Gerard-NYNY

Definitely. The tone changes, the attack and sustain/decay changes.Ebony and Rosewood bridges are very different. Sometimes it takes some experimentation to find the right match up. Most standard bridges are Zinc and have crappy tone, so I swap out one way or another, steel or wood. I have another solid body with a Sadowsky wood bridge that sounds great. It may take some fidgeting with neck angle to get intonation in the ballpark. I got lucky with the guitar with the p90s. It's a set neck and action/intonation is superb. Other tries with set necks were not as good.

My specialty, not piercing. One is a vintage rosewood arch top bridge on a solid body, the tele bridge is John Page WoodTone Saddles and a generic half bridge plate.

A lot of so so or downright inferior sounding amps usually sound a heck of a lot better with a speaker upgrade. I have seen night and day type changes occur. I always laugh at folks in forums who request recommendations for pickups to install because of this or that shortcoming in the guitar. The first thing someone should do at that stage is replace the bridge or the saddles with steel parts. Most bridges are compressed Zinc. Zinc is fabulous if you're after a rotten tone, dulled attack and lousy sustain. Steel will deliver clarity and sustain.

The only in-load box-speaker emulator-out that sounds incredibly good is the Rivera Rock Crusher, and given how well it works, it is, of course, expensive.

I'm loving this. 1951 Silvertone 1340, same circuits and tubes as a 48 Fender Champ, bought at the donation store for $43.16. Awesome tweed tones I'm squeezing a Weber 8 inch 40 oz Alnico into it, but I may have to throw everything into a new sturdy cabinet that can handle the weight of the Weber.

Alamo Fury, 15 inch speaker. Got classic crunch and grind?? Oh yes. Pretty clean tones? No problem. I'd never sell mine.

One of my faves, surf music and instrumentals from Peru 1960s.They got into vocals later, and as such, a spectacular and hilarious vocal resulted in making their single 'Il Monstruo' into a Garage Rock classic.

You should check out Pat Irwin (B 52s, The Raybeats, Eight Eyed Spy) and his new band, the Pi Power Trio, He's the only one I know of here in NY. I stumbled into a small show last year and it was pretty good and I instantly recognized the sound as an offshoot of The Raybeats. He used a Fender Champ, a Strat and a Tiesco and got nice tones. Go for a Princeton and maybe a Rickenbacher if you can stand the feel (I never bnded with them but I love the sound).

In my opinion the perfect Surf amp is a vintage Fender Princeton that gets breakup distortion around 6 or 7 on the dial. Good for small medium sized venues. Bigger places you may want a Deluxe or a Showman. Guitars: any single coil or gold foil pickup that sounds reasonably good.

Sonosax sxbd 1 although the limiter distorts a bit, but I never used limiting anyway.

I'm pretty sure someone can rig something up, but maybe it's a good idea to look for the same pole and use one for parts when needed.

Life on the site is not the same without him. Sniff.

I think he's on here as the OP in that Nagra Stories thread whenever it gets resurrected from time to time.

Yups. And lots of stupid stuff, too, like giving a sticky padlock on someone's toolbox a few firm whacks when something inside froze up. And the time talent rang a door buzzer at the top of a scene and the spring inside jammed and it wouldn't turn off.

Oh how the memories come back, gripping and lighting, rigging this or that, makeshift contraptions; besides the usual set of wrenches, this tool made life easier.

http://asdfg.jodi.org/-------------------------------/-------------------------------/-------------------------------/-----------------------332xc675/rttyaxex.html

Following.

https://www.allaccess.com/net-news/archive/story/177761/dan-ingram-dead-at-83

The Univox Super Fuzz and the Marshall Supa Fuzz were among the best to my ears. A Sam Ash branded fuzz was right up there too in quality. A Fender designed (mostly by John Page of the Custom Shop) guitar made in Japan in the late 80's, the Heartfield RR 7 and other RR variants had an (push button, along with pickup wiring) onboard distortion circuit that was a really tasty liquid fuzz when the internal gain was maxed out. It does not have the usual artifact noise associated with boxes because of the active electronics. It's definitely a value leader as some of them can be had for the same price as a classic vintage fuzzbox.

Very Saddened to hear this. There's good ol' tube distortion, which was happening well before Snoddy's fuzz was discovered by accident--and his was the perfect fuzz for that recording. But fuzz is a world of sound unto itself. I love the online guitar forum questions from kids approaching their first fuzzbox. Kid: What fuzz should I get? Me: The one that makes your mother go instantly berserk is usually the best one. Put fuzz in the hands of a pioneer and you're going to get music, not uncontrolled noise that makes the moms go berserk. Maybe. Rock In Peace Glenn Snoddy.

https://www.usatoday.com/story/tech/talkingtech/2018/05/17/red-hydrogen-one-holographic-phone-sold-t-summer/617472002/

Since he's probably speaking to a captive audience of seven people, not including the sound tech, he should be amplified by seven Polytone Mega Brutes.

Agroaccounting.com 917-650-4534

WTF