velorush

Amazing. I love that headstock, the color, everything!

BGE lives! Great stuff, Brent! Love the spanky clean tones. What pickups did you go with (or did I miss that?)?

Nah, now they've got the corporate types out of the way!

Offering a friendly amendment. When I think Guild, I think archtop jazz guitars (Artist Award, X-series). Perhaps the brand prestige died as the genre went.

Really sorry for you guys.

I've played their acoustics, but never knew they made a jazz box - congratulations!

That was my first thought when the thread opened. We've all seen Greg fix these breaks (to our collective amazement), it's just that metallics, especially gold are such a difficult match. This will be interesting to watch!

This should work out for a great example (and please, I am self-instructed, so if anyone with any modecum of formal education sees any error, please, please correct me!): Mindset One: The G Major scale is G w A w B h C w D w E w F# (with the convention for whole and half-steps). To play G Mixolydian, you could play the major scale of the key for which G is the 5th or the C major scale. Spelled out, C major is C w D w E h F w G w A w B, but if we begin with G, we get G w A w B h C w D w E h F. Now let's compare: G Major: G w A w B h C w D w E w F# G Mixolydian: G w A w B h C w D w E h F [ = C Major: C w D w E h F w G w A w B ] This shows what I couldn't figure out from reading Vai's article that night: That G Mixolydian is spelled 1 2 3 4 5 6 7b. That's one way of looking at it. Mindset Two: From a guitar neck point of view (and this is where it opened up for me), if you learn, positionally (i.e., boxes) how to begin a major scale from any degree of the scale on the 6th string, you'll encounter seven patterns (I think of it more like five patterns because the Phrygian and Lydian (3rd and 4th) and also the Locrian and Ionian (7th and 1st) are so close to each other). Learn those seven (five) patterns. When you begin those patterns on your root note and you'll be playing the mode rather than the major scale. Next, learn the patterns beginning on the 5th string, 4th string (by now the patterns will be old hat because they are contained within the patterns you just learned). I just read Geoff's post as I Previewed for clarity - please consider this a relatively poor supplement to his more lucid and learned explanation!

Great posts Zorrow! To the OP: personally, I can (and did) read scales, have them shown to me, etc., but until I 'discovered' it for myself, it wasn't mine. One of my fraternity brothers let me borrow some sort of blues scale book around '86 or so - it had all these boxes and I thought, "I'll never memorize all this stuff." I began playing over them and discovered they each contained the same notes (and only 6 - pentatonic plus the flat 5). I then began to map out which notes and it (the obvious) became clear to me. The night after he loaned me the book we were jamming on Johnny B. Goode and I launched into Chuck's solo - he was greatly impressed ('cause neither of us knew how to do that prior). He asked, "where did you get that?" I told him out of the book he loaned me. He said, "just keep it!" My discovery on modes came in nerd school, reading an article in "Guitar for the Practicing Musician" (around '88). Steve Vai was waxing on about this mode is spelled 1 2 3b 4 5 6 7b (that'd be Dorian, IIRC) and that mode is spelled 1 2 3 4 5 6 7b (Mixolydian) and I just couldn't figure out how I was ever going to memorize all that. I began to write the actual notes out on a legal pad along with the modes and the following pattern occurred to me: W-W-H-W-W-W-(H back to the root - where W is a whole-step and H is a half-step) - that's how you spell a major scale. Root to second is a whole-step, then another whole-step to the major third, etc. Starting at the second position, but keeping the pattern static got me the Dorian mode; third position got me the Phrygian mode, etc. Suddenly, I had it! These "modes" were simply a major scale, but started at different positions within the scale. What that gave me for guitar was, I could play any "mode" anywhere on the guitar by simply finding the related and familiar major-scale pattern. Starting at the sixth position gets you the natural minor scale (aka Aeolian mode), by the way. Nerd school did not last long enough for me to figure out the 'harder' things like the modes of the Melodic Minor scale and all that more interesting sounding jazz stuff, but my point is (yes, after all that, there is a point) - I think everyone has to come to the guitar neck in their own way. Taking this information to a keyboard seems (to me) infinitely simpler (though I play keys so seldom, it certainly doesn't appear simple to me).

Bored? The look she gives the camera at 2:17 is priceless - she's concentrating! It's very encouraging to see someone younger than 35 playing a real guitar. Seems pretty rare these days. I love seeing stuff like this. If everyone played as poorly as me the world would be a desperately uninteresting place.

If Serial had a photo of a Californian (I don't recall ever seeing one), I'd be glad to cobble that together. It's much simpler using his photos as they are incredibly consistent. The Californian has a certainly less radical headstock and might be more generally appealing.

Back at home, I humbly submit these two quickly cobbled images: WMG 1 WMG 2 They could have used some blending, but I figure you either like this or don't and no amount of additional editing would do anything to promote the concept...

I concur with one Hamer-specific modification: this body I'd photoshop the result but I don't have my tools here at work.

Ten pages over three months and we're back to this: Kiz, you're a genius!

I've got to be honest: THIS scared the crap out of me! ...but this made it all better! Some amazing chops displayed here!

Separated at birth! Fantastic prizes, Mitch. I missed it by only 61 days but I am thoroughly enjoying my consolation prize!

Steve, shoot me a PM when you get an idea of a date for Nashville and I'll see if I can get free. I need Jay to look at a couple of things for me, anyway. - Jeff

Congratulations, Case! Can't even begin to explain why, but I don't hate this.

Love that color on the one in JohnnyB's post! Honestly though, if I were in the market for a shredder, this would be the answer! I'm not in the market for a shredder but this is still kicking me in the head telling me it's the answer! If you're as old as me (granted, fewer and fewer are each day), THIS was the quintessential shredder. The Bengal paint scheme is just beautiful, beautiful, lump-free gravy!

THAT needs to be seen!

THIS is the Fender Modern Player Jaguar (referenced in the diagram): THIS is the Modern Player Jaguar after a bit of Photoshop: If you are using a PC, use CTRL+ half a dozen times to blow up the image and you'll see the strings aren't continuous across the neck and middle positions.

Hey, found this on the Anderton's site (describing the Modern Player guitar in the first photo): Only question this raises for me is, in Position 2, are all three coils in parallel or series (the writeup only says "activates all three coils" so I'm guessing parallel)? Parallel would yield output lower than Position 1.

Saw that this morning (looking at single coil pickups on their site). Interesting and the specs were pretty nice: Output Rating (Bass/Middle/Treble) Humbucking: 5/6/6 Single-coil: 5/5/6 DC Resistance Humbucking: 10.5k ohms Single-coil: 6.0k ohms Inductance Humbucking: 7.1 henries Single-coil: 2.5 henries Six conductor wiring, so Any Color You Like!

Dean are smart guys. There are reasons it is feasible to ship finish work half way around the world and back.