Dad3353

Plenty of Youtube videos on the subject; here's one... Here's another ... Hope this helps. Ignore the 'choice of string gauge' stuff, you'll want 10-48 gauge, really. Others will be along too, soon...

Good evening, @Jensen, and ... ... Plenty to read and amuse you here, and lots to learn and share. A little patience; others will be along to help you. Meanwhile, could you please specify if you play acoustic or electric guitar, and in what song you want to be getting this 'bend' effect..? That'll help with suggesting solutions. Thanks in advance.

I'm afraid that I can't help with the 'compulsion' aspect of things, not being medically qualified, but the tuner ratio is quite easy to sort out. To get finer tuning, one needs a higher ratio. Imagine, if you will, a 1:1 ratio; each full turn of the tuner 'bean' turns the string shaft one complete turn (as on a violin or cello, for example, with tapered, non-geared, tuners...). The slightest turn would change the pitch a lot. Now, at another extreme, imagine a ratio of 1:100; it would take forever to change strings, as the 'bean' would have to turn so many times before even taking up the slack of a new string (a string winder would help, but still...). The 'average' tuner has a ratio of 1:12 or 1:14; this can easily be checked by noting, carefully, exactly where the string currently goes through the hole in the shaft. De-tune, counting the turns of the 'bean', until the string is at the exact same position after one complete rotation of the shaft. The number of turns of the 'bean', for one complete shaft rotation, is the ratio. Tuner companies have different ratios available, but tend to be more costly as the ratio increases. 1:18 is common enough, some offer 1:20, or 1:22. Again, this can be helpful when fine-tuning, but becomes a bit of a beggar when changing strings without a string winder. If there is any change to be made, I might suggest 1:18 as being the reasonable upper limit. 1:14 is an improvement over 1:12, but if there are still issues with ratios, I might also suggest that the method for tuning is maybe suspect. One always tunes from low to high; if the correct pitch is overshot, tune back down and start again, raising the pitch, slowly. Once it's overshot, it's not a Good Idea to go back down to meet the correct note; go back enough to only ever be tuning up to pitch. I've nothing to add concerning the other mods you're envisaging, as it's so dependent on one's tastes and budget. I would only cite the expressions 'gilding the lily' and 'diminishing returns' and leave it there. Hope this helps; meanwhile... Have a splendid day. Douglas

My next birthday, in a few weeks, I'll be 75, and I am still very much a learner. Ain't it just fun, though..?

Good morning, @Noctua69, and ... ... Plenty to read and amuse you here, and lots to learn and share. Please allow me to congratulate you on your wisdom, getting the right help from Someone Who Knows. Well done. May I also offer my standard words of encouragement..? 'It's the first forty years that are the hardest, after which things sometimes tend to get slightly better. '

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

A clue, certainly, but confirmation that it needs the attention of someone capable of fixing whatever it is that's amiss. It could still be something simple; just take it to a vet guitar tech.

The trap is to access the battery for the built-in tuner (on the bridge pick-up ring...). See here ... But unlike vintage models, the Slash “AFD” Les Paul also comes with a built-in Shadow® E-Tuner built into the bridge pickup mounting ring. The tuner is powered by one #2032 Lithium long-lasting battery, easily accessed from a compartment on the back of the guitar. As for the pick-up, it may well be just the selector switch not adjusted properly, or a wire fallen off inside. I would suggest taking it to a trusted guitar tech, to be checked out and set up properly. It shouldn't cost much for an easy fix, and a good set-up will do wonders for your enjoyment for years to come. It's rare to have a pick-up completely faulty (but does, of course, happen...); it's much more likely to be something very easy for a tech to determine and fix. He/she can also give tips on the other functions of the guitar, such as how to 'split' the pick-ups. Let us know how you get on..? It's a fine guitar with a good reputation; enjoy. Hope this helps.

Bravo..!

This looks to be a 335 copy, fitted with Artec 'filtertron-type' pick-ups. Probably a little more 'chimey' than standard humbuckers; not particularly outrageous as a choice. Your ears will judge. You may find some info inside the body, using a dentist's mirror or such; sometimes there are maker's marks or pencilled information. Worth a look..? To strip the paint from the headstock, the simplest way is to rub it down with sandpaper. You could, of course, merely paint over it, if it's the finish you want to change. There's unlikely to be any info beneath the paint; this was probably, originally, just a cheap copy from the Far East, or maybe bought as a kit. Worth spending some time on, but not worth spending too much money on. A nice project, and a Good Find.

It won't do the poor thing any favours, and won't fix any issues. If you really want to play Spanish from time to time, I'd suggest buying, locally second-hand, a modest nylon-strung guitar that plays properly, and not inflict any more suffering on this one. A quick glance at my local 'LeBonCoin' (I'm in France...) brings up a whole slew of such guitars, from 50€ upwards, that would be far better value. Just my tuppence-worth.

Short answer is 'No'. The neck has to come off to be reset; this can only be done correctly and securely by someone with experience in the job. It doesn't look to be a very expensive model, so not worth sending off for this job, so I'd suggest either keeping it 'as is', hung on the wall as decoration and sentimental value, or reading up on how this job can be done and doing it yourself, or with a local wood-working buddy. Basically, the neck has to be removed from the body; this involves using heat (usually steam...) to soften the current glue, cleaning it up, then putting it back together, at the correct angle, using the correct type of glue. It's a simple enough job for a guitar tech who handles acoustic guitars, and can be done on the kitchen table yourself, once the appropriate knowledge (and courage..!) has been assimilated, but can't be done by any other 'brute force and ignorance' method. Lesson learned, but too late, maybe; hope this helps (a little...).

You can't go far wrong with an Ibanez, whatever the price point, and this model has an excellent reputation, especially as a starter guitar. There are many models on the market in this range of prices; this Ibanez has nothing to fear from such rivalry. A matt black finish may be subject to marks from use, rather more than a gloss finish, but that's about the only remark not in its favour. Ignore the 'hype', for this and any other that piques your interest, and try it out yourself. You're not likely to be disappointed. Hope this helps.

From the description of the way you've chosen the Classic 20, I'd say that you'll just have to accept its peccadilles. You can't buck physics, and if it doesn't change its tone enough presently, it's just the way it's been designed. No pedal will change that, so that's a Good Thing. It would count as being a One Trick Pony, so embrace it for what it is or find a modelling amp that can get close to the 'mild overdrive' that you want, but with greater flexibility. No recommendations (I play 'clean'; I've very rarely found any grit, disto or overdrive that adds anything to my admittedly poor playing, and, anyway, I'm a drummer, soooooo...). Not sure that this helps further; time for a visit to a decent amp shop to try stuff out, maybe..? Keep the Classic 20 as nostalgia, or get it to contribute to the cost of an amp better suited to your needs..?

It should be understood that each amp manufacturer, each model, and each technology, have, inherently, very different tonal responses to controls in the (very different...) pre-amps, so there is very little commonality between them. The settings, and range of result, cannot be equated from one to another. The reasons are as varied as the amps themselves : solid-state does not behave as valve stuff, and EL84 valves do not behave like KT88's etc. The effect of 'gain', 'master volume', tone controls differ; some tone circuits are 'flat' with the control at centre, some with the control max anti-clockwise, some (many..!) are never really 'flat', whatever the setting..! All of these factors make every combination of amp-cab useful for its own range, but maybe not so good at another. What sounds good at home may well not have what it takes on stage; even less so on a stadium stage. It works both ways, too; the only way to get a Marshall stack to belt out 'that' sound is to crank it, which makes it a poor candidate for bedroom practice in a town centre high-rise block of flats. In sum, it's 'horses for courses'. One amp for home, another for rehearsals, maybe another for gigs... This is one (of many...) reasons for the advent of Fx pedals in the first place : the ability to 'dial in' the required tone at any volume. It doesn't surprise me at all that the Classic 20 doesn't 'cut it' on stage. Despite having the same power valves (EL84...) as the Vox AC30, the circuits and cab are not at all the same, and the tonal response are chalk and cheese. You can never get a really clean sound from a Classic 20, at pretty much any volume; that's not how the circuit has been designed. They don't do 'loud'; certainly not the 'loud' that an AC 30 does. What are your options..? Find an amp which has the tonal variance that you need, in all the situations, you'll be playing, or have a different amp (and settings...) for each usage, or start building a pedal-board around an amp which ticks most of your boxes. It's not really a case of 'SS' v 'Valve' v 'Modelling'. It's just that all rigs have their upside and downside. Such is Life. Hope this helps.