LucSulla

Pedal board and making it one more year.

Goddamn I hate amps in a box. Had to run through a Pod HD500 tonight that was running straight into the PA. Sounded great out front, but there was absolutely zero feel to it. Nasty trend I see in cover bands around here. I continually get asked, "why have an amp, just get something like a Pod and DI. Everything you want is right there." I want to say for the same reason that I didn't lose interest in sex just because jerking off is generally more convenient and less trouble. Or more simply, because this sound awesome. My heart sinks every time someone asks if I can just DI...

Dude! Same here.

Ah, the Double Douche.

Sketchy.

Jeff was my first concert. Saw him at the Gumbofest in Jackson, MS, way back when. He was one bad fucktard, especially live.

Oh man oh man oh man... That's so fucking cool it makes my brain box hurt.

So late Saturday (well, early Sunday morning), a friend of mine and myself got to talking about gumbo which led to leaving an hour later (4 a.m) to drive from Austin to New Orleans with a stop in Lafayette (well, Jeanerette to be technical). We ended up crashing at a place on Decatur after several rounds of shots at 5 a.m. at the Erin Rose with a set of bartenders we got to know earlier from another bar. My point is this, I go on ONE 42-hour lost weekend thing, and a whole forum gets shut down while I'm not here to keep an eye on things. Do you know how hard it is to find a babysitter at 3 a.m. in Austin on Sunday morning? Yeesh! (And welcome to anyone that comes over . I was a member there as well and still have a lovely 535.)

Luc, with all due respect, you gotta quit drinking. Cheers! caddie Too late! Already stumbled into bottles of George T. Stagg and Thomas Handy Sazerac tonight.

After taking three decades to get around to them, I am pretty impressed with some of the songs on the Joe Perry Project albums.

That green studio is the first guitar I truly regret selling.

Someone asked me to knock $200 off what I'm asking for my studio on Reverb because they "don't like the color." Fuck the "like" button. I want to a button that remotely slaps people for being stupid.

I actually have no idea. I bought it when I was 19 and didn't really know shit about guitars beyond: 1. I like Les Pauls. 2. I liked this Les Paul. That was 15 years ago. I'll admit that I was thinking is sure didn't look like maple when I posted these pics, but until I got into Hamers, I didn't really know enough about the various kinds of maple tops to notice it.

Not that this is going to be any huge surprise. I don't play this one as much these days, but if I could only have one, this would be it with no second thoughts.

Not only Traditionals. All of them including some Reissues ( if not all of them for that year). If you want to get decent LP do not go above 2006, unless it's R7,8,9 with the exception of 2012Starting in at some point in 2013, all Traditionals, Standards, and Classics went back to solid rosewood boards.

I think the reason you see so few women playing electrified instruments is decades of acculturation. Go back to the rock boom in the 1950s - no women playing in the band really. Women were to lust after those playing, not to be musicians themselves. On the other hand, there have long been women playing acoustic instruments in folk music, though still not as numerous as men. Likewise, I think there is some political baggage that get foisted upon women who just want to rock, whether they want it or not. It seems when I female band or female musician playing more in a rock and roll context starts getting notices, they get tasked with breaking down barriers. Now, many times, this is something they indeed wanted to do as a part of their art, but it often seems like other get coopted into that. It's as if women are not expected to play loud music, but if they do, then they are expected to be Kathleen Hanna. That's got to be a bummer. I guess I should mention that they also have to get around being tagged as a gimmick on top of all of that. My last band was a metal/hard rock act with a female singer. I expected that some people wouldn't like it because metalheads can be quite conservative, but also we weren't a political band. I was actually shocked to find that most men were cool with it, but a ton of WOMEN over that band's run said to me, "I love you music, but hate seeing women sing in rock bands." There is probably something to what Nathan said as well if you are going to look at playing a guitar as a kind of advertising for meeting someone for romantic purposes. I imagine that the demographic of women attracted to guitar playing men is much wider than the other way around. But there are plenty of men who are attracted to it. I'd give up a toe to have a cup of coffee with Donna Grantis. And those chicks in Poison did OK for themselves.

Was that you in the latest edition of Sex Sent Me To The ER? The doctor was amazed how far up the cavity the Hame logo was visible. I never let my guitars top.

Well, did you want to make money or have fun? Haha.

I think high-gain and a bridge humbucker is a really easy combo with which to start getting good sounds. I was a lot like you (though I still hate gain and bridge singles), except I did like funk and r&b a bit when I started playing along with Metallica and Alice in Chains. Put for the most part, for really the first decade I played, no matter what, I always ended up on the bridge humbucker with a ton of distortion. For me, I started embracing more tones for a few reason. The biggest was that I realized I was never going to be a shred wizard. I can do a lot of stuff, but once it gets to multiple fingers on your right hand for tapping or multi-position, sweeped arpeggios, I'm out. Instead, I concentrated on being able to do a little of everything well, so while I was never the best in town at any one thing, I was one of the only guys in town that someone could call knowing I could do just about anything for a 15 or 20 second lead break. I think that peaked in Gainesville where in a month stretch I was called to do a folk project, a dad rock thing, a metal thing, backing tracks for a rap act, a gospel tune, some jazzy thing, and a smattering of country. At the end of the day, producers and engineers just want someone who can dial the sound that they are looking for quickly and then play something clever that fits the music in as few takes as possible. It was strange learning that clever doesn't always necessarily mean complex as well. I got into Mr. Bungle pretty heavily in college, and Trey Spruance ended up a huge influence due to that versatility factor. The number of styles he covers on California is amazing to me. Finally, I think I am more into cleaner tone and twang these days just because I am a better player overall. They're isn't a helluvalot to hide behind on a twangy single coil with just a touch of grit. You pretty much can either play it or you can't, whereas I used to get away with some bullshit on a Lester through a JCM 2000

^Good question. I have been avoiding my G&L Legacy for months because I thought it had a broken string. I pulled it out tonight to find it not only freshly restrung, but the frets polished and neck oiled as well. I'm sure I did this myself and just forgot, but isn't more fun if I just assume it was really guitar gnomes?

I think this is awesome.

Lol, I was staying mum on that.

I nearly sold my Studio once. That was almost a dumb move.

I am kinda intrigued by that red Chap, but I know very little about their price points. Diablo, that one certainly seems familiar...