Leaderboard

Thanks for the advice @randythoades. Just opened a bass chat account and will try there

Very impressive amp sitting on the Boss stand

Just added the Boss GA-FC EX footswitch Liking the tones I can get from this and sounds lovely on the 0.5w setting home use

My version of a beautiful number composed by Swedish songwriter, guitarist and singer, Lennart Clerwall. https://youtu.be/q4B_Saa6bPk

Strangely the same as @PeteUK, my Washburn HB35. Mine was natural and had the lowest action ever. Sounded better than the Gibson 335. No idea why I sold it.

changed the strings and its almost perfect. didnt realise they could cause problems like mine. i follow this guys video mainly due to the comments. quite a few saying its the best tutorial video on youtube. he does them both ways. i like more than 2 or 3 turns and dont cut it so close to the post.

Robert Cray and Robert DeLeo walk into a bar and see Robert Fripp on stage playing guitar while STANDING.

The harmonic cannot be sharp or flat, unless the string itself is duff. Start off by changing at least this 'G' string, or the whole set if they're more than a few months old. Let the strings 'bed in' for a week or so of playing, then check again the intonation. It's not necessary, nor a Good Idea, to have too much excess string wound around the tuning post. Ideally, enough for three or four wraps does the job. It's best tto feed the string end through the hole in the post, leaving enough slack to get a few cms above the fingerboard. Then wind the string onto the post, with the first turn above the hole. Once this first wrap is on, hold the string down above the nut so that the following turns cross the first one and the windings are below the hole. This will lock the string in place, once tuning tension is achieved. The excess string is to be cut off, about 1 cm from the tuning post. Try this technique out a couple of times 'dry', to get used to judging the amount of slack required. Too much slack means too many winds on the post. Too little means not enough. The 'sweet spot' is three or four turns wound onto the post. Once all the strings are on, and the guitar tuned to pitch, I take each string in turn at its mid-point, and lift the guitar off the bench (gently but firmly...) by this one string; this 'beds in' the string at each end, and gives me tuning stability from the outset. After this suspension, tune back up to pitch and it's Good to Go. Now the harmonic test can be done again; the harmonic will be the exact octave of the open string.If the open string is tuned correctly, the harmonic will be (must be...) spot on. The note at the 12th fret should sound the same as the harmonic. Hope this helps.

Hi! By changing basically just bass note below the chord voicing one can get pretty nice chord progressions. Little changes in the upper note gives a sense of melodic movement. Try this out. Cheers, Mikko Video Tabs

Here's a simple check that you can do to see if the issue is intonation. Gently pluck an open string. Then play, in the same way, the same string at the octave, 12th, fret. They should sound the same note, but an octave apart. Now sound a harmonic at the 12th fret (gently play the string whilst barely touching the centre of the string above the 12th fret...). That harmonic and the fretted octave should sound exactly the same. If the fretted note is 'sharp' or 'flat', it means that the bridge is not in the right spot. If it's moveable, adjust it until the harmonic and the fretted octave are the same. If it's a fixed bridge and there's a difference, take it to a good luthier for rectification. Hope this helps.

A Good Question, and one that I am maybe the worst person to reply to, as I don't use pedals, or very, very sparingly. A lot depends on one's repertoire (I like to play finger-style jazz chord-melody parts, so a bit of reverb or delay and I'm all set...). For those having an amp with 'crunch' available, it would be useful, for some, to be able to switch sounds 'on the fly', so a simple amp Fx would not suit. A bunch of drive/thrust/bigliness/fat pedals can be switched in and out by tap-dancing, and some folk play this way. For my part, the subtleties of different 'shades of grey' escape my duff ears, and I have only once, in many decades, accidentally obtained a such an effect (twin germanium Big Muff; goodness know what settings...) for a rare 'rock'-type recording I made. Some folk collect stamps, and will drool over a rare, virgin, 10p with duff printing, or a collection of Easter Island Special Issues. Others like to collect Fx, and will swap around, looking, for, obtaining, then abandoning The Sound as the Next Best Thing becomes the fashion. It was easier 'back in the day'; one cut slits in one's speaker cones and that was it. Not much going back from that, except for the wealthier musicians able to get new cabs from their record deal advance. In short, all that counts is being able to get the sound one wants with what one has, or finding something that will get 'that sound'. I'm easily pleased; it's healthier for my bank balance, too.

The Marshall rig ( now up for sale ) was lovely but not ideal for home playing and occasional jams with buddies, more a rig that needed to be gigged ideally ( I’m no longer gigging ) Decided the Katana was sufficient to play at low volume at home without pedals and loud enough to jam with band buddies Just took the easy route and a one hand carry to the car so less lifting hassle The 100w Gen 3 combo will be ideal and I’ve purchased the Boss combo stand too Sold my pedals and pedalboard which nearly paid for the Katana !

Changed to a Katana Gen3 100w !

The older units are generally made with less advanced components so tend to be a little noiser. I have quite a few multi effects units in both rack and pedal form including Zoom B3, Zoom G3x, Adrenalinn III, Lexicon MPXG2 (x2), Line 6 M5 (x2), various Rocktron Intelli-units who have noise reduction.

Edit - please note that the guitar is in Cleethorpes, not Nottingham. We moved! We're into the final stages of the Great Retirement Clearout and this listing is from my 2012 FSR American Special Strat. I bought it new from Peterborough Music (sadly now defunct) and it's in excellent condition with all the original paperwork and Fender gig bag. It has an ash body in natural finish with two Texas Special single coils and an Atomic humbucker. The full spec is listed here https://www.sweetwater.com/store/detail/StratAmSANat--fender-fsr-american-special-stratocaster-hss-natural-ash-body. The guitar is available to try out here in Cleethorpes or I can travel a reasonable distance to meet/deliver - please PM me to discuss options.

Hi! I rarely practice any guitar technique without music that inspires me and here's a tune I think you can use in performing too, just play it twice or three times with modulation. Video: Tabs: Cheers, Mikko

Have we all seen this? Your thoughts please. To me, I've never been aware of this guitar as part of Eric Clapton history. £17500? Maybe I just dont understand the whole signature series thing.

Let's face it, when you think of Johnny Marr playing, you think of Rickenbackers, Fender Jaguars or Gibson semi-acoustics.

Gibson have also brought out a Johnny Marr signature Les Paul, another player I don’t really associate with an LP.

You might get more response to this over on Basschat as this is more guitar focused. There are plenty of members who cross over so might be more experienced. I haven't used active pickups so don't really know.

They really are. I still have a TE-62. It's a cracking guitar.

A pick.

A medium-sized jar of Talent, maybe..?