Jump to content

Paul Wesley

Certifiably Surly
  • Posts

    1993
  • Joined

  • Last visited

Everything posted by Paul Wesley

  1. Turns out it’s a “700,” so definitely worth fixing.
  2. It's a private business, right? Those employees didn't take any kind of oath. I find it 100% credible when the owner says in the email that she and her employees have "worked overtime, to exhaustion, unpaid and underpaid" to try to serve the public, while Owens was actively making their jobs and lives worse. They don't owe her shit. If conservatives have a problem with that, they should just imagine that Owens is gay and Suzanna Lee and company didn't feel like baking her a fucking cake.
  3. I have an attenuator… a really nice one, but I guess I don’t love the sound of the amp enough to patch it in. I’m sort of lazy that way… I just want to sit down and start playing. It’s why I spent so much time getting a good pedalboard together… because I hate having a guitar hanging around my neck while I’m fucking with patch cables and 9-volts. Baseball caps and fender amps… I see guys all around me making them look good and sound good, but I just feel awkward and unnatural with either one.
  4. I have a Super Reverb, and in order to get it to break up, it has to be so loud that you would never ever sit in the same room with it. Not coincidentally, it’s the amp I play the least. You can pull out a tube, which helps a little… but not nearly enough. I might try some of these other mods: http://fenderguru.com/amps/super-reverb/
  5. I have come to expect disingenuous arguments and constant low-level racism from Fox News... but wow. Just wow.
  6. Yeah, I get that. I still think there's a price point for everything where you're better off buying vintage. 5K for a new microphone will get you something nice, but it will be worth 4K the day you unbox it and 3K a year or two later. As opposed to spending that on a vintage mic that is almost certain to go up... many of them appreciate substantially. But you're right that you're on-the-hook for repairs, which are far more likely than with something new. I would also be really interested to hear that guitar side-by-side with a couple 55-year old versions.
  7. Is 5k enough to consider an actual 1960’s Hummingbird? That’s about what they run, says Reverb.
  8. Did they register for a nice set of shivs?
  9. Would it upset anyone if I post one more Jetglo Rickenbacker?
  10. I have a set of Telecaster pickups that I pulled off my Telemaster. They are stock wound (the run of guitars that mine came from had pickups and hardware that were all from the Fender custom shop). I replaced these with a set of underwound Fralins. PM me an offer if interested. I'll say yes.
  11. It's not nostalgic to me... It was basically given to me and I used it for years to power a pair of NS-10. Those speakers are now being powered by a Bryston that's not mine... so at some point, I'm either going to have to fix the Phase Linear or buy something else.
  12. I got an old phase linear power amp -- probably 1970's or 80's -- that just crapped out a couple months ago. Worth repairing? If so, who in Austin would you take it to?
  13. Fantastic rock song. I love everything about it...
  14. p.s. If I could figure out how multi-quote works, I wouldn't post three replies in a row like PawPaw.
  15. I just looked up the Serus a couple days ago because I thought Rhett Shull's tone was great and I wondered what he was playing. To be fair, he'd probably sound great on all kinds of different rigs.
  16. You better trademark that quickly.
  17. Wow. I *really* like that color combo. To me, that color scheme screams "jetglo Rickenbacker," which I think is cool. I like guitars that don't seem to fit easily into a "country" or "rock" or "metal" or "punk" box... guitars that sort of straddle genres and are hard to put in a category. I think this is why I like the Telemasters so much. Anyway, that made me look up Rickenbacker pictures to see if my impression was correct. It's not exactly the Rickenbacker jetglo color template - the knobs and the metal pickup covers are a little different - but it's very close. Would it look as good with a maple neck? That's the question I'm asking myself.
  18. Wallflowers (plus Charlie Sexton) at Gruene Hall.
  19. Yeah, that photo was what I had in mind... until I started hearing about ferrules lining up with bridges, which need to line up with pickup magnets, string spacing... I also saw the advice several times that many bridges that have the word "vintage" in the title are NOT actually vintage spaced. And then the website wouldn't let me select a tele bridge anyway. I *think* I figured out the solution (drill for ferrules but not for mounting screws), but I'm waiting for Fralin's advice before placing the order. AUTF - good advice on the neck. Fortunately, that's what I like to play anyway, so it should be OK there. And I also feel overwhelmed by the endless Warmoth choices. I go to their website, I start out excited, then I start feeling uncertain, and finally just close the laptop without ever buying anything. I've been "designing" and walking away from this project for a while now.
  20. Me too.
  21. Damn. $400 almost worth buying just to test drive the prototype. Also, I want to hire Chad as my guitar sommelier.
  22. Appreciate y’all’s input. As for ferrule spacing, I think wider is better for lining up with P90’s, right?
  23. I have close friends and immediate family who served front-line-combat military deployments, who work for the State department in Ukraine, who were career CIA, and who teach public schools. Not fucking one of them "sucks at their job." So maybe rethink your theory.
  24. Thinline tele shape, alder body, chambered, rear-route controls laid out like traditional tele. Hardtail. Will get Fralin hum cancelling P90 soap bars. I'm a maple neck guy. Maybe Birdseye. This color is satin-finished metallic blue ice. I kind of like the copper metallic color too, but I don't think the copper lends itself well to neck/pick guard/pickup color combos. Haven't decided on color of knobs (black vs metallic), bridge (?stainless), or pickup covers (stainless or white). Pick guard will probably be that off-white mother of pearl stuff. So cosmetically it will be very close to the color combo of my Strat. The only detail I haven't ironed out is the type of bridge and the string spread. My plan was to drill it for a traditional Tele bridge (like an ashtray), and then put in a short tele bridge (hipshot and several others make them), but the option for that bridge is "ghosted out" on the Warmoth site because they want you to know that you can't order an ashtray bridge and also a P90 bridge route. I also sent an email to Lindy Fralin and asked him which string spread is optimal for his P90s... I might just get Warmoth to drill for the ferrules and leave myself a couple of options for the screw pattern of the various bridges, but I'm not sure if I should put the ferrule spread at .416 or .430 or .441 It's my first foray into the build-it-yourself world. I'm just not that wild about my off-the-shelf options (Casino or Midtown). I've found a couple guitarsthat are close to what I'm thinking... like this one: https://reverb.com/item/33054086-paoletti-nancy-lounge-thinline-2p90 But that is 1) really heavy for a chambered-body guitar, and 2) kind of ugly, IMO. Not to mention that I can build exactly what I want - with better electronics - for about half that price. Warmoth says 12 weeks for a metallic finish body and no binding. I might take it to Danny Shoemaker and have him assemble and Plek it as soon as it's put together. That all means I'll be lucky to finish it by the end of this year. If I'm gonna have NGD before then, I'll have to join AUTF in the 000-28 club. Way more info than you wanted, right?
  25. "When I Let Go" was my first record, which hulla was generous and gracious to mention. https://music.apple.com/us/album/when-i-let-go/304922304 I wanted my next record to be less "reflective songwriter" and more electric-guitar album rock... like a Stones record somewhere between "Sticky Fingers" and "Some Girls" (I'm not saying that's where the songs are all gonna land, but that's what I'm aiming for). About four years ago, when I was about eight songs into this rock album, I was feeling frustrated at the pace of my songwriting. On a lark, I decided to get the studio pros (who are brilliant and who I had already booked for a session) to use that day on some different original material -- one Philly soul track and one disco number. So on that day in late 2016, the disco project started with me going to South Austin Music and buying a wah pedal and a vocoder. Then there were nine more songs, four+ years of string arrangers, hired orchestras, horn arrangers, marching bands, gospel choirs, multiple percussionists, and an extensive search for the right vocalists... It is about as ambitious as a musical project can be. Last week I handed off a hard drive of the final disco/funk sessions to the mix engineer. Edit: obviously I was not successful enough for iTunes to disambiguate me from everyone whose name is remotely similar to my own. The only songs that are mine on iTunes are the ones listed under that album title. If you click on my name, none of those other people/songs are me/mine.
×
×
  • Create New...