Leaderboard

Same. To be fair, the 5 series are really, really good and the price difference between a 5420 and 6120 is huge and the law of diminishing returns says you’ll not be getting an awful lot more. 5420, plus some TV Jones pickups and you’ll be pretty much 95% of the way there, for a fraction of the cost.

I’ve learnt pretty all I know about Fender offset guitars from Mike Adam’s, AKA puisheen, on YouTube and Instagram.

Interesting - I had not noticed that. Amusingly, the tech mentioned that though he is a Gibson man he has often coveted Jaguars when they've come in, and whilst dealing with this he finally succumbed to the GAS and ordered a Fender custom shop model. Apparently, according to what I have read, they were originally meant to be a luxury model to poach Gibson's customers.

Returned today, with a partial refret, new plate, and setup with flatwound 12s.

That is indeed my plan. In addition to some fret and electronics work a new plate on the front should be involved.

In the end I was able to bag a nice Japanese Fender, which is now having some work done on it.

Good evening, @danhkr, and ... ... Plenty to read and amuse you here, and lots to learn and share.

For anybody considering a Goldo DG offset tremolo I got it to work great (there’s nothing on their website or YouTube I’ve looked none stop) I placed an long Allen key under the D shaped string anchor point leaving just enough room for the ball ends to go in the tight fit, brought all the strings to tension from the low to high E equally then A to B etc and it set the “floating point “ then removed the Allen key and tuned to pitch, voila !!!! If everyone is aware of the principle then great but I wasn’t. There’s more travel with this unit than standard offset ones though all the nut groove attention needs to be done like any other trem .

Filter-trons are an interesting ‘bucker option. Unlike PAF types, they don’t have that muddy honk.

For that, you'd want one of those Janie Hendrix endorsed Jimi Hendrix Epiphone Stratalikes. They're super rare - and if you've ever seen one, you'll know why.

If the nine figure lottery win ever came in, I'd order my dream trat from the Custom Shop, certainly.... but only if Fender agreed to put a Squier logo on it, because that would amuse me no end.

I went and looked it up: sorry, I think I was mistaken! It looks like, for the longest time, Strats have had tone controls for the neck and middle pickups, but not the bridge. Apparently - and I think this is where my confusion stems from - more modern Strats have the neck & middle wired to the first tone, and the bridge wired to the second. Which is...interesting...I can't imagine wanting to use that bridge pickup without being able to roll off some the treble!

Never really got on with Strats until fairly recently. I've had a few over the years which I didn't really connect with and ended up givig them away, but in the past year I got two which I do like and will keep. The first was a Sunn Mustang, which if you know anything about those, is a license-built Fender Strat made in India for the European market in the late Eighties. That's a very good guitar indeed. Finding that I liked that Mustang, it prompted me to get another Strat, a 1980 model which I relicked the living crap out of and tarted up with a few parts, and that one I really like too. You can see me playing that one through an MG15 here. I guess the moral of the story is, sometimes you have to kiss a lot of frogs.

I drink tea, we've been drinking tea in the family since before I was born. There is a sort of ritual to making a pot of tea, with the goal, every time, to be able to drink what we call a 'magic cuppa'. How does one create this delight..? I don't know (I wish I did..!). Our tea is excellent, and litres of it are drunk daily, but only once in a while does a 'magic cuppa' appear. Is it the water..? The 'standing' time..? The temperature of the mug..? A combination of dozens of subtle factors..? It's wonderful when one comes along; all the more so for it being a surprise. Why do I relate this..? I rather think that, with music in general, and guitars in particular, there's similar 'magic' at work. Why is it suddenly 'there'..? Again, I wish I knew. I'm of the opinion that these maestros that play so well have, each in their own way, 'cracked' the code, and are able to (most of the time...) bring out this 'magic'. How to acquire this skill..? Maybe it's in one's DNA, maybe one has to sacrifice black goats on mountain tops at midnight, maybe ... If you enjoy trying, carry on with your researches and experiments, but it's not given to everyone to have all the abilities in all domains. Keep cracking on with what you succeed in, too; there's doubtless at least some 'magic' in your other guitars that needs to be brought forth. Your call.