I’m a huge fan of the legacy of a company from the 90’s called Stephen’s Stringed Instruments. Stephen Davies and team created some really unique guitars and they are becoming increasingly difficult to come across these days. The old website is still up and I love reading the specs page. I really like his comments around finishes and this meshes well with my experiences.
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While I very much enjoyed my first Warmoth tele, it was my first attempt at putting a partscaster together. Compared to some of my other guitars, it wasn’t holding up any more. I played the hell out of that guitar and felt pretty comfortable giving the neck & body away. I wanted a similar Nashville tele, but with a similar finish to the last one I built. I was so happy with the N4-ish Warmoth I put together, I wanted to see if I could recreate some of the magic with that guitar on a new one. I decided to hang on to the hardware and pick up a different neck & body.
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I love 3 single coil strats, but like many, I’ve never really loved the sound I get from my bridge pickup. I’ve been able to get by alright with a dedicated tone knob wired to it (I often set it to 7 or 8). Even still, I fine myself longing for a better sound that’s less harsh and brittle. Last year I had an idea to address this and ultimately abandoned that after posting a thread on the gear page. I got a number of thoughtful responses, and my take away was that increasing the pickup output the closer to the bridge is pretty important. The reasons for doing this make sense as the strings vibrate under the bridge pickup. I believe this was one of the main reasons why Gibson added volume pots per pickup. Many of the tried and true combinations follow this rule (think Duncan JB & 59) and also many models will tweak the output and offer a neck and bridge version. Anyway, I let conventional wisdom stop me from trying out my favorite single coil pickup in the bridge position.
(more…)The Johnson J-Station is one of the best pieces of gear I have ever purchased. I relied on this little box for well over a decade and it was the heart of my rig for playing live and recording. Even though it’s long out dated, it still holds up and sounds great today.
I’ve been really interested in the potential behind the unified cgroup hierarchy, aka cgroup v2, in the kernel for a while now. I even helped out with a talk on this subject earlier this year. It’s worth listening to Tejun’s part of the talk if you’re not familiar with the value behind v2. While a lot of user space, for example systemd, has really solid support for v2, there have been historic gaps around virt and containers. On the virt side, initial v2 support went into libvirt 4.9 or 5.0, and it’s continuing to be improved. For containers, we’re tracking the OCI progress here and here, and Giuseppe Scrivano has done some great v2 enablement with an alternative runtime he wrote called crun. crun is basically runc re-written in C, and while there are pros and cons on the language side, it’s ridiculously fast at instantiating containers compared to runc.
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Warmoth will now, by special request, offer a proper NFT Floyd route. This wasn’t an option when I purchased this body and the person I spoke w/ on the phone flat out refused. Anyway, I enjoyed filling the route w/ a single coil cover for about a year; it always made me laugh and confused people. I never wanted to commit to it and glue it in place, and it eventually became problematic at a gig. I managed to bump it loose while performing and it got in the way and that’s no way to go through life. I decided I needed to come up w/ something better.
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Recently I was reconnected with the ADA MP-1. It sounds great running through the loop of my Naylor Duel 60, but at the time of writing this, I’m preferring it with the Kemper. This magic little toaster has just about everything to create the perfect rig with this preamp.
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There’s no question that the ADA MP-1 is an iconic piece of gear. I’m not entirely sure if it’s the ability to create ridiculously saturated distortion, or to program 128 settings and instantly recall them, or the aesthetics of the blue vinyl, membran buttons contrasted with the large red LCD screen. Regardless, the MP-1 was, and still is, an amazing preamp and the tones it creates still hold up today.
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Floyd Rose tremolos tend to be polarizing with guitarists. It’s a love/hate thing, and I’ve gone back and forth on these myself. I spent almost a decade depending on them and then another decade avoiding them like the plague. Now I’m at the point where I can appreciate them for what they are, and the company is doing some really cool things that makes me like them even better.
(more…)Early one Saturday morning I found myself searching for “taylor acoustic” on dallas.craigslist.org. Little did I know I would stumble on a lot of guitars that a guy was needing to sell quickly. He had three Taylors I was interested in, but only two were in my price range: 814CE (2017) and 712CE (2012). They were both amazing instruments, and I would have been happy with either one. I chose the 814 because it was larger and was more of what I was originally looking for. It was crazy clean; not a mark on it and still had the factory strings. It was basically a new guitar that was $1,200 less than the going price. How could I not buy it?!
Following up on the success on my tele and bass neck refinishes I decided to do the same to my strat. The major difference with this one is I bought this one with a factory finish from Warmoth in 2011. It begs the question, why would a refinish be needed seven years later?
I was so pleased with the results from refinishing my bass neck that I decided to do the same to my tele. This neck originally had a Tru-oil Gunstock finish on it that I sanded off. It was my first expieriment with finishing and it didn’t go very well. In hind sight, I think I may have bought a defective bottle. I remember the oil being more like a tar that was incredibly difficult to spread. Honestly this was about 12 years ago so my memory is not to be trusted.
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I put this bass together in 2009, and I can’t believe that was almost a decade ago. It’s been a great bass and I primarily use it for recording. Historically the action has been on the high side with this instrument. This is a bit of a trade-off, but the upside is the strings take advantage of the extra room and the notes ring out like crazy on this bass. So all in all, it’s been a joy to own and play.
This was the second Warmoth project I completed and I’ve learned a lot since then. I was never happy with the finish I did on the neck. I went down the Tru-oil path originally, but somehow I got it in my head that I should go with a thicker finish to help ensure the neck would hold up to the string tension. ….in hind sight, this was an absurd idea and should never be attempted. This resulted in a gummy feeling on the back of the neck and there were also some drip marks on the fretboard from when I hung it to dry. While the finish left a lot to desire, it did work fine and hold up for almost a decade, but I finally got the end of my rope and decided to do something about it. (more…)
Last weekend I subjected my sweet wife to a Winger concert. It may not have been the smartest thing I’ve ever done for my marriage (interpret that however you like), but we did have a good time. Growing up, I always enjoyed Reb’s guitar playing and it was really cool to get to see him live. The experience made me feel like I should document the shows I’ve seen before I forget about them with time. The fact that I waited until age 37 to do this means I’m probably forgetting about a number of shows. Regardless, these are the most memorable shows that I can remember off the top of my head: (more…)
A follow-up from this post. True to the company’s word, I received two updated saddles to compensate for the gotoh base plate. In fairness their workaround worked pretty well, but I’m much more comfortable now that the saddles are firmly in place.
I consider vintage strat tremolos an iconic piece of guitar heritage and engineering. They are undoubtedly one of the most common bridges used on electric guitars, yet many players find certain aspects about them frustrating. On the positive side, I have always found that these bridges sound great and bring a really cool vibe to the guitar. The drawbacks that are typically cited are tuning stability, play in the tremolo arm, rough saddle adjustment screws (this hurts the palm of your picking hand), strings not staying in the center of the saddle, and probably others I’m forgetting about. Interestingly enough, some of the most prolific guitarists that favor strats manage to not be deterred by these issues, particularly players like Jeff Beck & Scott Henderson come to mind. Both of these guys make heavy use of their tremolos and almost embed the tremolo bar into their picking hands.
As I described in my last post, the screws from the new Gotoh saddles are too long. A super nice guy from the tdpri.com ran into the same problem and offered to send me some of his extra screws. I just wanted to post a few pictures of the latest upgrade.
I’m not crazy about flat head screws in general, but it’s not a problem in this capacity.
Over the past several years I’ve made several upgrades on my tele and I never took the time to write about it. I recently switched my saddles again and I figured now would be a good time to document this.
My tele started with a standard Gotoh tele bridge with modern “strat” style saddles. These bridges are excellent and it served me well for ~10 years. …until I played a Suhr tele w/ the Wilkinson (by Gotoh) WT3 bridge and it spoiled me. …a lot.
At this point the build is turning out great, but I did hit a few snags on the electronics.
I wasn’t able to install the L500XL at first because the pickup ring was intended for a Lesson Paul. The team at Wilde pickups promptly sent me the ring I needed at no cost. ….but seriously who wants to wait for USPS to take a test drive?
I went ahead and attached the Duncan ’59 straight into the jack with alligator clips, cranked up my amp ……..and (more…)
