Lunch Report Thursday Oct 7 2010

Thanks for the participation so far this week. There have been some stellar guitars shared by many of you. G&L does use some beautiful woods. There were also some good Bass tales earlier this week. Yesterday some of you posted some great U Tube clips of hot bass players. Good stuff and thank you!

Lunch yesterday was missed. I was busy and didn't have a chance but I had some left over pork loin when I got home. Doesn't hurt a bit for me to miss a lunch! For dinner, later, we had a great salad with left over pork loin. I did treat myself to a good brew while browsing the forum last night. The doctor told me earlier this week that I was in good shape for the shape that I am in.

I am showing my Asat Z3 with the Bigsby. I have shown it before but it is one of my favorites. First of all it is light and the balance of this guitar is great. The Transparent Red is a good color and as usual, the wood stands out. This guitar would also be a keeper if it had a DF bridge although I don't know if that was an option. I am a fan of Bigsbys so this suits me well.




This Legacy is also a keeper. It is CA Red with a natural binding and it is good wall art. It has the natural neck and as all Legacys are, it is a real player. I do like Legacys as I prefer tremolo bridges. If I could only have one guitar it would probably be a Legacy. Here are some pics:





The topic today is parts guitars/modifications.

Normally I do not mod but there are some that I have modified in ways that is reversible. Before I discovered G&Ls I was buying American Fenders. I do not like the American Standard threaded trem arm. G&L got that right from the git go. My 88 Strat Plus is pristine but I put an American Deluxe bridge assembly on it with the plug in trem arm and it looks better and plays better. I have the original bridge assy so it can be returned to stock. Another factor here is that parts for American G&Ls are very limited. There is someone who parts out new Tributes but that serves only Tribute owners. One mod to all my G&Ls is locking tuners and Schaller strap locks. The original tuners and strap knobs are in a bag. Some of them came with locking tuners. So the available parts market limits what can be done. Two years ago I decided that I wanted to build my perfect Strat. I had an extra brand new American Deluxe body in a color I did not like. So I purchased new parts on the bay from the Stratosphere who buys new Fenders and parts them out. The parts are not cheap and I didn't save any money but ended up with what I wanted. The maple neck is an American Deluxe with the LSR nut and no string tree.It was from a 2002 and basically unused. All other part are also American Deluxe except for the pickguard and pickups. That included the tapered heel that all the newer ADs have. I wanted Lace Sensors and I chose the Chrome Domes which are quite hot like the golds and a Black Pearl pickguard with Abalone top knobs. This thing plays wonderful, the action is very low and it is very close to the Clapton sound. Our lead played gigged it one night and would love to buy it. It is not for sale. There are several folks on this board who could build there guitars from scratch. That would be something, but I do not have the woodworking tools to accomplish that. But I do my own paintwork and that is no easy task but certainly rewarding. With the G&Ls we are pretty much limited to pickup mods and locking tuners. So, here is my partscaster and lets hear what you folks are up to in this area.



The color is Montego Black which has a Gold Pearl in it, only noticeable in sunlight.


Someone had asked about refinishing a guitar here recently. If a person wants a pristine guitar I would recommend doing that. I have several guitar painting projects lined up at the moment. One of them is a Hamer Artist with P 90s. It will be as new when it is done. I probably wouldn't paint something vintage but a pristine vintage is probably worth more that a worn or beat up vintage. How many beat up vintage cars do we see in car shows? Thats it for today and lets kick around you ideas on the mods you have done. Tomorrow we will get back to some G&L basics. You will also see a photo of a band older than the Dirt Band. Have another great day! I will. --Darwin

Here's my entry in the red guitar collection, Z3 SH no F-hole, one of my favorites. The glamour shot from Guitar Adoptions before I bought it.



As far as mods I'm an avid promoter of the 4-way switch and think it should be an option from the boys at G&l (hint hint ) This gives you the extra setting of the Bridge + Neck parallel or in series. I have a 4-way in my ASAT and the ASAT Deluxe Low cost investment with big return.

All 4-way settings
Bridge
Bridge & Neck - in Parallel
Bridge + Neck - in series
Neck

Other mods include:
A Will Ray bridge p-up put in Z3 above. All I need is a Hip Shot, some cool skull inlays and it's a WR model. Oh yea, would like to have Will's talent as well.

ASAT Deluxe - switched p-ups to include Dimarzio Evolution bridge and Dimarzio Air Norton neck, plus added a push pull knob so the stock toggle cuts bridge and knob cuts neck. Result is these p-up options - HH (ASAT Deluxe), SS(ASAT Classic), HS(BluesBoy) or SH(ASAT HB). Also has the 4-way switch mentioned above.

Worthwhile mods done on non-G&L geetars include a Broadcaster bridge p-up in a 62 Tele re-issue (highly recommended), and I juiced up a squire double hummer tele with a DiMarzio Super Distortion bridge and a Duncan JB neck, graph tech saddles and nut - much better sounding low cost guitar.

I agree with you on the locking tuners, have them on the Z3, ASAT Deluxe and my parts ASAT JD5.

Go Red!
Let's keep it going. Just got this one yesterday.
ASAT Deluxe Semi-hollow with swamp ash body.
Pleasant surprise is that it's only 6 to 6.5 pounds.
Sounds a plays like a million.

I don't do a lot of mods other than straplocks. After having a rare Parker Fly fall face down on my pedal board
they are pretty much standard equip.
I may consider changing the tuners on this ASAt. They seem fine but I really like the tapered post non-locking
sperzels on my Legacy. We'll see.
To contradict myself, I gues I did swap out the bridge pickup on my Legacy this week.
Dimarzio Virtual Solo for a little creamier tone at high gain.

Lunch today....likely some great left-over 5 cheese pizza and veggies

Go Red,



I have modded a few geetars. I have taken the finish off of necks and tung oiled them. Occasionally swap pickups, have had to rewire a bridge add switch as the factory got it wrong. I have a long list of butchery for the incoming ASAT. Pretty much everything G&L won't do that I need. It is going to look sweet when I am done.

Someone had asked about refinishing a guitar here recently. If a person wants a pristine guitar I would recommend doing that. I have several guitar painting projects lined up at the moment. One of them is a Hamer Artist with P 90s. It will be as new when it is done. I probably wouldn't paint something vintage but a pristine vintage is probably worth more that a worn or beat up vintage.

Yep, that was me. I guess an '81 F-100 is on the cusp of vintage, but at least in today's market I don't think in my case a refin isn't going to affect the value much. I'm not generally picky about the condition of a finish, assuming the dings and dents are the result of honest wear (I don't go in for the relic thing personally, but to each his own). But in the case of this guitar, there's a slight separation that can be seen along the body joint and I want to be sure it's properly addressed so that I don't have to worry about the integrity over the long haul. A properly refinished guitar I don't have to worry about is worth more to me than one I'll feel the need to inspect every time the weather changes ("Is that crack getting bigger or am I just being paranoid?" ... and so on). I think I'm going to get it done for my birthday, which is later this month. Pretty sure I'm going to go with basic black, because I like the idea of a black guitar with an ebony board ("It's like, how much more black could this be?"), and I think all that chrome, which is still in great shape, will jump out really nicely against such a background.

So this will be my first refin (though obviously not "my" refin as I have no experience in that area -- I draw the line at basic set-ups and simple soldering jobs). Wish me luck! (And yes, of course I'll post a pic when it's done, else no guitar much less refin, right?)

I have to say part of what draws me to G&L stuff is that there's not much need for modifications (at least, IMO). As a bassist primarily, I'm well aware of the common mods many make to a lot of stock instruments -- the bridge, the pickups, tuners, pots and caps. Well, no need for that on any G&L bass, I figure.

I did a rather minor "restoration" on an '86 SB-1 bass I picked up on the cheap. It came to me with a pearl pickguard that wasn't a proper fit, and a couple of ugly knobs had been put in place of the old plastic "radio knobs" G&L used on the 1st gen and early 2nd gen models. So I did a little research (tip of the hat to GG Jaguar here) and got an era-appropriate flat black singly ply guard from Chandler (the OEM for G&L) and managed through some stroke of luck to find a pair of knobs on eBay (actually from an SC guitar, which are identical, if anyone cares).

No pic, no bass, right? Sorry for the cruddy quality, but that's her on the left. Other than a couple of extra holes under the guard obviously put there to make the pearloid one fit, she's as good as stock:

Hi Darwin. good reports this week. I haven't been available to post because I have been very busy at work.

Ruhn Stone- I think its legit. I told you when you first brought it up during your fiirst stint as LR. There was no payoff in faking it and its too hard to fake a language that you don't speak or write. The Scandanavians of the middle ages probably went to a lot of places that were not recorded.

Bassplaying- Thanks for the mention and to answer your question I am a fingers player who doesn't slap unless it is called for by the song. Very few songs really call for slap. The featured players in the youtube clips are slapping as solo bassists and that is a very different style of playing than what is needed by most bands.
IMHO most slapping bassists are trying to solo under the band and they are usually not helping the band sound better. I know that there are exceptions to this but I find that slapping is overdone and unfortunately has limited many bassists in what they can play.

bass porn: Here is me playing at the 2009 DCBlues Society Labor Day Blues Festival with The Capital Blues Ensemble. I am playing my '83 L-2000 that is borrowing a neck from one of my 1980 L-1000 basses:


here is my tribute L-2000, which looks like the bass that I was playing in the above picture, but it is not.

My figured maple capped L-2500:


Here is a gazebo shot of some of my collection:

Last edited by bassman on Thu Oct 07, 2010 12:05 pm, edited 2 times in total.

Again some beautiful guitars, Darwin!

Since the Reds got no-hit yesterday, they need all the support they can get. Here are some sure hits, but no runs guaranteed:

I'm not active at all in the mod department. Never put in different pups, changed pick guards, etc. Instead I am more in the 'order it as I want it' and/or /look around a little longer until I find it' category.

- Jos

We are seeing red today!

I never figured myself to play a red guitar ever since I started playing back in the mid-1960s since I'm not the kind of person to deliberately draw attention to myself. A year ago an SC-3 was advertised on my local Craigslist so I went to check it out, and it turned out to be completely painted in a vibrant red color. I was not sure about buying it until I played it and found it to be very easy to play and it sounded very good, plus the neck felt excellent. Since it was in excellent condition and it was also an excellent price I bought it.

After I got it I do what I do to all used guitars that I buy, I cleaned it up and did a setup. This one did not need much tweaking and within hours it was ready to go. Damned if it did not play wonderful and sound great. And now I realize that once I have the guitar on I don't even notice what color it is and I just play; but I have to admit that I've only played for an audience a small number of times.

Here are some never-before-seen (I think) pictures of the SC-3:









Kit

There is something special to those later SC-3's,
I sold this one last year, it was very easy to play and had a good vintage strat sound.

They are coming out of the woodwork again today. Red rules today!

Sam, great Z-3. I like the binding. I wish mine had that!

Jazzrat, you have come up with a fine flamed top in red. Congrats!

Sirmyghin, Great Carvin. I have been visiting there web site for some time. It is hard not to buy from their in stock. Carvin is on my Radar

Madcity Fats, Nice basses. That one will be cool when you have completed the refinish. Go for it.

Bassman, No doubt that your are a classy picker and the Blueburst is cool. Nice collection of basses.

Yo, you definately have the Reds covered.

Kit, that is an interesting Red, really nice.

Tim, nice black one there. It would be a good catch. Good thing I don't own a guitar shop because nothing would leave! I watch your site and you will be putting up with me some day. I get reeled in pretty easy but they have to be pristine. You have some nice ones posted.

Thank you all for the wall art and the big question is, What length wall would it take to hang all the beauties shown this week??? Ginny doesn't have to worry because none of them are for sale! Maybe it is time for a brew! -- Darwin

Bassplaying- Thanks for the mention and to answer your question I am a fingers player who doesn't slap unless it is called for by the song. Very few songs really call for slap. The featured players in the youtube clips are slapping as solo bassists and that is a very different style of playing than what is needed by most bands.
IMHO most slapping bassists are trying to solo under the band and they are usually not helping the band sound better. I know that there are exceptions to this but I find that slapping is overdone and unfortunately has limited many bassists in what they can play.

This is a good synopsis Bassman, although the 2 need not be mutually exclusive. Slaps can give good grooves that do not lend to soloing, it is more generally practiced to be showy opposed to groovey nowadays. That said there is always room for a little 'soloing' in the bridge of tunes, why should guitarists get all the fun and cathartic action. That is where I generally pulled it out, bridges, it would sit differently, drive the song differently, and or give a little more to chew on. Another example, a song had a 2 chord verse progression and a sort of mixed diatonic chromatic chorus. Every verse the guitarist and I played different positions/variations of the theme, so it doesn't sound like the same 2 chords. First verse, standard position and chords. Second verse playing thumb style from 5th position and higher chords. 3rd round was the sort of jazzy instrumental breakdown around the structure instead of the verse, played pretty staccato and with some surprisingly good drumming.

I find what people need to do is separate these styles from where they 'belong' and what they are 'for'. New contexts can be developed, just as the old ones had to be. Having alternate dynamic possibilities can really bring something to life.

Thank you all for the wall art and the big question is, What length wall would it take to hang all the beauties shown this week??? Ginny doesn't have to worry because none of them are for sale! Maybe it is time for a brew! -- Darwin

Scrap the wall, you are going about this wrong . Just razzing you, mostly, I just can't see the point of owning more guitars than you play. I am by no means a collector of anything (except maybe books, but then again I read all those too so hard to say whether it is technically a collection or not).

..., I just can't see the point of owning more guitars than you play. I am by no means a collector of anything (except maybe books, but then again I read all those too so hard to say whether it is technically a collection or not).

Interesting question! But all I know is this: I re-play any of my guitars in my 'collection' way more frequently than I re-read any of the books I have in my 'library' The implications of the aforementioned statement is left as an 'exercise to the reader'...

- Jos

Wow.

We're really rocking the Red tonight!

Go Capitals!!!!! Go G&L!!!!!!!!! - ed

-ed

AHA! So this is where all the action is happening! I hadn't ever checked this section, I dunno why.

Blarg, good thing you checked here as there have been fine guitars posted this week. Thanks-- Darwin

Sirmyghin wrote:

Scrap the wall, you are going about this wrong . Just razzing you, mostly, I just can't see the point of owning more guitars than you play. I am by no means a collector of anything (except maybe books, but then again I read all those too so hard to say whether it is technically a collection or not).

This an interesting point and I think it deserves an answer. When I was young it was a struggle to survive. There was the education, raising a family and, trying to buy a home. At a young age I was not motivated in any particular direction other that to provide as well as I could for my family. When Ginny and I became empty nesters, and the house was paid for, I now had limited financial resources that I could make choices with. Many of us who have experienced this after many years of taking care of things are value conscious. It didn't come easy and we don't want to part with it easily either. So, as music has always been important to me and I am a hands on guy, working with guitars really suits me well. I start buying good quality guitars in 2004 and they, after all, are a sound investment. The bonus was when Ginny gave me a wall and told me to hang them up as she was tired of moving around the stands on the floor. This was not a plan on my part and it certainly open up a new door for me. After a trip to the GC to pick up a bunch of hangers, I get serious and mount the hangers. After hanging the guitars, we stand back and you talk about art. It doesn't get much better than this in my opinion. So, it evolved. I will be fully retired in a week or two and every morning I take a couple of different guitars off the wall and play them. After playing I will comment to Ginny, "boy is this a sweet guitar". She always looks at me and says "I have heard that before". Not to mention the entertainment that I have doing setups, restringing and checking them over periodically. Sirmyghin, boy would I love to have that Carvin of yours on the wall. I predict that as you get older you may get the bug to have a few more. It does keep the fretware down on the individual guitars. The real keepers, I do not play. I admire you for hanging in there as a student and because of it you will have your experience with success. I bet you are a great guitar player. It is too bad that more of us couldn't make a living at doing what we love best but it is a sign of the times in the live band business. I will also have time to read this forum and get all stroked by the photos you guys come up with. Jeez, this turned out to be a long answer but this is how this old mind works!!!! Age has a tendency to tinker with our minds. Have a great weekend and if you need someone to take care of that Carvin, send her down!--- Darwin

Wow, very succinct. I follow the expendable income thing, I currently got my G&L as we are in pretty good. I do graduate studies, and as I am in engineering am paid (I also do side work when it is around testing/analysis, and my Masters counts 1 yr towards my professional license in experience regardless). My wife works in a addictions treatment center. We currently live in an apartment, so there is a lot of disposable income.

Interesting that you do not play the 'real keepers'. That bass has had the headstock hit low ceilings (bit of gypsum stuck in the headstock tip), has a small dent on the edge under the bridge (just discolouration of colour, no cracking, about 2mm). The neck is finished in oil so I could easily remove the small white marks in the grain, I will not however. I do not want it pristine, I do not want to have to worry about those first dings. They have happened already.
The contour however, as far as I know, is still undinged, it has never left my apartment (which is the same one I got it in) as I have never had the chance to play out.

I know what you mean about enjoying setups, I am kind of sad my new incoming is being setup with 9s for me, but I am sure I will need to tweak it. I figured I would get it free out of the dealer so I am happily playing immediately. With the use of a polytune I can level a floyd in about 10 minutes, which removes a lot of the hassle associated with this bridge (seriously if you own a floating bridge, GET A TC Polytune pedal, tuning the entire set at once saves tens of minutes). There is something personal about a setup, I do not think any guitarist should rely on a shop to do it for them.

As far as ability goes, I am no virtuoso, and definitely not a natural on guitar. My regimen involves 2 hours of nightly practice. Although I have 2 electrics in house currently, I only play 'the keeper', the other just isn't as good sound wise, as comfortable, and the freaking neck is glossed (I took it down with steel wool but still not good enough, considering offloading it). I have no interest in living as a working musician, I do enjoy playing with bands, if it is originals. I would not mind gigging like that either. I won't play in a cover band, they are something I do for practice, to relax only, and from my bass playing side very rarely provide me an interesting outlet.

I will guarantee I acquire a few more guitars in the future, I could use a 7 string, a bluesboy (hollow), and a backup bass. I also need a real bass rig and to fill out my pedal board. Typically I am good enough with money management I can pull stuff off even in my situation. In this case it is try to get it down while I can, before I have the house and kids to worry about.