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  1. Today
  2. Why the hate on Jol? He is kinda floating out there in a dream bubble in that banner. "Pssssttt...Hey Kizanski....watch me pretend to make this guitar"
  3. I gig the crap out of mine. It's just a really well rounded, versatile guitar.
  4. Looks like Nuno is FLIPPING OFF the gear page in the still from the video!
  5. What profound (profane?) grain! I’da called that one ol’ hick’ry! Looks like a Louisville slugger. Was it heavy? Also, to the other posters: what’s the weight like on the superstrats?
  6. The last time I played live was at a Bar that had a multi-slip docks. We were set up with our amps and the drum kit against the bar's outer wall, and we faced the seating with the water behind it. That was the best sound I got in years and the drums sounded tight and just a little compressed. The crowd filled in all the space in front making it sound even better. Indoors, on stage, it's tricky to get the right sound if you're not mic'd up through the PA and using a low power amp. Every venue sounds different. And if you're only doing one night there with no time for a good sound check, it's hit or miss.
  7. Wow, that's totally bitchin'. Grover sure knows how to design practical hotrods.
  8. I spent some time getting my pedal board and amp setup really dialed in. Got to where I wanted all the combos of distortion and such to yield one volume. Tweak the volume knob slightly playing rhythm things, hit the final boost for leads. At this point I have come to not worrying about the levels so much as to dig the tones you happen to get, tweak as desired to sound good. Meaning, each night live is different from the rest in terms of room and vibe. Some songs are pretty stock and no issue to get a consistent sound. But any song can hit a certain groove at any time and I enjoy tuning a knob to get the rig in the same groove. I guess that is the magic that makes it fun. Any settings/equipment discussion can follow (guilty). My intent was looking at tone from a different perspective and seeing what other HFCers think about their tone and playing, especially live.
  9. This is what I had up until I sold it about a year ago. Not a superstrat, more of a tele-strat.
  10. Yer kidding me! What are the chances of 3 HFCers having similar Washburns? They didn’t exactly fly off the shelf… Looks like your USA Mercury has, "Designed by Grover Jackson" and, "USA", on the headstock, so that blows a hole in the description in my OP. What year is your MG, Prof?
  11. That was the one thing Jol wouldn't put on the 12-ver that I ordered in 2008.
  12. Yesterday
  13. I have a June 1983 4-digit Standard. Has a large logo, not quite the stadium logo. Headstock does not appear to be repaired/refinished. Sent pics to Jol and he said it as a large logo, bigger than the small logo. The transition to stadium logo was soon to come and he believes it’s original. Any thoughts? Any others out there or is this the only one? The 4-digit numbering system was wrapping up sometime in the near future. (FYI - Locking nut is going bye bye)
  14. My college-going son really wants the Tone to the Bone banner, but I'll let him determine whether he has the scratch for it.
  15. I know, I just thought it funny that he's using such a basic rig, no boutique anything, except maybe the guitars.
  16. I was lurking around Cream City's website for a few weeks. One day they had a 15% off sale on used items. I thought, "Sheeit...a grand/shipped for a USA superstrat?" A Little background. Grover Jackson ran the Washburn shop in Chicago from '93-96. He designed a few superstrats for them. USA models said, "Handcrafted in Chicago" on the neckplate and, "Made in the USA" on the headstock. The imports have laminate tops and say, "Designed by Grover Jackson", on the headstock. I've never played one of the Mercury series, so I was pleasantly surprised at what a finely-made shredder this MG120 is: Mahogany body, solid quilted maple top Quarter-sawn, oiled maple neck, rosewood fb Duncan JB, two SSLs Gotoh locking tuners, Wilkie VS100 trem. I replaced the Duncan straplok buttons and knobs, replacing them with chrome Charvel hardware from Merlin5 CNC in Fullerton, CA. Dig this: the neck is big, like Fender boat-neck big. Actually, more like a '59 LP carve. I can still get around fine on it, it's a player, to be sure. It stays in tune and has big, beefy tone. (It seems my big-necked guitars have more going on in the lower frequencies, maybe it's my imagination). If you see one of these for sale, they are a great, low-priced alternative to other USA superstrats from the '90s
  17. I totally get and agree with your point but there are many examples that make it better than this one. Some eras of Squires have a steadfast cult following where the serial number and date and location of manufacture make all the difference between a guitar being worth as little as $400 or as much as $450!
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