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I don't think that's a guitar part you're hearing.

I can hear it clearly. Considering the shape my ears are in, that says something. I have no idea what might be causing it but it's not your imagination. I would take Mutt's advice and have it looked over by someone qualified.

:laughings: See, you did it.

I'm gonna keep replying just to see if my theory about Miroslav having to have the last word is correct.... ;)

OK, my fault, and also I'm incorrect in everthing I posted in this thread. Now I'm gonna go tune my guitar to an unacceptable degree of accuracy, and I promise to feel bad about it and wish I had a strobe tuner. Happy?

Jeezus fuckin' christ, let's just stop, OK?

You said this, which I quoted above: "Strobes make tuning easier and faster...PERIOD." Which is not true. Not in my case, or just about any musician I have ever played with, and there have been more than a few. Nuff said. Tune however you like.

I have used strobes extensively in the past, so I am familiar with their operation and my statement stands. A decent inexpensive chromatic along with your good ears will get you all the way there. I have successfully recorded songs with multiple guitar tracks tuning with a TU-2 tuner and I can...

You had to create your very own acronym?

I'm not trying to pile on, Miroslav, but that's an opinion, not a fact, that you have expressed. In fact, in the past I have found strobes to be more time-consuming for simple tuning than a cheap but accurate chromatic tuner. If the goal is absolute precision, then a strobe is what you need...

I used to be kind of anal about keeping the strings intonated accurately, until I had guitars with these uncompensated bridges. That these guitars can sound fine and "in tune" just reinforces Muttley's point about tuning being a compromise.

I use a Boss TU-2 tuner when I'm checking the intonation on my guitars. It's not the most precise tuner but it's accurate. It gets the job done. Hell, two of my LPs and my Melody Maker have non-compensated single-piece stopbar bridges. Setting the intonation on those things is sort of like...

My Eventide Mod Factor has a pretty convincing rotary model. Beats the shit out of hauling around a big-ass Leslie cab. ;)

It was a good guess before post #2. :p I've noticed that in-hole pickups for acoustics just don't seem to get the same kind of response and I had always attributed that to the strings.

I think bronzewounds would tend to stimulate pickups less than electric strings? Just guessing.

I run two different speakers in my 2 X 12 cab. One is an AlNiCo Weber Blue Dog (a clone of a Celestion Blue), and the other is an AlNiCo Weber Silver Bell (a clone of a late '60s Celestion Silver Bell). The Blue Dog has that nice upper-mid and high-end chime, while the Silver Bell is gutsier...

I have a Vox AC 30 equipped with Celestion Blues. The Blues are very, very, efficient speakers, and that amp will knock your head off. No worry whastoever about keeping up volume-wise.

I have two: a Vox AC30CC2X and an Egnager modular rack-mounted preamp paired with a Randall RT2/50 power amp. All tube. I use both for recording. The Vox is my primary for rehearsal and my backup for live; it is loaded with Celestion Blues and is very sweet. The Egnater has four 2-channel...

:shakes head:

I wouldn't use the POD unless it's essential for FX. Make sure you disable the amp models. I record my amps with a Shure SM57 or Beta58, and run that straight into the board (unless I'm using my pedal board, which I often do). Sounds great.