I like playing Bluesy metal with a bit of a George Lynch bounce style on my badass 303 yamaha strat "tribute guitar" (I definitely will not call this creation a copy, it's way more than such. You Can't Copy Soul...and she's got soul.
I'm quite an old listener, as far as I'm aware that type of six string bass occasionally enabled the bassist to momentarily take the lead or rhythm part, there might have been a technical issue, a silly person onstage.......the kind of thing where you're "hoping the audience doesn't notice", or even, "hoping the non-musician audience doesn't notice it's a bass", stupid but they thought those things then.
With good strings it is amazing, a Woody sound between guitar and a banjo, the cone is very resonant. I personally like the fact it is not exotic wood because I prefer exotic woods when they are forest. Slide? Fingerpicking is as fine
I had both the Stella, and the Harmony in the early sixties. In 1969, just before I left for Veitnam,I bought a Harmony H-54 Rocket, tobacco sunburst And a H167 hollow body sunburst . And here it is all these years later and I still own and play my favorite guitars.
I too started on a Gretsch lap steel and eventually moved to pedal steel. I now have a home made bender on my lap steel which works great but it is nothing like pedal steel. Great video nonetheless!
just sold the house, put the kids in a half way house, sent the wife to live with her mom. bought 3 suhrs, 4 andersons, now im living in a barn stall and happy
RU-vid suggested this video and I did a double take when I clicked it--I recognized you. I'm almost certain I saw you perform at the Bookshop in Reykjavik while on vacation a little while back. It was an incredible show and you were fantastic.
Ever since I heard Brian Eno's Weightless I've been hot on playing pedal steel but the price is out of my league. Something like this will work for me.
I Iove kemper. I will say though, while their amp+cab profiling is phenomenal and their modulation, delay, and reverbs are great, their overdrives are incredibly lacking, as is the case with fractal and other modelers as well. My current setup is running a kemper player on a board with other pedals, and that's the sweet spot for me.
my zakk wylde les paul sounds weird. when i play it the strings are really like springy and flimsy. i changed the strings a few weeks ago and still sounds the same. should i get it set up or is it the guitar itself?
The video I was looking for! short and to the point. I'm renovating a 1998 Korean Epiphone LP that my neighbor gave to me and Ive changed every single thing in it. Now its time for a setup and thats where my knowledge lacks. This video will help me a lot. Also, im trying 10s for the first time (tuned on D#) after playing 12s (tuned on D) for over 15 years and they feel too loose. im going to try out 11s and this setup.
My Suhr Classic S is a much better-built guitar than my Strats. But the Strats have WAY better, more lively tone. The Suhr sounds muddy by comparison. Your review is spot-on!
If you want a better tone on your LP/SG/335.. guitar, or some copies, the number one in tuning is to do this.ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-XRAaCP1miI8-.html6:16> The choice of strings, the action, comes later, and always depends on the player's affinity. What contributes to the real resonance of the bridge and body of the guitar is exactly what this guy shows, on older LPs it was mandatory at the factory.
More clarity on the Fender on the first 3 positions, more of that strat vintage tone, the Suhr could be more suited for modern tones and music but if you are after tones like Hendrix, Clapton, Knopfler, The Edge or SRV the Fender is better.
Man this is good info. I have a couple of USA standards that plays great. I just got a custom shop Murphy lab 59 that is a stunner, but I have found it is more difficult to play. I was unaware of adjusting the tail piece and thus the height and that could affect the string tension. I play mostly blues type lead and find that the custom shop just feels more stiff, so maybe that’s what’s going on. I’m almost scared to do it myself because it’s such an expensive guitar!
I just watched this video last night, and would like to comment. Hopefully, I can provide some helpful information. I have a long history with Made-in-Chicago vintage Harmony guitars. From the 1940s through the 1950s, my Dad owned a number of Harmony made guitars. One was branded "Supertone" sold through Sears, I believe. From 1961 to 1963 he had a Stella by Harmony H929. His was a 1961 vintage. It had a white plastic pickguard (scratchplate) screwed to the top of the guitar. That guitar was the first one I ever played. A few years later, Dad bought two more Harmony guitars. One was an archtop model called Archtone (model # H1213). I began to learn to play in earnest on that archtop in 1967. Then about a year later Dad bought for me an H19 Silhouette electric. I played the Silhouette quite a bit, but actually preferred playing the Folk and Folk Rock songs of the '60s on that archtop. As an adult, I've owned two Harmony guitars: a "Grand Concert" model H165 flat top, all solid mahogany body; and an H954 Broadway archtop guitar. I still have the Broadway, it has a date stamp of F-53, meaning it was made in the first half of 1953. This brings me to the subject of model/serial number stamps and date stamps in Harmony guitars. One stamp inside the body was a combined serial number and model number. For example, this stamp inside my Broadway (visible through the f-hole on the "bass" side of the guitar) reads "1286 H954." The latter part is of course the model number of the guitar. The "1286" portion is a production number, I believe. If I'm correct, then my guitar was the 1,286th unit of that guitar model produced in that year. And speaking of the year, the stamp (visible through the f-hole on the "treble" side) reads "F-53." There are two theories on what the "F" stands for, but I believe the simplest explanation is the most reasonable, namely, "First." I read an article years ago in which a former Harmony Guitar factory employee commented on how factory production went. There were two "production runs" each year, the first being the first half of the year, January through June. Then, after the Harmony company observed a July 4th holiday (our date of independence here in the USA), the year's second production run would begin. So an "F" in a date stamp indicated the "First" production run of the year, and an "S" signified the "Second" production run of the year. Of course, the double-digit number in the date stamp would indicate what year the guitar was made. In the case of my Broadway, 1953. (Incidentally, that is the year I was born.)
