 'focus' the tone cut at the selected frequency. Gibson use a 1.5H choke in their varitones, this is quite a high value and means the physical size is quite large (about the size of a zippo in an old gibson 345 and routed into a cavity under the bridge pickup). I've tried many values of choke and for my money the higher the value the better they sound, too low and the cut is too broad (muddy). Smaller ones tend to look like 1cm transformers, larger ones are typically round and potted into epoxy, Vintage gibson ones are oblong and probably made for them. It's difficult to get larger values so I generally scrounge them from electrical shops or second hand audio gear.
  5. I have an Alden Vox Phantom guitar that now has a JBjr in the bridge position. I built a custom tone control for it which is basically a push/pull pot to select one of two capacitors, an inductor coil and a 500k pot to blend the effect. I would have built in a full varitone but there wasn't room in the cavity so I picked the two caps that sounded best and built them into this. It gives the pickup 1) a "woman" tone and 2) A middly tone a bit like the sweet spot on a colorsound wah pedal, great with high gain for a hendrixy feel.
  6. doing this sounds thicker but I wouldn't say it was anything like a humbucker
  7. It would require some serious routing, those pickups are like icebergs, there is lots below the surface
  8. The best guitar I ever played or owned has been my ES-335. Beautiful player, versatile tones. It's been my main guitar for 20 years. I prefer the sound of hollows/semis over solids. There's something more organic sounding about them IMO.
  9. Marshalls are great amps and capable of far more than the standard 'rock' sound they're known for. Jaguar through JCM900 gets me a tough edgy sound.
  10. The rehearsal studio I use bought a couple of the Behringer v-amp heads a while back. I used one just the once and hated everything about it especially the synthetic sound and lack of punch. The management had so many complaints from guitarists they got rid of them after about two weeks.
  11. Ceramic caps are used widely by many manufacturers including Fender, Gibson and Gretsch. For example AV Jaguars use ceramics as did pre-CBS ones. I've only ever seen Japanese jags with more expensive mylar caps.
  12. Only marginally, a change in the capacitance value has a far more noticable affect on the sound. IMO the price of bumblebees,etc is rarely justified in sonic terms unless you are restoring a vintage instrument and you want it back to original specs.
  13. Cap values rather than cap types have a more pronounced effect on a guitar's tone. Changing pot values tends to alter the treble response, higher rated pots such as the 1Meg ones in a Jaguar lead to a brighter sound because less treble bleeds to ground. In my opinion the most interesting passive tone circuit for a guitar is the 'varitone' as used by Gibson and Gretsch (in their tone switch circuit), I've built variations of this circuit for 5 or 6 guitars now, including one in a Fender Jaguar. It gives you several tonal options by producing notched frequency dips at various points in the spectrum (defined by different cap values).
  14. The are issues with impedance mismatches using mics through pedals so it's more common to use rack mounted effects patched into the mixer or effects plugins on the computer. 80s bands like Curve and MBV used to use pedals and amps on the vocals quite a lot though. You can get some interesting lo-fi effects. I used to use a Yamaha CS5 mono-synth for vocal processing by plugging a mic in the back and using the LFO and a resonant filter. This was before VST plugins and suchlike.
  15. Spoken like a true professional. Even with a Filtertron in it the Jaguar still doesn't have that grittiness and 'tonk' you get from a Gretsch - it still sounds like a Jaguar, albeit a beefer one. I've had to accept the Jag just aint a riffage guitar.
  16. Same thing happened to me. I've now been banned from bringing the Jaguar to rehearsals.
  17. I have 7 or 8 different overdrive/distortion pedals and can't get on with any of them. The only sound that really works for me is the AC30 together with a Seymour Duncan pickup booster to drive it. Even with heavy gain it still has a clarity that seems to get lost with pedals.
  18. Fortunately no one was seriously hurt. I lent my vintage jaguar to a mate who's band were to tour Europe. This was late 80s and back then a pre-CBS jag wasn't a big deal, I'd picked it up for just
  19. I seem to remember Rick saying they are stainless steel on jap guitars. You could try some fine rubbing compound.. or get them chrome plated.
  20. I had them rewound because my original Jaguar was pulled out of a burning van. I salvaged a few parts but the guitar was destroyed, the neck broke off at the pocket in the crash. The pickup covers had melted and the coils were shorted out but rewinding got them going again so I bought a Japanese jag back in 94 and put them in that. The guy who wound them was a friend of my tech, a real pickup guru type. He hand wound them a little hotter than the original spec. I'd recommend it, they sound great (I'm only borrowing the SJAG1s but I'll go back to the Fender pups).
  21. The Jaguar is the only Fender I like.
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