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Guitar talk: acoustic, bass, classical, twelve string? You name it! Pt III

The new thing:
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D'ya reckon?

:)

I think I've come across that before, I'll give it a listen later.

I can remember three Jets of Air gigs. One at Culcheth Church Hall that the band organised themselves (I took photos and recorded the concert), one at Bolton School (a public school in err, Bolton), and finally a pub gig in the Eagle and Child pub in Leigh. At the latter gig the landlady paid them up after a handful of songs because she said they were driving customers out of the pub.
 
A short review...
I bought this as my 66 year old hands were struggling with the P bass and its J neck (I have small hands). £525, properly made, although I did have to get the local guitar setup bloke to see to the fret ends. It came with standard Fender 45 - 105 strings, which were horrendous - the E was almost unplayable, in that the harmonics were all over the place. I replaced them with Ernie Ball light (40-100) and it's far better ie notes are clearer - the electrics are fine, although the J pup is a bit anaemic, but EQ sorts all that out. The previously mentioned guitar bloke has a lovely red Mustang from 1974 (?), and he really liked it.
I had been considering a Squier version of a Mustang, but I'm glad I didn't!

Edit: the bridge is a Hipshot which was on the P/J - I swapped it over as I can adjust the string spacing, which can be useful.
 
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Am not even going to try and guess what you were googling when you came across that Tony.. :)

I actually lazily lifted it from the That Pedal Show group on Facebook - I’m hoping Mick and Dan get him on to demonstrate a full GigRig installation!
 
Another thing with punk and new-wave to my ears/understanding, at least the UK stuff, is it has *nothing* to do with overdriven valve amps or that whole rock/blues aesthetic. So many bands at the time were using the once ubiquitous HH 2x12 combo with the illuminated facia, or similar solid-state offerings from Carlsbro or Yamaha. I am convinced this is why UK punk a) sounds quite different to US punk where there were endless cheap Fender valve amps in pawn shops etc, and b) why it can be hard to emulate with modern kit now music history has been rewritten as a totally ‘valve-based’ thing. A Fuzzface into a HH 2x12 combo really is that late-70s-early-80s guitar sound. Scratchy, glassy, edgy. That is the punk/new-wave thing IMHO.


The Skids, Punilux, Wire all used these beasts...
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The Yamaha G100. A Farewell To Kings and Hemispheres are Alex Lifeson using almost exclusively, a HH IC100 combo
 
After years of neglect I have given my '84 Washburn G-5V a proper good neck clean and restring. Its the only guitar from my youth that has stayed with me. It amazes me how it well it plays and stays 'mostly' in tune even with a FR type trem. These really were great vfm.

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Shredtastic!

I think I read Washburn were just saved from bankruptcy? Although recent evidence suggests I am starting to imagine all sorts of things these days.
 
After years of neglect I have given my '84 Washburn G-5V a proper good neck clean and restring. Its the only guitar from my youth that has stayed with me. It amazes me how it well it plays and stays 'mostly' in tune even with a FR type trem. These really were great vfm.

IMG-20200805-130209-2.jpg

The older I get the more Im drawn to guitars with big industrial grade metal mechanisms at the back.
Lovely :)
 
Worth doing some research on that Washburn as at that date it is likely still a Matsumoku (Japan) built instrument and very decent. That whole hair-metal/poodle-rock/spandex era, which I personally detested, is certainly now very much recognised as its own ‘thing’ and a interesting stage in Japanese guitar evolution. It is certainly becoming collectable. It represents the start of the (still current) phase when they stopped copying/bettering US instruments and went all-out rock that led to enduring classics like Vai’s Ibanez JEM and where things are now. My own favourite point is just before that in the late-70s to early-80s where things like the Ibanez Artist/Musician, Aria YS500, TS, SB1000, Yamaha SG1000, SG2000, SC1200 etc etc arrived, i.e. they’d stopped copying, but hadn’t yet nailed themselves to the hard-rock genre (a lot of these instruments ended up with jazz & soul players). Anyway I bet you have a great playing and sounding instrument there that will only increase in value. I’d not be tempted to modify it at all as good condition totally stock examples of that period are now hard to find as everyone stuck bonkers hot pickups in them etc.

PS Boss Metal Zone and dive-bombing, obvs.
 
Worth doing some research on that Washburn as at that date it is likely still a Matsumoku (Japan) built instrument and very decent. That whole hair-metal/poodle-rock/spandex era, which I personally detested, is certainly now very much recognised as its own ‘thing’ and a interesting stage in Japanese guitar evolution. It is certainly becoming collectable. It represents the start of the (still current) phase when they stopped copying/bettering US instruments and went all-out rock that led to enduring classics like Vai’s Ibanez JEM and where things are now. My own favourite point is just before that in the late-70s to early-80s where things like the Ibanez Artist/Musician, Aria YS500, TS, SB1000, Yamaha SG1000, SG2000, SC1200 etc etc arrived, i.e. they’d stopped copying, but hadn’t yet nailed themselves to the hard-rock genre (a lot of these instruments ended up with jazz & soul players). Anyway I bet you have a great playing and sounding instrument there that will only increase in value. I’d not be tempted to modify it at all as good condition totally stock examples of that period are now hard to find as everyone stuck bonkers hot pickups in them etc.

PS Boss Metal Zone and dive-bombing, obvs.

I think that the similar looking G-8V appealed more to the metal heads. The G-5V is surprisingly versatile with some great single coil tones. Great for funk and jazz stuff. It's always been a bit of an allrounder for me.
 


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