gorch

Dibs!

I love the Leosounds.de Vintage Player Humbucker in mine. Built after a original 60s LP PAF, slightly underwound. They sound a bit wooden and dry. Just like a good dry red wine. To give it some taste.

Very nice!

Thank you! The PG is wood...it came with the husk. Are you referring to putting a Kahler on it? I don't think I could do that. Maybe a Vibromate and a bigsby? No, I'm not a Kahler jerk. I'm not sure, but think Wilkinson has a nice one that would fit optically to the bridge you have on now. It was just an idea that came up while watching you playing in the video. I thought a whammy bar would make it even nicer. I put a Schaller LP trem on a MIK Standard years ago. However, sometimes I struggle with the headstock angle of the Standard. Your guitar seem to be a better candidate though.

That's a lovely room you've got there Brent. I like the cut neck hanging and bouncing. The guitar looks fantastic with the pickguard. Is it made from wood? It takes a bit saussage from the sandwich, easing the look. Really nice. As far as I can see in the video, the string lead on the headstock is much more straight than on Standards. So, your guitar would be a great candidate for a floating tremolo that I had missed at some points in your playing. Great job Brent!

Everything got an end. Except for the sausage, which got two. Very sad to see the floor empty. The equipment would be worth crowdfunding to build whatever guitars for a new brand on it. The default fund could make up an equal amount rebate on a build.

There's not much I can say from my position, but many many thanks for absolutely fantastic guitars!

What a sad day! The needle still heading south though.

Done!

Well, I had thought it's a Standard.

Congrats! It looks like they are guitars for submariners. Very interesting!

Lovely!!!

Ok, now understand the latest clamping. I did not realize the piece was glued onto the splines. Perfect job. The splines are not visible anymore. Handcrafting excellence my dear!

I would paint it to seafoam green.

I did not know something like this exist! What are the pickups?

It doesn't need a video to see what's going!

Now it would be interesting to know the best offer to see where the mark's actually been set.

Great pics Greg! I thought it were clamped already?!

Fantastic story! Let's go ahead.

Just the way I went into it.

Mostly, I'm not playing melodies on the key level but rather start a 3rd, 5th, 7th, 9th, 11th, or even 13th higher from the key tone. Still playin within the key, so, being in a mode. Once a colleague, being quite a professional guitar player himself, told me the further away from the key tone you play the more interesting it sounds. I like to stay at least an octave higher to have my tone separate from the key tone to be more present or distinguishable.

Pretty simple but still confusing stuff. I had built my bridge to playing noticing that there are three basic patterns building up a position. 1-34 (minor form) 12-4 (major form) 1-3- 1-34 and 12-4 appear in pairs. 1-3- works as a bridge between 1-34 and 12-4. Reading bottom up (horizontally, within a position) -1-34 -12-4 12-4 -1-3- -1-34 -1-34 (Vertically, in fretboard length) For the same string the upper 12-4 in a position is always followed by the 1-3- with 4=1 and 3=1 of building the entrance for the lower 1-34 of the next pattern. 12-4=1-3=1-34 or 12-4 1-34 1-3 The bridges helped me to walk across the fretboard, changing positions, regardless of knowing which pattern actually applies. In order to define myself within a key, I start of with one of the basic patterns and just go ahead from there.

...The basic principle remains simple however: just "envelop" chords and scale notes with notes that are one semitone down or one tone up. Used wisely and mixed with other approaches, this can add a lot of spice to your arsenal of chops. Did I answer to your question? Thanks Zorrow! I know the principle from a bossanova workshop, where it's used more pointy.

What do you mean talking "outside" and "in" notes, Zorrow?

Check out "Fretboard Logic" vol. I and II from Bill Edwards. It will lift the curtain. Scalewise, I'm happy with pentatonics and diatonics. There's so much to learn on harmonics and playing that I don't need another scale though. I'm pretty much into intervallic playing as opposed to the usual scale rundown. For intervallic improvisation I recommend Carl Verheyen's book on the matter.