tbonesullivan

Just curious, but what material do you usually use for your nuts? I got to talking with some guitarist friends about the various materials out there, like bone, brass, corian, tusq, etc, but seeing as we never cut nuts, I don't really know what the difference would be.

That thing rocks my socks off.

I missed this thread the first time. I've been on a no guitar/bass/trombone thing since I bought my second stingray 5. What I need to do now is get rid of some. too. many. guitars.

I'm in, and I have not bought any guitars or basses november., though I ordered one and took delivery in december.

The problem is that a lot of these stores started back in the pre-internet days, when you could get away with being a jerk because people HAD to deal with them if they wanted to purchase the items. Those days are now long gone, and also people can look around online to see bad experiences that others had at the same place. As for a dumble, I don't see why anyone would ever want one. The prices are obscene, and I don't really care if they are custom made by one guy for the stars.

The better question is what will he buy next?

Yes, Myka and Schroeder guitars are both really nice. However, they really can't be compared to Hamer, at all. Myka is a one man operation. Schroeder, as far as I can tell, is two. I don't see how that compares with Hamer at all, except maybe in the EARLY days, but even then I think there were a bunch of people. It grew out of Paul Hamer's guitar repair shop, right?

I'm sure the former workers at the Guild factories will be thrilled to hear that Fender decided that a New-England based guitar factory making acoustics and electrics is a good idea.

I would have to say, that I definitely agree that one of Hamers biggest problems was marketing. Then there is also the somewhat megalomaniacal mindset of Jol in the later years, when he wouldn't do this, wouldn't do that, yada yada. I heard he turned down some serious-sized orders becuase they didn't appeal to him. If you are running a custom shop, that is simply something you cannot afford to do. Especially if you are almost completely dependent upon your dealer network to do all of the advertising and word-of-mouth for you. I'm just still amazed that Fender decided NOT to cash in on what Hamer is. I don't know about you, but most guitar players and bassists I meet at least "know of" Hamer. They know that they are good, but don't know much about them. That all coming from their marketting (or lack of) certainly makes me believe if they had gotten a few into famous people's hands, or just managed things differently, they could have built it into something huge. Of course, others point out that the market right now is CRAZY. I've been to Guitar Center, and used prices are at rock bottom. I don't even want to think of the pittance they are probably giving the people who trade stuff in, or how little their sales people are making.

Depressing. Not surprising though. As a Trombone player I've watched as merger after merger resulted in UMI, later Conn-Selmer, and then Steinway. I watched as famous brands with decades, even a century of history get gutted by the corporation, their development staff and artisans laid off, and their product lines 'streamlined' to get rid of everything but the best selling stuff. Like hamer, many of these famous and sought after trombones can only be found now by looking for used examples. What pisses me off the most though is that FMIC had GOLD in their hands. They had models, know how, and history that could have been a major competitor to Gibson, however they decided that "Charvel" made more sense on Gibson-style guitars than "HAMER". Of course, they also may have wanted to protect their gretsch brand, which is for all intents and purposes just a bunch of reissued crap lacking innovation. It's sad that one company that was actually working to develop new pickups, styles of guitars, etc was shuttered.

MEIN GOTT!!!! That is awesome! Are those X2N pickups??? How does she sound?

Man, I love my Newport. I need to play it more. Time for a culling!

The only ones I have are currently sitting in diablos that I have. I'm always really gentle when adjusting intonation, as I don't want the possibility of stripping out the base plate. I mean I know there are ways to rethread the holes or drill them out for a slightly larger bolt, but I'd rather not do that. This has just reminded me that both of my diablos have been case queens for a while now. Ooops.

I don't use this picture often, but damn this deserves it

scam. scam. scam. cash in hand in person. that is what craigslist is for.

Johnny Ramone married Joey Ramone's Ex girlfriend. So I guess technically it wasn't "within" the band, but that's still just as divisive.

yeah... or read about the reasons why SuperTramp will never tour as a complete original band again. One member decided to marry their record person and make her the manager. ALWAYS a BAD MOVE.Heck Romance inside of bands in general can have disastrous effects. Look at Fleetwood Mac. Or the Ramones.

very interesting. For a while in myspace I was following a French group made up of horns (trombones, saxes etc) that played Heavy Metal covers. They were called.. PASTORS OF MUPPETS

That is true, to an extent. Usually though you want one mouthpiece that allows you to play throughout the range of the particular instrument. the size of the mouthpiece, the shape of the inside, the thickness of the walls, the size of the hole at the bottom of the cup, and how it tapers up to the full bore of the instrument. that's before considering the shape of the rim, which since a player ends up pressing against their face, means comfort is an issue as well. Mouthpieces are usually made of 80/20 copper/zinc brass, but lately higher copper content brass has been used. Also some use plastics for the rim, while others are made of stainless steel or titanium.the problem is that you literally have over a thousand options, and the differences can be so subtle. This is before even considering the trombone, which are made out of various alloys of brass, as well as everyone's favorite tone metal: nickel silver, which is really a mixture of copper, zinc, and nickel. The Bb tenor trombone also comes in a variety of different bore sizes, ranging from .480 up to .547 inches, with bores like .500, .508, .490, .525, .562. Then some companies vary the gauge of the brass used in the bell of the instrument, as well as the type of brass, etc etc. In some ways guitars are pretty easy to deal with, after dealing with trombones.

I don't think my Stingray is routed for the 3 coil, and honestly I could care less about having a single coil sound. I now have the pickup at a level that is nice, and no note weirdness except on the top two E string frets. I have the treble side a bit higher as the G is always kinda weak. I'll see how this goes. Also lowered the Carvin's pickup a bit, and got most of the warble out of that. I think I never had issues before because I used to use a really high action, like .120" or above. I tried to bring it down a bit closer to "factory" specs, and that's what caused the problem on basses with the big magnets. I mean they are huge compared to the magnets in standard P or J pickups, even G&L's MFD versions. Live and learn. Now if it only it was that easy to fix sound issues with a trombone.

Well that's good. I have always heard good things about them. Question now is, how much do I really like the stingray? It's got a nice sound, yes, but it's kind of a beast. Though, that's where the good sound comes from. Do you know if the Barts are wired series or parallel? Or do they have enough leads to do series/parallel wiring? Because that would be awesome.

Issue is I play finger style, and lights just don't work for me on a 4. on 5 I can deal with them. I really like the tone and bigger thump I get from mediums. I also like to control the volume with how hard I play, and lights just flop around too much on the A and E. Hmmm.. I wonder if the Bartolini MM pickups have less magnet pull. they don't seem to be pole-piece based, though they are all black so I'm not sure what the insides look like.

could just be that my stingray is cursed. Of course, their "stock configuration" is for their light gauge strings.

I'm using nickel plated steel, medium gauge. This happened with both Labella and D'Addario strings. I may just have to keep the pickup lower. It doesn't seem to impact the sound or volume very much at all. I shoulda figured those big Alnico magnets were the culprit. I'm going to continue messing with it. I like the sound definitely, but I am one who does play up there, and with my SB-2 and Carvin B5 the notes up at the top are perfectly in tune and without any warble. My two basses with big beefy humbuckers in the bridge position? low string warble.

Looks like there is no need for clamps. I have an official diagnosis. I bottomed out the pickup. the warbling was then gone. It's stratitis, on a stingray. now I've gotta figure out what a good pickup height is that won't give me this problem. Also probably should lower the pickup a bit on my carvin. So, according to EBMM: "The factory specifications for the pickup height is 6/32" or 4.76mm from the top of the plastic pickup cover to the bottom of the G string. The angle of the pickup is set fairly level, so the larger strings are naturally a bit closer. If you haven't already adjusted the pickup or changed to a very heavy gauge string set, you shouldn't have to do any adjustments on the pickup." Is this supposed to be with the top fret held down or something? My pickup wasn't even that close, but it did this. Maybe it's because I'm using heavier strings? I use medium gauge roundwounds.