Projects, Dreams and Aspirations

Dude,

I cannot agree with you more. I read all your post on your guitars but I do recall you talked about the “closing your eyes” thing (I remember cos’ that was some of the “deep” things we occasionally talked about). I believe the bond brings out the characters deep down inside the player, to some extend, some hidden gems within him/herself (Like how different you sound playing Strat and Les Paul). You did funk and killer blues on my Strat and recently, on the Fireman, which normally, is not your style. But you pulled them off flawlessly and more terrifying is that, you did it with vibe. Of course that was part SB as well.

I still feel what you got is ridiculous… for below RM800, a limited edition guitar. I guess that further confirms the quality of Indonesian build guitars. Glad to know you got the right one and as I mentioned, I bet you will be more brutal the next time I see you. That’s good, cos’ this lazy bastard here needs some push and inspiration……

Till then, my bullshit for the day:

Been not doing anything other that work for the past weeks since the last post. But one good thing amid the chaos was Furyon….more on that next time.

I was in the guitar room the other day (mopping the floor) and started to think: If given all the resources (money, in most, if not all cases), what upgrades would I do with the existing axes (and those coming)?

Here’s what I will do:

 Squire S-65

We know what this baby can do but I guess at the end of the day, I will keep it original. While I may have to sacrifice its “gig-worthiness” it has proven itself to be a good studio guitar. So no pickup change (although I have a very good feeling that with a set of good pickups, this guitar can kill) or even set-up. I think the high action actually enhance the tone – maybe due to the huge gap between fingerboard and string for vibration.

All this for nostalgic purpose because it was through the S-65 that got me where I am today.

Ibanez SA 160QM

Reset intonation and trem springs. I will still use trem on this but it needs more springs to keep it in tune. Change volume and tone knobs (having crackling sounds now) and a DiMarzio SH-2 single coil for the neck. The bridge humbucker has a sweet crunch tone. So I will keep it intact.

Squire California Telecaster

Uncle screwed up my volume knob. So, with this axe, change volume and tone knob to original Fender Tele stuff.

As I do not have an acoustic guitar, this baby, with its low and clean output seems appropriate for live setting. So, pickups stay.

And yeah, I will glue the spring at the bridge so it doesn’t buzz…long story this one.

Epiphone Les Paul Classic

This guitar literally has my blood, sweat and tears on it. There’s nothing I would change.

Fender Mexican Classic 50s’ Reissue Stratocaster

After much consideration, this is probably the one that will go on the surgery table for the most modification:

1. Refrets dude… I am convinced I need jumbo (or extra jumbo) frets on this baby
2. Change all knobs and pickup selector to original Fender USA specs.
3. This is crazy but me wants Super-Vee Trem
4. SH-2 DiMarzio set (if there is a set)
5. If the DiMarzios are like typical single coils, then I do hum cancelling

Epiphone Les Paul Custom (Coming Soon)

Reset-up definitely. Dude, I have forgotten how and what they did on your Dean, but I am interested to put EMG 81 and 85 on the this. That means I will need to make battery cavity on the body huh?

If that is too messy, then it will eventually be the combination of DiMarzio Tone Zone and Humbucker from Hell for bridge and neck respectively or cheaper option is Seymour Duncan is Jazz and Screamin’ Demon.

Dreams, dude…. But sometimes, if we dare to dream, dreams really do come true…..

……but it’s a limited edition Cort. Ridiculously affordable, excellent playability and sound good? Definitely not sold in this home country of mine……

2 Become 1 (When Player and Axe Unite)

Dude,

I am still very much in the topic of feel and vibe. You had mentioned very correctly that no matter how technically proficient one is, he or she, can never play as good as the masters: even with perfect note-by-note execution.  Reason is simple - We are not them and we are not with our own instrument...

So, I finally proved that point to myself. Once during our meeting on 29^th January 2012 and another, during our very recent visit to the BIG shop on 11^th February 2012.

The trip was a guitar test fest. We did the new Ibanez Fireman, PRS Custom 24 (still doubt it as the 25^th Anniversary edition), Fender Eric Clapton Blackie, Sterling John Petrucci Signature Model, Jackson Indian RR and removing many other guitars from its shelf. I remember we also inspected some cases and bags as well as seeing some new stuff, such as the Planet Wave Guitar Rest….

You found a good axe with the Fireman, while I found mine in the form of Custom 24. Had make and signature been a factor, I would have been really impressed with the Blackie, but it was disappointing.

There you go. A good guitar is the guitar that bonds with you, despite its make or model. It is the guitar that made you sound good and confident. You were doing everything on the Fireman – funk, metal, pop and of course, some real serious shredding. So, you know the guitar is good for you.

I was pretty excited with the Blackie. You were there. You saw the whole thing. I was turned off. Real off.

So dude, it really doesn’t matter what guitar one uses. I had such close connection with my S-65 and despite it being an entry level axe (with high action), I thought I did quite a good job in Dev’s Boogie. All on the S-65.

To be good, one has to bond with the instrument. I had a EC signature with me, but we weren’t talking to each other. I always look to people like Eric Johnson, David Gilmour, Eric Clapton, Gary Moore and recently, Zakk Wylde on how they are so at ease on stage. They bond well with the guitar and that helps to convey all the emotion and vibe they have at that moment.

My axe, my partner in crime.

So…how does that Guitar Rest work?!!!!