I finally bought my dream guitar

fourpointzero said:
@jmbstudios luv the look of that Tele. Most of my guitars have what I call, war markings. Tje patina on then is from touring and playing stage diving gigs. I enjoy all styles of music that incorporate strings, but my mainstay is what is known as hardcore or NYHC. Nothing like watching an adrenalin filled audience thrashing about as you play what's causing them to react is said way.

@Chris very cool to learn that you're a guitar fan. Im probably considered a music addict. In any given week, I'll be sitting at my desktop, after work, writing and recording songs. I was once a sucker for collecting guitars as well. Until I realized I was running out of room to store and rotate them.

Nice to see that some members share similar passions and enjoy playing an instrument.....or at least appreciate them. Anyone into guitar amps? @jmbstudios I spotted that little Bad Cat combo 👍 Cool amp, no doubt.
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Amps take me right down the rabbit hole. I don't have any heads, mine are all combos. I have a Kustom 100 that has such a great sound. Fender Bassman combo, and an old Ampeg that will crack concrete once the tubes get hot. Recently bought an old Regal 110 just for the colors of the control plate and knobs and the "I dream of Jeannie" style font. It doesn't work, and i don't care-I will find another use for it.
 
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glowell222 said:
Amps take me right down the rabbit hole. I don't have any heads, mine are all combos. I have a Kustom 100 that has such a great sound. Fender Bassman combo, and an old Ampeg that will crack concrete once the tubes get hot. Recently bought an old Regal 110 just for the colors of the control plate and knobs and the "I dream of Jeannie" style font. It doesn't work, and i don't care-I will find another use for it.
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Those older Ampegs are killer. I remember when that was the "go to" amp for bassists. Probably still one of the better bass powerhouses but just so damn heavy! Nevermind their 10x8 cabs- wooow
 
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glowell222 said:
Imperfections make a piece pop-I vote that you go satin and enjoy the imperfections. I find perfect is boring.

For the necks-agreed on the satin, it just feels better on my hand. Fingerboard: rosewood or maple? I love a rosewood fingerboard for the warmth of the tone, but I also love maple for it's shiny bright tones. Fender has some roasted maple necks available-they have just announced the end of manufacture of any roasted maple necks, so if you are interested this is your chance.
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I thought it was rosewood they were getting rid of and going with Pau-ferro.
 
glowell222 said:
Amps take me right down the rabbit hole. I don't have any heads, mine are all combos. I have a Kustom 100 that has such a great sound. Fender Bassman combo, and an old Ampeg that will crack concrete once the tubes get hot. Recently bought an old Regal 110 just for the colors of the control plate and knobs and the "I dream of Jeannie" style font. It doesn't work, and i don't care-I will find another use for it.
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I love fender combos for the most part. I have a Gibson Goldtone head and a custom 15 and 12 cabinet that I really like, but it's just too loud. I picked up the Fender Bassbreaker 15 and I really think it's a few Fender combos in 1. For recording something that isn't standard, I have a Positive Grid Spark amp and at those volumes, it really does sound pretty good, though they tend to bump up the bass too much.

I think playing live and practicing around is the reason to chase down those subtle tonal differences and equipment looks. I know it's silly, but looks matter too. It is partly fun to build and play and try different equipment. I'm not a good player. I'm not good at anything, but I like playing and I like building, both just seem to be a nice vent to regular life.
 
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Here are a number of my Warmoth guitars I've built. Notice no inlays on the neck?

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And some non-Warmth ones I own without inlays:

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Chris said:
I use the traditional old school 3-saddle bridges for the Tele. I used tons of shielding around the pickups and in the control cavity.
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I like the new 6 saddle bridges. I really like GL ASAT bridge, but I can't find it and I'm thinking of going distressed bridge with this guitar. There's a Fender American one, but I prefer 6 brass saddles and also I am going to try and distress the bridge plate to match my Fender road worn tuners, but maybe just going with a road worn bridge with the 3 brass saddles would be ok.

I assume you're not having any intonation issues with the 3 saddles? I've never had a 3 saddle version, so I'm ignorant.
 
BugoutJeep said:
I like the new 6 saddle bridges. I really like GL ASAT bridge, but I can't find it and I'm thinking of going distressed bridge with this guitar. There's a Fender American one, but I prefer 6 brass saddles and also I am going to try and distress the bridge plate to match my Fender road worn tuners, but maybe just going with a road worn bridge with the 3 brass saddles would be ok.

I assume you're not having any intonation issues with the 3 saddles? I've never had a 3 saddle version, so I'm ignorant.
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Going forward, I will probably switch to the six saddle bridges. I stay that, because these old school three saddle bridges can be very difficult to intonate sometimes. I have had a few issues, but fortunately I’ve been able to resolve them fairly easily. Still, I think the six Saddle Bridge is a better idea.
 
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Chris said:
Going forward, I will probably switch to the six saddle bridges. I stay that, because these old school three saddle bridges can be very difficult to intonate sometimes. I have had a few issues, but fortunately I’ve been able to resolve them fairly easily. Still, I think the six Saddle Bridge is a better idea.
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It's subtle, but I like how these saddles are tapped, so you don't see the screw ends. It's a bit "modern", but I think I'm going to distress/the bridge plate (maybe some muriatic acid). If I screw up I can get another plate for $20.
 
BugoutJeep said:
View attachment 270391

It's subtle, but I like how these saddles are tapped, so you don't see the screw ends. It's a bit "modern", but I think I'm going to distress/the bridge plate (maybe some muriatic acid). If I screw up I can get another plate for $20.
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Yep, I'll likely get this same bridge in black and put it on my Warmoth Telecaster.

The individual saddles make intonation so much easier. People have this idea that you get a certain tone from the 3-saddle classic bridges, but I believe that's b.s.

I've been playing guitar for long enough that I don't buy into the "tone" shit. Give any good guitar player ANY guitar and they'll make it sound amazing, even a $300 Squier. It has way more to do with the guitar player themselves as oppose to bridges, woods, etc. That being said, I just build guitars to look and feel good in my hands. As long as they do that, the tone I can get from my own hands and my Line 6 Helix.
 
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Chris said:
Yep, I'll likely get this same bridge in black and put it on my Warmoth Telecaster.

The individual saddles make intonation so much easier. People have this idea that you get a certain tone from the 3-saddle classic bridges, but I believe that's b.s.

I've been playing guitar for long enough that I don't buy into the "tone" shit. Give any good guitar player ANY guitar and they'll make it sound amazing, even a $300 Squier. It has way more to do with the guitar player themselves as oppose to bridges, woods, etc. That being said, I just build guitars to look and feel good in my hands. As long as they do that, the tone I can get from my own hands and my Line 6 Helix.
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I'm not sure they offer it black. I tried to search for it and I only found Gold and Chrome. All the other ones I've found don't have the offset holes either, though no one would know unless you've built a similar guitar and spent hours looking at different bridges.
 
BugoutJeep said:
I'm not sure they offer it black. I tried to search for it and I only found Gold and Chrome. All the other ones I've found don't have the offset holes either, though no one would know unless you've built a similar guitar and spent hours looking at different bridges.
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I'm sure I could either find something similar in black or have it done in black. It could be coated for sure.
 
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Chris said:
Yep, I'll likely get this same bridge in black and put it on my Warmoth Telecaster.

The individual saddles make intonation so much easier. People have this idea that you get a certain tone from the 3-saddle classic bridges, but I believe that's b.s.

I've been playing guitar for long enough that I don't buy into the "tone" shit. Give any good guitar player ANY guitar and they'll make it sound amazing, even a $300 Squier. It has way more to do with the guitar player themselves as oppose to bridges, woods, etc. That being said, I just build guitars to look and feel good in my hands. As long as they do that, the tone I can get from my own hands and my Line 6 Helix.
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I think a lot of people marginal players do need good setups for them to sound their level of expertise. If your neck, action, intonation, pickup height, etc are setup and you've got the right neck you're gonna be playing as well as you can play. If your tonal preferences are weird compared to most others, then there's all kinds of stuff that can be wrong with your EQ selections, gain, pick attack, etc.

A great guitarist will sound amazing for their specialty almost regardless of equipment, but if you're great, you're going to be given free stuff, so play exactly what you want to play and make up stuff so people keep giving you items. I think great players do have great "ears" but great is subjective on the fringes of whatever genre they prefer. Also part of what may make them great is that they just refuse to settle for anything, but the best and you'll see this in just about everything where athletes, musicians, shooters, hunters, etc are doing these things that just don't matter, but hey they're the best so maybe it matters. IMO the best not only have talent but drive to an almost unhealth leve. I've messed around with recording and there's so much that's lost once stuff goes into "the mix". That eq, panning, effects, etc are just gonna sound much different than what you think when you're laying down tracks. And after recording some guys back in the day and working with young bands, they're so annoying to deal with and I can see why it's so easy to become an elitist in music, especially since there's only subjective measures of success.

Most young guys always want more distortion, more effects and more "me". Once a band starts messing around they also want 30 more tracks and 10 takes for each and if you leave it to the inexperienced, often you'll end up with sludge and you can't hear anything very well. I think the new capability has probably been hard on a lot of guys trying to start recording people, because when I started, you either needed a big budget to go to a studio or the DAW just couldn't handle much. Now for a big studio, with the best of the best, that's a whole different story and I've never even sniffed at that level and don't want to.
 
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