EliasMooseblaster

I've heard this mentality from some Strat and LP players - the notion that the Tele and SG were "supposed to be cheaper, mass-produced guitars," and that there's no point in investing in the expensive, high-end American versions, you may as well save your pennies and get the MiM / Epiphone versions. Granted, the SG is a far simpler construction than a properly chambered, curved-top Les Paul, but I still think it's a thing of beauty in its own right. Yes, it's got that rough-and-readiness about it through association with groups like The Who and AC/DC, and indeed some punk bands, but it's worth remembering that Cream-era Clapton and Santana's early work showed how they could really sing.

A little update to announce that my quest is at an end. My dilemma began with the choice of TS9 vs TS808, and it ended on that theme without me having to make a decision. I was fortunate enough to stumble across a (very cheap) Chinese clone called the "Tubescreamer Demon" - same controls as a regular TS (Drive, Tone, Level) plus a toggle switch to flick betwen TS9 and TS808 modes. In short, both circuits in one pedal, for a fraction of the price. I'm sure the audiophiles will be able to play with it and tell me where it's lacking over the original Ibanez pedal(s), but it does the job as far as my ear can tell. The only drawback is that they labelled all the controls in Comic Sans...

Daft question alert: do manufacturers make/recommend specialised pickups for baris? Or are they regular guitar pickups?

I'm glad it's not just me - I think you've described the difference in their tones far better than I could, and it's good to know the difference wasn't just in my own head. There's definitely something a bit less grandiose but more aggressive in the SGs I've tried.

I suppose the key thing is that it's optional. The biggest pitfall would be to create something which has so many options, it's impossible to find the "classic" sound(s) that you expect, e.g., a Les Paul to produce. As long as the core tone is all present and correct, you have a simple, usable option, without being forced to explore the additional bells and whistles...but if they can't get that right, then they're really in trouble!

Quite. I shopped around for a Telecaster because I wanted a SC guitar; when I found one with two HBs and a coil tap it seemed like the best of both worlds! I do believe the Wilkinsons I popped into my SG copy could also be tapped if I were to buy some switches or push/pull pots to connect the extra wires, and I am tempted every now and then.

(...vs Explorer vs Flying V vs Firebird, etc...) Is there, fundamentally, a difference in tone? Obviously a Les Paul Standard has a very different body construction from an SG Standard, and different players have their preferences. Personally I've always felt there's something a bit too "bombastic" about the tone of a LP, which I don't hear so much in SGs. But then, if you take a more reductionist view of these Gibson designs, the pickup placements and wirings are the same. Ditto the Flying V, Explorer, Firebird - all their twin humbucker designs, basically. And there's no denying that there's a vague and generic "Gibson sound" which they all produce. So: can anyone with more experience tell me whether a Les Paul will sound fundamentally different from an SG, all other variables being equal? Or is it (a) my imagination? (b) something about their build/weight/feel which inspires one to play them differently? (c) something else entirely?

Well, they certainly sound like Les Pauls! Guess it's hard to tell without actually playing one, but I would have thought the coil-tapping/phase-switching would be useful features to include on a modern range. Anyone care to clarify what exactly the "blowout" switch is that they kept referring to on one of the models?

I've never been particularly fussy (though I found quite early on that I wasn't too keen on Ernies) - usually I've stuck to Rotosound and D'Addario, and sometimes Martin for acoustic strings. (One limitation has been finding companies who make a .16 set for the resonator!) Though recently, I did give a set of Martin Monel strings a punt on my regular acoustic - a very different feel from most modern phosphor bronze sets, and I have to admit I've found myself warming to the sound of them (no pun intended).

I had stumbled across the Bonsai in my searches, and I will admit to being tempted just to bite the bullet and buy one of those instead! Thanks for the link to the Anderton's video - it's impressive how much variation people have managed to wring out of that design with various mods over the years...and actually, it's reassured me that I'd probably only use two or three of the nine modes if I did buy one!

I've been wondering for some time whether I should invest in a TS - I've always liked the sound, and now I see that there is a miniature version which is a lot cheaper than many of the other variants. (And, as anyone who knows me will tell you, a low price is always a good motivator!) The TS-mini is apparently a miniaturised version of the "classic" TS-808, but I'm aware that some people favour the later TS-9 version. Set up will be Tele or SG -> [pedal] -> Blackstar HT-1. Would you get the miniature pedal, or save up the additional for a TS-9 (or even a normal TS-808, or some other variant)?

Quiet here, isn't it? I shall attempt to make it ever so slightly louder with this frantically-fingerpicked acoustic treatment of an old American lullaby: http://ralphbeeby.bandcamp.com/track/all-the-pretty-little-horses

And rightly so... ...I can speak very highly of the Vintage VS6 - their SG copy. Two HBs, nice neck for the money (closer to £200 than £400 last time I looked), and I personally think they hold their own against their Epiphone equivalents.

I don't own one myself - yet - but a friend of mine let me have a go on an Ibanez Weeping Daemon. One massive advantage is a control for the centre frequencies so that you can use it for guitar and bass, plus optional latching if you need to be able to jump on and off the pedal mid-song (doing rhythm and lead in a single-guitar band, or sudden call for a bass solo, I guess?). As for the wah itself, I'm not a connoisseur, but it certainly sounded the part to me!

I'll take the liberty of drawing up separate lists for acoustic and electric players (largely so I can waffle on for longer)... Electric: Ritchie Blackmore, Son Seals, Carlos Santana, Joanne Shaw Taylor, Blixa Bargeld, Robert Quine Acoustic: another one for Bert Jansch, Ralph McTell (really underrated as a guitarist), Davey Graham, John Crampton. And I've only just got round to hearing her first album, but Gwennifer Raymond may yet become a favourite.

My acoustic guitar didn't come with a pickup fitted, so I have a SD Woody which I bung in the hole (stop sniggering at the back) for live performances. It's a lot less faff than trying to stay still in front of a microphone and risking squealing feedback to boot, however it does seem to be a very weak signal compared to, say, the built-in (passive) pickup in my resonator. Is this a problem anyone else has had? Should I be looking at some kind of outboard preamp, or looking to repair/replace this pickup?

It doesn't count if the amp has a built-in reverb, right? I tend to be pretty minimalist in both cases: as long as the guitar and amp can produce a decent tone between them, I can treat effects like a spice rack. Though whilst I'm happy to be pedal-free on bass, I'd be more likely to make sure I had an OD to hand (to foot?) when on guitar.