Changing Pickups Part 2: A Nice Surprise

This conversation was originally posted to my Twitter feed. You can find Part 1 here.

Well, the green Strat is back, and the result has been quite the surprise.

Quick recap: Fender Player series Strat, which I’ve really taken a shine to. Dropped it off @astringsuk yesterday to replace the stock pickups with a (mismatched) set of 63 Veneers from Bare Knuckle. Wanted a more vintage Strat tone.

First off – these pickups definitely deliver that vintage Strat tone. There’s a much bigger difference between the stock Fender pickups and these 63 Veneers than I expected. Might be too big a change? Still getting used to it.

The bridge pickup is really nice. The stock one was very usable, this is even better. It’s got more low end than I’m used to from a Strat bridge pickup, and I really like it.

IIRC, one of the things John Mayer wanted from the Silver Sky was a bridge pickup that wasn’t all treble. This bridge pickup delivers that.

I’m still experimenting with the right height for the neck pickup. Struggling to put my finger on why it’s not quite right for me atm.

However, I don’t really care … because position 4 (neck + middle pickups together) has turned out to be a fantastic surprise. It’s basically the clean tone I had decades ago, before I swapped the stock pickups out of my Charvel. Wasn’t expecting that.

Kristi can tell you better than me how deeply I’ve regretted losing that particular sound, and how I’ve been searching for it ever since. And now I have it again … or at least close enough to fool my memory 🙂

So yeah, these pickups are a keeper 🙂

Changing Pickups: Part 1 – Why?

This conversation was originally posted to my Twitter feed.

Just dropped the green Strat off for a pickup swap. I was going to wait until I could do a before-and-after demo, but honestly I’m not a very good (or musical!) player. You’re not missing out.

I think the pickups that Fender use in the Player Strats make sense, if you assume it’s a budget guitar aimed at newer players. They’re a little more mid-rangey than the classic Strat sound, a little hotter, and quite forgiving.

I’m dropping a (mismatched) set of 63s from Bare Knuckle into it. Originally bought bit by bit for other guitars, but for various reasons never got fitted.

Pickup swaps are always a bit of a gamble. Until you try them, you never know if they’ll suit that particular guitar, and your rig, and your playing style.

Pickup swaps in Les Pauls seem to be the worst. Raven (my Sig-T) took 5 different sets until I finally found ones that worked in that particular body. All great pickups, just a difficult guitar.

Why swap pickups at all? Why not stick with the stock pickups in a guitar?

Honestly, if you’re happy, stick with them. It’s your guitar. Don’t swap pickups just because others do.

I swap pickups either because I don’t like the originals, or because I’m looking to change the character of the guitar in some way.

I started swapping the pickups on Raven, for example, because the stock Gibson pickups sounded too shrill and ice-picky. Raven’s quite a bright guitar, and it needed pickups that would tame that.

With the green Strat (it doesn’t have a name yet), I’m swapping the pickups because I want to get closer to the Strat sound in my head. I want to make a guitar I like even better.

I’ll let you know what I think when the guitar’s back 🙂

New Arrivals For May 2019

At a recent post-gig band rehearsal, we decided that I needed to start adding effects to my acoustic rig. The plan this month was to build out a full acoustic board – one that’ll run into the amp for shows, and also directly into a PA for open-mic spots.

Sadly, my timing’s off, and the pedals I’m targeting for the acoustic board have been out-of-stock every time I’ve gone shopping for them. In the meantime, there’s been a few unexpectedly good bargains crop up on eBay, so I grabbed those instead.

Here’s a list of all the new gear that arrived in May, along with my first impressions of each item. I’ll do a detailed writeup about each piece of gear when I’ve had a bit of time with it.

Fender Player Stratocaster, in Sage Green

I admit it – it was the unusual colour that grabbed my attention. There aren’t too many of these in sage green kicking around these parts. This particular one has one of the better-looking pau ferro fretboards – nicely-cut figuring, and very little red in it.

What kept my attention was the playing experience. The neck profile is really comfortable for me, and the satin finish means there’s nothing grabbing my hand and stopping it moving around. It reminds me a lot of the necks on the old American Special line, it’s that good.

The reason I brought it home? It sounds much better than I was expecting. It’s not a dead plank of wood like the Mexican Strat I bought back in the 90s. Dial the volume and tone down a bit to take the edge off the pickups, and it’s a very usable Strat sound.

To my ears, those pickups are a little bit bite-y, and there’s a little bit more mid-range compared to the classic American Strat sound. They’re very usable, and that extra mid-punch works well if you’re predominantly playing through a dirty amp or through drive pedals.

I am going to change the pickups at some point. I mostly use a Strat for clean tones, and I think this guitar more than good enough to justify the cost of dropping a set of after-market pickups into it. In fact, I’m enjoying this Strat so much it’s getting the set of Bare Knuckle pickups that were ear-marked for the American Performer …

Gigrig Cinco Cinco Patch Bay

I need to tidy up my cabling a bit. I’m planning on building a little practice pedal board (which is where incoming pedals will get tested), and a second little pedal board for my acoustic gigs.

With two amps to test pedals against – and two pedals to stick into the effects loop whenever I want to switch amps – it’s all a bit messy atm. I find that I’m not switching amps as much as I probably should, and when I do, I never move the cables for the f/x loops.

I’m hoping this is where adding a patch bay will make things easier. I’m just waiting for the pedal boards themselves to arrive in stock so that I can cable everything up and find out.

PedalPatch Solderless Cable Kit

I’ve been using the Planet Waves / D’Addario solderless cable kit for years, for making patch cables for my main pedal board. It’s cheaper than the stuff you’ll see featured on That Pedal Show, and for home use it’s perfectly reliable.

The one and only downside is that no-one could ever accuse it of being a compact or low-profile solution. The jacks are big (the original ones even bigger), and the cable is pretty thick. I’m looking to make a couple of small boards this month. I could use an alternative.

PedalPatch are a UK company that I first saw advertising on Facebook. Their kits are even cheaper than the D’Addario ones, and look small and compact. I thought I’d pick one up and see how I got on.

Mixed results, I’m sad to say.

The first couple of cables I made sucked tone away. Specifically, there was an audible loss of high-end frequencies. The symptom? Seems to be when you pop the shield cap onto the jack. If it takes force to get the shield cap in place, that cable won’t sound right. I found that I had to make sure that the cable was firmly in the jack and bent the full 90 degrees at the right spot so that the cap just dropped into place.

With solderless kits, I expect to make the odd cable badly, and doesn’t carry any signal at all when I plug it in. A cable that isn’t dead, that just loses some of the signal spectrum … I found that really put me off. Can’t put my finger on why it’s any different to making a dead cable, but somehow to me it is.

For my gigging board, I might just say sod it and order the proper stuff from Gigrig. I do not want to have any problems at all with that board.

Pedaltrain Nano+ Pedal Board w/ Soft Case

I’m looking to build two boards this month: one for home, for tidying up where I test incoming pedals, and another for my acoustic gigs. Both need to be very compact. The testing board needs to fit in a 19 inch space, and the acoustic board is another thing to carry to/from gigs, so the smaller the better there.

Pedaltrain’s Nano+ boards are nice and small. But are they maybe a little too small for what I’m doing? The two problems are placing the power, and placing the patch bays I bought earlier for this project.

The acoustic board is the easier one. I can’t guarantee easy-to-access (or clean) mains power at a gig, so the whole board needs to run off of batteries. Pedaltrain do a rechargeable power supply called Volto, which fits underneath the Nano+ board. Earlier versions had mixed reviews, but the new Volto v3 appears to have finally cracked it. No space for the patch bay though atm.

Problem with the testing board is that I use Friedman’s 10-port power supply for testing pedals. It’s worth every penny to know I can run just about any pedal that takes 9v without trouble – even a power-hungry beast like Fender’s Tre-Verb. There’s no way that’ll fit on the Nano+, and neither will the patch bay.

This board doesn’t need to be able to travel; it just needs to sit there and help me keep that area tidy. I think I’m going to snag a 1U rack shelf, sit it under the board, and then put the power supply (and the patch bay?) at the back of the shelf.

Well, when the 1U shelf arrived, I discovered another problem: the Nano+ doesn’t fit on a 1U shelf. It’s just slightly too long to do so. How did no-one think of that when the Nano+ was designed? I’m going to have to come up with a more creative solution.

JRAD Archer Ikon Klon Klone Pedal

This one completes the family line-up: silver Archer, gold Archer, white Archer. It gives me another flavour of klone to try with different types of guitar. Am I going to enjoy this one as much as I did the silver Archer, or am I going to be as disappointed as I was with the white Archer?

I’m glad to say that I’m definitely not as disappointed as I was with the white Archer pedal.

I haven’t spent much time with Archer Ikon; really I’ve just plugged it in to make sure it wasn’t DOA. It’s not immediately obvious to me how it’s different from the silver Archer pedal. I’m going to have to sit down and A/B them both to work it out.

JHS Angry Charlie v2 Overdrive Pedal

I’ve had JHS’s Charlie Brown v2 pedal for years now, and I like how it sounds through my Marshall Origin. Where the Charlie Brown is aimed at the JTM-45-in-a-box kind of sound, the Angry Charlie is more the JCM-800-in-a-box thing. That sounds like two complementary tones that’ll go nicely together into a ToneStack. And I’m all about finding complementary tones 🙂

This pedal has gotten me thinking … is it the only drive pedal out there that targets the JCM 800 sound? Everything else I’ve ever tried either does the Plexi thing, or one of Marshall’s older / vintage / boutique amps.

I need to A/B this pedal against the JRAD Animal and my Synergy 800 amp.

Bearfoot FX Honey Bee Overdrive Pedal

Bearfoot FX is a company you might not of heard of. And, I’ll be honest, part of me wants to keep it that way, so that I’ve got more of a chance of finding their pedals at a good price on the second hand market.

They used to make hand-wired versions of Bjorn Juhl’s (of BJFe fame) legendary designs. That partnership came to an end recently, which can only mean that second hand prices of their pedals are going to continue to climb. I’ve already seen some examples going for King-of-Tone-on-eBay prices!

The Honey Bee Overdrive Pedal is considered to be one of Bjorn Juhl’s finest designs. I’ve already got the Uber Bee, which I love, and the Mad Professor Sweet Honey Overdrive, which is related but reportedly does have its own sound.

Fender Tre-Verb Digital Tremolo / Reverb Pedal

This one is very much an impulse purchase. I’m really enjoying using the Blackstar Studio 10 6L6 for clean tones. It isn’t a Fender Deluxe-Reverb Re-issue (DRRI), but it’s close enough for me. Can I turn it into a poor-man’s DRRI by adding the Tre-Verb’s emulation of the DRRI’s tremolo and reverb to the amp’s blackface-like clean?

First time I plugged it in, it sounded so much like a wet-only signal that I spent a couple of minutes hunting for some kind of ‘wet-only’ toggle switch on the damn thing. Turned out the order of the mono and stereo input jacks is different to what I’m used to, and I’d plugged into the second jack by mistake.

I’ve found this a challenging reverb to dial in. In that respect, it’s definitely like the reverb I remember from a DRRI! It’s so easy to nudge the Blend control just a hair and lost the sweet spot that seems to be around 9 o’clock. I wonder if this pedal will shine better in a wet-dry stereo rig?

In the end, this pedal didn’t stay on my practice board very long. I’m just too used to modern designs which keep the original dry signal and blend in the wet signal behind it. That doesn’t make this a bad pedal. It’s just all personal preference.

New Arrivals For March

So March has been and gone. In the end, February’s absolute deluge of available 2nd hand gear wasn’t repeated this month. But a road trip later in the month brought a chance encounter with something a little bit different …

These are my initial impressions of this month’s new arrivals. I’ll do full articles on each of them when I’ve had some time with them.

Fender American Performer Strat – Maple Board

I have two motives for buying this guitar.

My best-sounding Strat isn’t a Strat at all: it’s my American Deluxe Tele. I had the stock N3 Noiseless pickups (shudder!) replaced with a set of Twisted Tele pickups, and it gets very close to that Strat neck pickup tone. I’d just like to have that from an actual Strat. Preferably one with a maple fretboard.

(I do have an Elite Strat with the stock N4 noiseless pickups. With a little bit of help from the right pedal, they’ll give you a very nice Strat tone in a mix. They can sound a little dull outside a mix, especially if you’ve been playing true single-coil pickups first).

The second motive is all about making memories. I’m currently celebrating 4 years of starting my own business. It hasn’t been easy – and thanks to these historic times it’s about to get much, much harder – but it has definitely been one of the happier periods of my life.

Now, it just so happens that the Performer comes in a shade of blue that’s very similar to the colours I use in my business. A guitar that’ll last for decades and remind me of these moments in years to come? Yes, please.

It took a couple of hours to find a sound for me out of this guitar. I’m not sure why. This is not a deep, booming, Brian Blessed kind of Strat sound. It’s punchy, with a bit of bite, without quite straying into that Tele sharpness.

In the end, I found it by rolling the neck tone down to 7, and backing the neck volume off to around 9. Once I found that sweet spot, I didn’t want to put the guitar down for the rest of the evening.

I tell you what – being able to have both the neck and bridge pickups active at once … Fender should make that a standard wiring setup on all of their Strats. It sounds great on this guitar. I think it sounds even better on the American Performer with a rosewood fretboard.

Fender Vintage Tremolo Springs

My playing style relies on a lot of string bends, and that doesn’t fit so well with the new Strat’s floating trem. I don’t want to block the trem off by putting a piece of wood in the cavity to prevent it moving. There’s another way to tackle it.

This is a tip I got from Texas Blues Alley. I’ve used it before, and it worked well for me.

The basic idea is to replace the three stock tremolo block springs with five Fender Vintage tremolo springs. The Fender Vintage springs are lower tension, and if you use five of them, it’ll deck the tremolo and keep it decked during string bends. You can still do dives using a trem arm if you want.

Sadly, the first place I ordered from – Rich Tone Music in Sheffield – didn’t have any after all (grrr), despite their Amazon marketplace profile claiming that they do hold stock for immediate dispatch. Hopefully the next place I’ve tried will have them.

Yes, they did – and they arrived next day. Yay for retailers – Arcade Music in this case – who are transparent and honest about their stock levels.

Bare Knuckle 63 Veneer Single Coil Bridge Pickup

This is going into the new Strat. I’ve already got the matching neck and middle pickups sitting around. They were meant to go into my beloved Charvel, but I didn’t notice up front that the Charvel’s single coil routing doesn’t take standard Strat-shaped pups.

I actually don’t mind the stock Yosemite pickups. In person, they sound a lot better than I’ve heard them on demos. It’s just that – to my ears – they’re voiced to work really well in a live mix. That’s in keeping with this guitar being a gigging workhorse. They don’t quite have the low-end that I want for when I’m just noodling at home.

Will these pickups from Bare Knuckle give me that? I honestly don’t know. I’m much more experienced and comfortable choosing pickups for Les Pauls. The writeup looks promising, especially with talk of delivering a piano-like ring. That’s a property I personally want from any Strat I keep.

Update: I discovered that the low-end was being spirited away by a (possibly faulty) reverb pedal in my signal chain. The stock Yosemite pickups do have plenty of low-end piano plonk (I can’t think of a better way to describe it). I’m still going ahead with the pickup swap, but only because I’ve already got them.

Mr Black BB-74x Overdrive Pedal

I’ve seen a few of these come up for sale since the New Year, and finally found one at a great price. But what is it?

It aims to create the tones and feel of a “legendary 18W EL-84 combo”. Given the gold and black livery, I am assuming that means the Marshall 1974x 1×12 combo – aka the “mini Bluesbreaker”. It should sit somewhere between the Keeley 1962x Overdrive and the various plexi-type pedals that I have.

This’ll be my very first Mr Black pedal. I’m looking forward to it 🙂

With the new Strat, through the Origin 20H, it was okay but a little on the brittle side. Strap on a Les Paul, and this pedal rips. Of all the Marshall-in-a-Box (MIAB) pedals I’ve tried recently, this one struck me as having the thickest, fattest rhythm tone to date. No idea if it’ll record well, but in the room, it sounded fantastic. I didn’t want to stop playing.

Lovepedal Jubilee Overdrive Pedal

With the release of the new 20W Studio amps, everyone is talking about Marshall right now. And part of that conversation is about the Silver Jubilee – the amp that came after Guns and Roses and the release of Appetite for Destruction. At heart, they’re said to be a two-channel design based on the JCM800. I’ve never played the actual amp myself.

I’ve seen this pedal’s sweet spot described as the crunch channel from the Silver Jubilee amps. I’m hoping for something that sounds like a slightly more mid-forward JCM800, continuing the generational trend of smoothing off the harshness of the highs without becoming dull.

This pedal did not disappoint. Only took a couple of minutes to dial in the sweet spot, and there it is … the sound-in-my-head of 90s rock rhythm. That slightly thinner-than-you-realise, cleaner-than-you-realise rock crunch should sit and breathe so well in an actual mix. And it sounds great in the room through the Origin 20H.

It’s said that the Alexander Silver Jubilee pedal compliments this one very well – that it acts like a compressed Silver Jubilee lead channel. Makes me wish I’d picked one up in January when there were several being offered …

Carl Martin AC Tone Overdrive Pedal

I enjoyed the Carl Martin Plexitone pedal that I picked up in January. When I saw their AC Tone pedal come up at a bargain 2nd hand price, I thought it’d be a good way to dip my toe in the waters.

You can ask the folks over at AStrings, and they’ll happily (and honestly) tell you that I don’t understand the tone of the mighty Vox AC30 amp, and that I haven’t the faintest clue about how to harness it. It’s completely alien to me.

That translates to using this pedal. I thought the Plexitone was bright? Through the Marshall Origin, this thing’ll slice your head off if you’re using a Strat. Dial it back a bit, and the result is one of the most mid-forward tones that I can remember. I can’t think of another way to describe it.

It’s not my thing. And that’s exactly why I need to put some time into exploring this pedal and what it does. How else do we learn and grow?

Catalinbread Dirty Little Secret Mk3 Overdrive Pedal

When it comes to lists of the greatest Marshall-in-a-Box (MIAB) pedals, the Catalinbread Dirty Little Secret is normally at or very near the top. After the Tubescreamer, is there a more crowded market than plexi pedals? And how does this compare to some of the great pedals I’ve already been able to try over the years?

My first few minutes with it were filled with the hum of a grounding problem. Was this going to be my first faulty 2nd hand pedal? Thankfully not. Eventually traced the problem to using a TRRS cable from the pedal into the amp. Swapped it out for a normal TRS cable, and the grounding problem was solved. Phew.

It doesn’t have that immediate sweet spot that both the Mr Black BB-74x or Lovepedal Jubilee had. All the controls seem to be highly interactive with big ranges, and the key seems to be finding the right amount of mids first. I was able to dial in a very satisfying crunch rhythm tone from there.

There’s a clarity to it that’s very pleasing, with great string separation. It’s also more compressed than other plexi pedals, and it resisted my initial attempts to boost it with the Echoplex Pre. It’s possible I just need to use a different balance between the ‘preamp’ and ‘master’ controls on the pedal. We’ll see.

Nope. This pedal has very low input headroom. Even medium-output pickups can be too hot to use with it. That’s a big surprise, and for me a very big disappointment. Most rock guitars today don’t have low-output pickups.

MXR il torino Overdrive Pedal

I’ve no idea what this pedal does. No, really. I’ve never heard it in a standalone demo. It’s a pedal that I’ve seen multiple times on professional musicians’ pedal boards, and that’s enough for me to take a punt on a 2nd hand example.

It’s got two modes – a boost, and an overdrive.

The boost mode has plenty of output, and by balancing the gain and master controls on the pedal, it got the Origin 20H cooking nicely. It sounds like it adds a lot of colour to the tone. I’ll need to compare it against some dedicated boost pedals to form an informed opinion.

As a rhythm tone, the overdrive has a nice balance between crunch and smoothness all at the same time. It’s the kind of sound that I believe will sit nicely in the mix. It won’t stand out – and sometimes, that’s exactly what’s required.

Can it take on lead duties? Although it’s a bit compressed, it doesn’t add anything like as much sustain as I expected. When I’ve got time to sit with this pedal for longer, I’ll try slamming it with a dedicated compressor to see if I can get it to sing.

Suhr Riot Distortion Pedal

After getting Suhr’s Shiba Drive recently, I wanted to pick up a Riot pedal too just to complete the set. I like the idea of having the Shiba Drive as a rhythm pedal (doing the Tubescreamer thing of pushing an amp), and using the Riot to kick over into lead tone territory.

I’m expecting both of these pedals to sound really good into the Synergy Plexi module that I also picked up recently 🙂 Alas though, I won’t be able to make it sound anything like as good as Pete Thorn does. I just don’t have his talent.

Running it straight into my Marshall Origin 20H – a clean amp – I liked this pedal a lot more than I was expecting to. I had Joyo’s clone many years ago, and that didn’t do much for me. It’s a nice thick tone that made me think of the MXR il diabolo that I picked up recently.

Red Llama Overdrive Clone

This is another of the many clones from the same hobbyist who made my favourite boost pedals (and those fuzz pedals from last month). I like the quality of his work so much that, whenever I see something from him that I don’t already have, I’m always tempted.

I must admit though that I’d never heard of the Red Llama Overdrive, and had to go and google it. Way Huge are one of those brands that have completely passed me by. Not a brand I’ve tried, and not a brand that people I know ever seem to talk about.

This is the kind of pedal that suits Les Pauls to a T. Roll back your volume to make this pedal growl. Go full blast for a thick, heavily-clipped, violin-like lead tone. It has a very satisfying wide frequency range, with plenty of bass and that 3D-like upper mids and presence.

Gibson Custom Les Paul Special w/ Maple Cap

I’ve been travelling for work, and I found this particular guitar hidden away in a little shop up in Leeds. I was on the hunt for a 2nd Fender Acoustasonic Telecaster to be my backup / alternate-tuning guitar for the upcoming gigs. Certainly wasn’t planning on buying another Gibson this year.

So what convinced me to bring it back with me? Well, it’s a bit unusual, a bit different to the Les Pauls I’ve seen and played before.

This one’s a Custom Shop model made in 2017. It’s got two P90s – I’ve never had a guitar with that combination before. Normally, LP Specials are all-mahogany. This one has a maple cap, although you wouldn’t know it just to look at it. And it’s got the same neck profile as a Les Paul Custom – perhaps my favourite neck profile of all.

I’m hoping to pair it up (for recording purposes) with Ghost – my 2015 Les Paul Custom – and with Morag – my 2018 Ragh Guitars RPJ. I’m a great believer in finding guitars with complementary tones. Fingers crossed that I’ve done exactly that.

Back home and through my rig, and the tone surprised me. With the factory strings, the tone was bright and harsh in the room – not at all the thick mid-rangy monster that Morag is. Changing the strings (I put a set of NXYL 10-46s on it) tamed the harshness nicely. Still a bright – dare I say vintage – tone? Reminds me of how my Les Paul R0 sounds compared to a modern Les Paul Standard.

I’m left with a question for myself: do I keep it stock, or do I swap out the Gibson Custom P90s for a set that’ll sound a bit different? A decision I’m not making this month.

Danelectro ‘84 Lipsticks vs Fender Mexican Strat Single Coils.

Shane’s had a lot of interest in his Danelectro ‘84 since introducing it on his YouTube channel. So he’s done a shootout against his Mexican Strat.

The two guitars sound quite different. The Danelectro has a lot more twang, without sounding like a Tele. It’s also a little thinner sounding, but not in a bad way. The overall result is a guitar which looks like a Strat but has its own thing going on. Very cool.

Watch the video to hear for yourself, and then please head over to YouTube to leave a like and a supportive comment.

PRS Silver Sky vs Original Fender 1965 Stratocaster

The first batch of PRS Silver Sky guitars is out in the wild. Tim Pierce has borrowed one, and he’s posted a comparison of the Silver Sky vs an original Fender Stratocaster from 1965 – a guitar that costs about 10 times as much as the Silver Sky.

Have a listen.

I couldn’t hear a difference between the two guitars, not in the mix at any rate. And, honestly, I think that’s impressive.

Folks have been trying to recreate the fabled 59 Les Paul tone for decades, and so far no-one – including PRS – has managed to do so. We’ve ended up with some really good instruments to choose from if we don’t want a Gibson, but that hallowed tone has remained elusive. (In part because no-one can agree on what it is …). The PRS McCarty 594 is a fantastic guitar, but it does not sound like a Les Paul.

With the Silver Sky, it appears that PRS have managed to recreate that 60s Strat tone, and then improve on both the tone and the playing experience.

Once people get over the headstock, I’m sure this guitar is here to stay.

Please head over to YouTube to leave a like and a supportive comment if you enjoyed Tim’s video.

Fender Reliced Guitars Discussion

Ariel and Danish Pete are back with another Guitar Paradiso. This episode, they’re looking at reliced Fender Custom Shop Stratocaster.

This one quickly turns into a wide-ranging discussion about the whole concept of relicing Fender guitars, how different guitar finishes do (and don’t) wear over time, and why a reliced guitar might be a good choice.

Both Ariel and Pete are hugely experienced touring musicians, and it’s great to hear them sharing their experiences and personal preferences. Along the way, Pete digs out several of his personal Strats to help demonstrate the points he’s making, including guitars that he’s toured all round the world.

Please head over to YouTube to leave a like and a supportive comment if you enjoyed this Andertons video.

Here Come The Strats

Before you order that new PRS Silver Sky, you might want to check out these custom-order Fender Stratocasters from Andertons:

These Strats are the sister models to the Telecasters that Andertons recently had made. They feature a 59 neck carve – based on guitars made by the late John English – rosewood fingerboards and ash bodies. Pickups are Custom Shop 69, reverse-wound Custom Shop 65, and a Texas Special for the Bridge. The end result should be a Strat that you won’t find anywhere else.

Tone-wise, there’s a certain something that they seem to share with the original run of Telecasters from the earlier video. There’s a clarity and definition that even survives what YouTube does to video audio tracks. I suspect that, in person, these’ll exhibit that 3D sound quality that marks out the very best-sounding guitars.

Please head over to YouTube to leave a like and a supportive comment if you enjoyed Andertons’ video.

250 Dollar Rig vs 7000 Dollar Rig

Paul Davids (and … er … Paul Davids) is back with a video comparing his first rig to his current rig.

We don’t learn how old his Squier is, so please don’t refer to this when trying to decide whether or not to buy a brand new Squier today!  These kinds of videos are meant to be a bit of fun 🙂

Hopefully Paul will post a follow up where we hear both guitars into the Tone King.

Please head over to YouTube to leave a like and a supportive comment if you enjoyed Paul’s video.

PRS Silver Sky – John Mayer Rig Shootout

Today, we have a different kind of demo from Peach Guitars. They’ve done a shootout between John Mayer’s current rig – PRS Silver Sky and JMOD amp – and his old, pre-PRS rig – Fender 63 Stratocaster and a Two-Rock amp.

The PRS Silver Sky continues to be the most talked about guitar of 2018. I still can’t figure why it’s generated the reaction that it has – including my own reaction.

The more I hear it though, the more I’m interested in trying one for myself. To my ears, it sounds like a lot has gone into tuning it to be a great guitar for completely clean tones. That’s where I used to live before moving onto Les Pauls. I’d love to find the right guitar to go back to that style one day.

Please head over to YouTube to leave a like and a supportive comment if you enjoyed Peach Guitars’ video.