BoogieMKIIA

I have no idea how the building is wired, it's an old, historic building in Lexington. Now called The Jockey, it was Cheapside for years. I'm here now, we tried a separate outlet, no lights or other equipment on, still have the buzz. Tried three guitar cables and wireless, all the same. Walked as far from the stage as possible, still the same. Turned off the Tchula, still get buzz with the Paisley and Zen. No guitar plugged in, all modes are quiet. Should have brought a humbucker guitar to try. Must be in the middle of a huge electromagnetic field. Still will check all the cables once I get it home, including in the guitar. I heard Kinman were good noiseless Tele PUs, any others OK?

You mean separately from the Pedal Power 3? Maybe do something like isolate power to one pedal at a time and see if there is a difference? I have a OneSpot but I think you are saying a battery, something not on the AC line. After writing all this out, one option could be go into the Tchula first, before the other dirt pedals. That way, the Tchula isn’t boosting the noise from those pedals. I tried this when putting the signal chain together and chose the current setup because the Zendrive into the Tchula sounded great. What a rabbit hole, one reason I avoided pedals for a long time.

There are several aspects to this question on reducing noise. Looking for anyone’s successful experience in reducing noise in my live rig. There seems to be variability gig to gig but was annoying last night.Of course, most audible with distortion/overdrive engaged. I believe it is 60/120 Hz but need to check at home. Here is my setup as a starting point. Player Tele with stock single coils. Mesa MKIIA 60W combo, only using the clean channel Pedal board is a Dingbat Medium with Pedal Power 3 supply. I made all cables. Square Plugs with Mogami cable, custom length. I made the output and input cables using various Switchcraft and Neutrik plugs, have used store bought cables. The output cable is quite long, maybe 20 feet. Signal chain - Polytune 3 with buffer enabled ->Xotic compressor (medium setting) -> wah -> Zendrive ->Paisley drive -> black Tchula (always on) -> three time Fx -> TC Spark Boost -> amp. Last night, the pedalboard and amp were plugged into the same AC circuit, a long cord with multiple receptacles along its length use for stage power. When I can’t do this, I run a separate 3 wire extension from the back of the amp to the pedalboard. We have modern LED stage lighting, which is supposed to be quiet. At least one set was on the same AC circuit as my rig last night. I’ll look tonight to see what bar lights, neon signs are around. I have a love/hate relationship with the Tchula due to the large treble boost and adjust the amount of presence and treble control lower to compensate. The Zendrive into the Tchula gives a great distortion sound with easy pinch harmonics, and just the Tchula adds pleasant grit for clean. However, I have to adjust the outputs of both the Zendrive and Paisley drive low to maintain equal volume without them engaged - about 9 o’clock versus around noon if no Tchula engaged. I can eliminate the Tchula and rework amp tone controls, gain along with pedal settings, to get a good sound. Because this setup has performed with relatively low noise before, I’m looking at things like cable integrity and pedal jack condition. If the environment is the culprit I may need to rethink my signal chain. Almost anything is up for consideration - add, delete, change pedals; where to turn on and off buffers; noise gate. Less keen on changing pickups as there are lots of single coil guitars out there. I will check with a humbucker guitar, which my provide insight if it is not much different.

Thanks, all look OK by that method. I hope to take the Studio Custom to RS Guitarworks before the end of the year to check everything out and do any work that might be needed.

Beautiful and a great price

I saw the “Traditional” model on Sweetwater’s web site ($2,298) with U neck profile and constant 9.5” radius. The body finish is satin with rosewood top and there is no black trim layer between the top and ash body. A little less fancy on aesthetics and the sunburst quilt maple is really nice. . Looks like some are on order. I really wasn’t looking when I saw the guitar at Willcutt’s and the price was in my range. Else, I might be interested in a new Traditional. I need to use my available cash to get the neck reset on my HD-28, a smarter use for it at the moment.

Radius is 9.5” to 14”, nut to 20th fret.

This guitar is nearby (Willcutt) so I went today to give it a try. The G string was sitaring at the nut, they filled and filed it on the spot. Net for me, the fingerboard radius is too flat. The “fast” C profile was fine. Otherwise, I probably would have brought it home. Larrivee now offers two thicker neck types, also with the compound radius. The guitar is gorgeous, great materials like the one piece lightweight ash body with quilted top, flamed maple neck. Pickups sounded great. Looked unplayed except some tarnish on the brass compensated saddles and a few very small dings on the back at the bottom. The bridge is a matte finish Callaham stainless steel. This was one of the prototypes of the 2020 series. Asking price is $1499.99 with new ones listing for $2799.99, seems like a good deal if you like the neck. https://willcuttguitars.com/products/larrivee-baker-t-lar-baker-t-used-134337

Anyone played a Baker-T Classic or Pro? Any thoughts? The specs look great, depending on what neck profile you like. There is a used one local (2020 model) at a good price. Light weight one piece ash with quilted maple overlay.

Weight around 11 pounds per specs. I have a newer hard shell Gibson case for my LP that is about 10.5 pounds, the guitar is about 9.5 pounds. The original (1973) case is lighter, but haven’t weighed it. I would like a lighter case but may not get the protection this Gator provides at the SDOD price.

My Taylor is very easy to fret, especially after the neck reset. Not like a standard six string but not so far removed. Bigger hands and playing a lot to maintain strength helps. If you only play electric with Super Slinky’s, will be a challenge. Couldn’t play it all night long! Another great 12 string acoustic is Larrivee. Willcutt used to have several and were on par with Taylor. I recall the smaller body models sounded surprisingly good, comfortable to hold. No information how stable the set neck joint would be over the years. I got a Larrivee parlor in 2003 that is still solid.

And BB King used a Lab Series Amp. It really won’t matter for those guys.

I checked nut slot height on th Studio Custom, a Les Paul and a Tele. First method was to press at the third fret and check for a small gap at the first fret. All three guitars looked similar, very little clearance to just touching the first fret. Feeler gauge at first fret, not pressing the strings. A 0.018” feeler just went between the fret and string. Perhaps a little tight on the Les Paul, but all similar to my weak eyes. Music City Bridge nut slot gauge. All were just above 0.005” with some variation string to string and guitar to guitar. The differences are in the weeds to my ability, I’ll take the Studio to a pro to check the nut and frets. The nut is original as I can see the vintage natural tint covering where the nut meets the neck, and missing a little higher where the nut is polished. Glasses said around 0.004” is good for a Tele, perhaps you could go lower but not much - assumes I measured correctly. i still wonder how the Hamer factory set them up.

Regarding a 2002 Studio Custom specifically. I looked, couldn’t find (yet) - what is the Hamer spec for string height at the first fret? Or another measure of nut slot depth. I found a general internet AI response saying 0.010” to 0.020”, E to E. One measurement method is feeler gauges, others press at the first or third fret. Whatever way you should really do it. I found the Hamer fret wire spec, but not sure regarding profile versus a 1973 Gibson Les Paul fret. I’ll need to check what was used for the LP refret, but it is “smoother” than the Hamer, more square. Was there much variation between Hamer fret dress coming out of the factory? I’m considering having the frets lightly dressed but unsure how much difference that would make. Certainly not worth a refret just to see and the current ones have low miles. And, binding.

Local Blues legend, Tee Dee Young, plays a Parker fly. I have never seen an arch too but would love to try one.

Years ago, a friend had the top of the line Guild rosewood/spruce with all the bling. Amazing instrument in every way.

I recently got my Taylor 12 string back from a neck reset / rebolt, new strings and am really loving playing it. Do any of you enjoy playing 12 string, acoustic or electric? I got mine from eBay last second bid. The guy had it custom built and apparently only played it a few times. Was sweating that I could be getting a dog, but all as advertised. Taylor GS Custom (big), fine grained Sitka top, mahogany sides and back, ebony board and faceplate. Subtle trim items like ivroid binding and ebony trus rod cover. Some may not like the Taylor sound, I think this 12 string sounds great with the abundant highs. Plenty of lows from the big body, very responsive to strumming pressure. Plus neck resets are no too expensive.

Makes sense regarding import volumes, hope they can continue. In my opinion, anyone looking for Fender flavor guitars should have G&L on the list. Our other guitar player has an older ASAT and bass. Think early 90s. Both sound and play great and are light. I haven’t played a newer one.

The carving is just, wow!

I like the Monaco Elite Goldtop, with P90s

Where are the active devices?

I think callouses will settle in if I continue to play as much as I have been recently. They just seem to fade faster, unlike the video game callouses that @cruncheehas. I try to make the Monday acoustic jam at the local pub. This helps callouses and hand strength. Then electric practice on Tuesday, sometimes an open mic on Thursday. One or two gigs each weekend, about two per week in September! It may help if I play more at home the weeks of less or no gigs. We have been playing fewer, longer sets, sometime 3 hours with no break not to loose the crowd. I’ll look for wrist exercises I can do when at the gym. Wrist rolls with a light barbell on the curl bench and similar. Maybe one of those hand/finger exercisers. No where near ready to give up. Physically, I’m in pretty good shape or I wouldn’t be able to play long sets. Les Paul played until his 90’s. Like the Cody Johnson song, “Till You Can’t”.

I recently turned 68 and it seems developing and keeping callouses is different than in the past. Anyone else notice this? I also notice some loss of strength in the left hand, with fatigue from gigging often. Just keep going is what I'm doing but curious if others here have experienced this and what to do about it.

:A friend just sent me a link for them, Feel Like Making Love. Hadn’t heard before.

I’m waiting for the Bluegrass version