JDOD
therecordingrebels.com
what about squid? Will they take squid?
Sorry ..... stupid early morning joke.
Unfortunately the exchange rate between squid and quids is fairly poor so that wouldn't be cost effective
Unfortunately the exchange rate between squid and quids is fairly poor so that wouldn't be cost effective
muttley600
Banned
Two common types. Sunken and flush plate like on a LP.... I guess you mean the sunken type?
minerman
Tonetard
Out of those 3 amps I'd probably pick the Blackstar dude, based on what I've heard on the 'net...I have no experience with any of 'em, although I did have a Blackstar HT-5, & it was ok, but basically a "generic" sounding amp to me...
I did listen to a couple vids of the Bogner 40w, & they all sounded pretty bland, but, those were amp review videos too, it might (and probably does) sound much different in person...
If you were to choose the Blackstar, I'd recommend a speaker upgrade, unless it's already got something else in it besides the stock Blackstar speaker, the HT-5 had a Blackbird speaker in it, which in my opinion, really wasn't much....
Just guessing, the best thing I know to tell ya is to go try 'em all out & see which one you like the best...Of course, you'll need to take your guitar & pedals with you so there won't be any guessing....FWIW, every piece of gear I have was bought "blind"....Where I live, there's no way for me to try anything out beforehand, so if you do this, be sure to keep your reciept so you might take it back if you end up not liking it...
Sorry I'm not much help with the amps you've listed, but keep us posted on what you decide....
Bob: Cool man, I bet the tele will be great when you finally get it goin'....Check your pm's too dude, if you haven't already...
Lt. Bob
Spread the Daf!
yeah ....... I see a lot of people go with that electro-something cup 'cause it has two screws but I'm gonna just install the one with the clip.
Don't see how it could be that hard.
muttley600
Banned
None of them are hard to install just as long as it fits the route and you have something to bite the screws into..
My preference is for the LP style with the face plate as I can swap out the socket without worrying about refitting and redrilling. Those are what I used on the tele I built a few years back for myself. There maybe some pics somewhere of it but I think you know which ones.. It's just a preference though. They all work..
muttley600
Banned
As matter of interest are you gong vintage or modern on the wiring spec? I think I'm one of the few that still likes the vintage but I rarely use bridge and neck p/ups together..
Lt. Bob
Spread the Daf!
I actually have a dozen or so of those lying around but I'm trying to go for everything as classic tele as I can.
For the same reason I went with the ashtray style bridge with 3 double string brass saddles.
If the intonation bothers me I'll get some compensated 2-string saddles.
I've never had a straight up tele in all my years.
I've had thinlines and teles with 'buckers but never an honest to goodness tele and I'm staying as close to the classic set-up as I can.
Well, now that you mention it, in keeping with my desire for the classic tele I think I'll go vintage since you've just made me aware there is such a thing.
I can find the details on the 'net but if you don't mind a brief explanation of what that means.
I was unaware that old teles couldn't play the bridge and neck p'ups together. Like I said ..... I've never been very interested in teles but all of a sudden I am.
Tadpui
Well-known member
Looking at the '52 Reissue Tele specs, it describes the vintage switching as so:
Pickup Switching: 3-Position Blade:
Position 1. Bridge Pickup,
Position 2. Neck Pickup with Tone Control (Bright Vintage Circuit),
Position 3. Neck Pickup with No Tone Control (Dark Vintage Circuit)
I'm not sure if that's how the old ones actually worked, or if that's unique to this particular reissue.
*edit* I found this, it describes the wiring and positions of the vintage Tele circuit:
Factory Telecaster Wirings, Pt. 1
And part 2 describes the modern circuit:
Factory Telecaster Wirings, Pt. 2 | Premier Guitar
Pickup Switching: 3-Position Blade:
Position 1. Bridge Pickup,
Position 2. Neck Pickup with Tone Control (Bright Vintage Circuit),
Position 3. Neck Pickup with No Tone Control (Dark Vintage Circuit)
I'm not sure if that's how the old ones actually worked, or if that's unique to this particular reissue.
*edit* I found this, it describes the wiring and positions of the vintage Tele circuit:
Factory Telecaster Wirings, Pt. 1
And part 2 describes the modern circuit:
Factory Telecaster Wirings, Pt. 2 | Premier Guitar
muttley600
Banned
Basically the vintage style give you only one pickup or the other and the third position is the neck pickup with the treble rolled off.
Position 1 would be bridge pickup with tone control available
Position 2 would be neck pickup with tone control available
position 3 Neck with the treble rolled to off.
It was Leo Fenders preferred way right up to the end
Modern gives you options to have both in the second position wired in parallel.
I like the vintage layout simply because a lot of the gigs I use the tele for are jive and blues stuff and I have an easy switch from lead to rhythm by dropping from 3 for lead stuff and 2 for rhythm. I use the bridge position occasionally but not a lot. It just aint my tone as the keys tend to hog that area in jive bands. As you know I alwys play clean into a Princeton so the tele is perfect for that as change to the archtop I would have on the gig as well.
The tele is the stradavari of rock and I had never owned one either until I built the one I use now about four or five years ago. It's chambered and I think you've seen it before..
Tele's rule..
Position 1 would be bridge pickup with tone control available
Position 2 would be neck pickup with tone control available
position 3 Neck with the treble rolled to off.
It was Leo Fenders preferred way right up to the end
Modern gives you options to have both in the second position wired in parallel.
I like the vintage layout simply because a lot of the gigs I use the tele for are jive and blues stuff and I have an easy switch from lead to rhythm by dropping from 3 for lead stuff and 2 for rhythm. I use the bridge position occasionally but not a lot. It just aint my tone as the keys tend to hog that area in jive bands. As you know I alwys play clean into a Princeton so the tele is perfect for that as change to the archtop I would have on the gig as well.
The tele is the stradavari of rock and I had never owned one either until I built the one I use now about four or five years ago. It's chambered and I think you've seen it before..
Tele's rule..
muttley600
Banned
Having said all that. My tele is now rocking with custom pickups I wound myself.... I may send you a set so you can do some proper sound samples for me...
muttley600
Banned
Yeh, thats how they were supposed to work as per LF's design. The so called "darktone" was popular with jazz players and still is. It's really only us blue note and soul jazz buffs that really still hanker after it these days. CBS went and futzed it all up when they got the gig...
muttley600
Banned
Should add that you can get close to both options with what is termed the four way tele mod... I tried it for a while but only really used two positions so switched it back..
J
jonny deep
Disappointing Member
I found dark tone of the traditional wiring on my 52RI tele of no use for my taste and had it rewired when I got it setup. Ymmv, of course, but I couldn't imagine a useful application of it.
muttley600
Banned
Like I said I use it as a rhythm setting that I drop onto playing live live from the neck lead setting. It was also popular with many of the 50's jazz players. You are correct that the modern wiring has been almost universally adopted by most tele players as more versatile. In a live setting it suits me nicely as it involves less knob twiddling to get from one setting to another on certain gigs...
Lt. Bob
Spread the Daf!
hmmmm ..... I'll have to ponder this but:
I don't even have tone controls on my Stinnett because I never use them on any guitar so my initial reaction is that I may go modern in that particular area .... in fact, I might go with a volume for each p'up and no tone at all.
Gig time ..... see's ya' later ...... (I would be very happy if I ever got a chance to try some of your Muttley p'ups).
I don't even have tone controls on my Stinnett because I never use them on any guitar so my initial reaction is that I may go modern in that particular area .... in fact, I might go with a volume for each p'up and no tone at all.
Gig time ..... see's ya' later ...... (I would be very happy if I ever got a chance to try some of your Muttley p'ups).
J
jonny deep
Disappointing Member
Just got home with my new JCM800. The guy let me have it for £720 including the flight case. It's practically brand new, there's a small scuff on the grill on the top, it's otherwise pristine. I met him at some rehearsal studios where it was wired up to a Marshall 4x12. Plugged in my Les Paul and chugged out a few chords and fuck me is it loud. Only had it on 4 and it was too much! As per Gregs earlier clips, it was kind of bright sounding at the lower volumes and the tubes were barely warm, but I know what sound it can make, was just checking it was working, really. Luckily, I won't have to be in the same room as the cab and I'm going to see how it gets on with the ISO box. If I can't make it work for me, I can sell it at a profit pretty easily.
The annoying thing is I have too much school work on at the moment to really give any time to it, but it was too good a deal to turn down. These things sell for £1,569 new right now.
The annoying thing is I have too much school work on at the moment to really give any time to it, but it was too good a deal to turn down. These things sell for £1,569 new right now.
G
Greg_L
Banned
Fuck yes! Congratulations. You are in the big leagues now.
It's a special kind of loud, right? Like loosen your bowels loud.
I'm very happy for you because I know how killer that amp is.
minerman
Tonetard
Jonny: congrats dude, you've got yourself a kick-ass amp dude...
...are you saying there's a bit of difference between the 1 watt JCM & the 100 watt version??? Yep, you're playing with the big toys now dude...hahahaha
4-5 on the master of my DSL in the same room with it is painfully loud too dude, so I know where you're coming from....maybe you can get an attenuator to knock down some db's???
I will say there's nothing like these big amps when you get a little volume coming out of 'em though, I absolutely love both my "big" amps!!!
FWIW, you don't have to dime these amps to get good sounding recordings out of 'em, but it does help getting some air moving into the mic, & getting a little power section cooking....
Again, congrats dude, & don't give up on it just yet, attenuator, od pedals, lots of tricks to get the sounds you're after dude....
Oh yeah, pics or it's a 1 watter........
...are you saying there's a bit of difference between the 1 watt JCM & the 100 watt version??? Yep, you're playing with the big toys now dude...hahahaha4-5 on the master of my DSL in the same room with it is painfully loud too dude, so I know where you're coming from..
..maybe you can get an attenuator to knock down some db's??? I will say there's nothing like these big amps when you get a little volume coming out of 'em though, I absolutely love both my "big" amps!!!
FWIW, you don't have to dime these amps to get good sounding recordings out of 'em, but it does help getting some air moving into the mic, & getting a little power section cooking....
Again, congrats dude, & don't give up on it just yet, attenuator, od pedals, lots of tricks to get the sounds you're after dude....
Oh yeah, pics or it's a 1 watter.......
.
Lt. Bob
Spread the Daf!
that's awesome! Sounds like a good deal too ...... someday i gotta get me one of them.