Our Favorite Gear of the Year!
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- Опубліковано 4 гру 2022
- Big thanks to StewMac for sponsoring this episode. Head to stewmac.com/dippedintone to get 10% off!
A Boss RE-202 Space Echo … on a vocal mix? A hot pink overdrive, treble boost, and echo in one pedal named SusMaryOsep-a word Filipino mothers shout at troublesome children? An Artificial Blonde-with hat’s off to Madison Cunningham-that’s a slightly pitched vibrato? Line 6’s Catalyst modeling amp-sexy or not? Amp plugins from Neural DSP and Line 6? Tone King’s royal-sounding Imperial MkII and Soldano’s SLO-30? Metallica in a box (Caroline Guitar Company’s Crom)? A Pigtronix Star Eater fuzz that looks like a wild berry Pop Tart? And have you seen the new Empress Para EQ and Origin Effects’ M-EQ Driver? Hosts Rhett Shull and Zach Broyles run down their top gear of the year. Plus, dueling Les Pauls and the eternal question: to refret or not to refret. And is a bone nut really better than nylon? And what’s a Dutchburst, anyway? Tired of questions? Well, Rhett and Zach also talk post-Thanksgiving turkey. And Zack tells about his 6-string family reunion with his first guitar and flashes the new Mythos Pedals Hephaestus, named for the Greek god of blacksmithing. What else? (Sorry, that’s another question!) Rhett opens up a box of spankin’ new pickups from Stew-Mac, and they discuss the online screeds and screeches trailing their conversation about tone woods with Paull Reed Smith in the previous episode. And yes, they do dip a rig, submitted for dissection by “Dipped in Tone” listener Kenny, whose ’90s rock setup-with stitched-rose guitar straps-sparks yet another argument about the merits of the Tube Screamer and the virtues of the Phase 90 and Phase 45 versus the Small Stone.
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Produced by Jason Shadrick
Dipped in Tone is:
Rhett Shull www.rhettshull.com/
Zach Broyles / Mythos Pedals mythospedals.com
Premier Guitar www.premierguitar.com/
#guitarpodcast #dippedintone #electricguitar
I work for gibson USA and setup / play 80+ Les Paul’s a day and they all sound and react differently.
Wood matters.
All pickups aren’t wound the same. So how can that sonic difference be attributed to the wood?
@@LiamNashMiller Unplugged, no pickup in the eqation.
@@Rlyhyne Acoustically, yes wood matters, but when you plug through an amp, it has a very, very minimal impact on the tone of the guitar.
No one's listening to a god damn electric guitar unplugged. It may matter to the player that spent 2500 to 5000 bucks on a guitar. But literally no one else will notice
@@treastonschmuckley5111 👍🏻
I don't want the tone wood debate to come to an official conclusion, it provides me with too much entertainment!
Bless the hearts of the LOLsheep of tonewoodentology. Have you read Toneanetics by R. Hett Shullard?
Prove your supernatural hearing abilities by owning a 5-figure priced guitar. It's totally legit and not an IRL NFT.
Fender teaches that magical paint allows the solid wood body of an electric guitar to breathe. Paul Reed Smith teaches that tonewood affects the sound of magnetic pickup and steel strings. Tonewood cults are hybrids of multi-level-marketing/pyramid schemes and Extra sensory perception cults. Instead of reading minds, tonewood believers prove their superrnatural auditory perception abilities to themselves through their faith in tonewood.
Rhett, your butchered strat should become your test mule for all these pickups ! Just route out a huge pool in the middle to be able to swap pickups without removing strings, and you're golden !
Getting it there would also make a good video. Title it something like "I can't believe what I did..." Have a skilled luthier sit down and walk us all through the mistakes. I'm sure Rhett isn't the first or last kid to make them.
I’m sure the type of woods used make some difference. The question is whether or not that difference is insurmountable by eq settings to become close enough that it’s imperceptible by most. I also think the buzz word “tonewood” is just cork sniffery enough to make people defensive about their position on the question. Get the guitar that feels right and that is in your budget. What it’s made of might make a difference but probably not a big enough one to really matter to the average human.
Warmouth has a good video on the tonal differences on tone woods. I believe it makes a difference. Paul’s opinion makes sense to me.
The type of wood in solid body electric guitars does not have a significant influence on the tone of the guitar, closer to none at all.
Snakeoil. Many guitarists love their chosen favorite snakeoil.
Some guitarists believe wood matters in solid body electric guitars. Many guitar makers offer guitar models for these guitarists.
To paraphrase P. T. Barnum:
"Nobody every lost a dollar by underestimating the taste of electric guitar players."
I'm not a scientist, just a guitar player, and all I can say is that I owned a 60's Strat that was the liveliest piece of wood I ever held. That thing was incredibly resonant when not plugged in, and the tremelo springs made it sound like it even had reverb, it was so loud when unplugged. Plugged in, it was the most alive and responsive guitar I've ever played. I've owned at heast 6 or 7 Strats since that one, and not one of them had the same characteristics plugged in or not. So yeah, wood. There's electronics, but there's also physics. It probably matters less when playing loud in close proximity of your amp, but that situation aside, my vote is that wood absolutely makes a difference. That's been my experience.
People who say it doesn't matter are missing a key factor. It's true that the pickup is only picking up the strings vibration, but what they are not factoring in is how much the wood is affecting the string's vibration. Certain frequencies are dampened or amplified by resonance. Guitars sound different unplugged. The pickups are amplifying that difference.
Happy Holidays everyone!
That Goldtop is perfect 🤩
It's a monster!
Zach! Share your Neural Tone King presets!! 🙏
I'm really liking Brian Wampler's Triumph pedal. Just go to show you don't need to spend $300 for a good booteek OD. As a matter of fact, I'm selling my KOT because of that. Happy holidays!
100% agree on the SusMaryOsep! Especially the olive variant. So great!
The thing about wood is that while sure it makes a difference, everything does. The question that I think is more relevant is to do the analysis comparatively. To ask “does wood make more of a difference than these pedals/speakers/amps/etc?” This is something that my friend is actually doing an academic study of. He is far from finished with it but the preliminary findings are supporting people like Glen Fricker who believe that tone is less impacted by wood and is far more impacted by things like speakers
Glen Fricker Has his head in the game for sure
If tonewood is a thing, swapping out different tonewood wings on a neck-thru-body neck with a bridge and pickup attached to thru-body section will make a difference.
Wood plays a factor,but only when the conditions allow for it to matter. If you take a solid body guitar and put high output pickups into it,and run through a bunch of boost/OD pedals,into a high gain amp,....and then possibly more effects onto the mix......then of course the wood really gets negated as far as tone goes. Wood provides a tactile feel though.Some woods resonate feel more. I use my 77 Les Paul Custom for example. It has a 3 piece maple neck with ebony fretboard,....and if I compare how it feels to play this guitar to a Les Paul Standard or Custom with a mahogany neck/ebony board,....there is a difference.There is a slight difference in tone,but I can sure feel it in my hands. Nobody ever talks about construction much. Maybe the traditional tonewoods were selected because they had all the construction elements desired,including esthetics.
Perri’s makes the straps on the dipped rig, BTW. I’ve got all 6 of my main guitars outfitted with them.
If you take a Strat, take the bridge and neck pickup out and put them in a Les Paul….it will not sound like a Strat. There’s WAY more to it than pickups
And thank you for the 10% off at StewMac, I applied that to the "Electric Guitar Shipping System for Guitars Without Cases" and BAM... $10 bucks off!
That distinction between the sound of an amp in a room and a recorded guitar sound is really helpful. Never thought of it that way but it makes complete sense and helps explain why I keep struggling with digital options.
Yeah, digital stuff is very compressed and sounds "produced", whereas an amp in the room I raw and uncompressed, and a totally different beast. Personally, I like the wild beast in the room. Digital stuff sounds OK, but doesn't play anything like an amp.
@@MrScrofulous Well said. For me the issue is being able to practice late at night at low volume. I have found I prefer my Princeton at a low volume to using headphones with an Iridium, for example. I just throw in some apple ear buds for a track to jam with and go.
Regarding tonewoods.
I think there's a lot of confusion that comes stems from the different ways acoustic and electric guitars produce sound. Acoustic guitars produce sound by vibrating the soundboard, but the only thing that matters for an electric is the relative motion between the strings and the pickup coils. Strictly speaking, the pickup does not care how the guitar sounds acoustically. Any energy you hear acoustically is energy that isn't going back into the strings.
If the body of an electric guitar affects the sound, it means either:
1. Energy is being reflected from the body back into the strings.
2. The pickup itself is vibrating relative to the strings.
#2 is the most interesting to me because of what it might mean about pickup mounting. Anyone who's played a Tele knows that mounting the pickup in the bridge changes the sound. A potted pickup mounted in a pickguard could be an entirely different situation than one directly mounted to the guitar body.
Personally, it's been my experience that the things directly terminating the string (the bridge and nut) and the pickups make the largest difference. I'd be interested to see if some bridges make the body of the guitar matter more or less.
Tim Pierces Studio, his airplane cockpit is excellent for workflow. It's the model I tried to use and everyone should, I think. I have a 54 Gold Top RI as well from 95 but mine has excellent P90s. Your is cool af Zach. My next guitar is a humbucker LP
The Filipino guitar nerd in me chuckles heartily everytime I see the Susmaryosep. I hear my mom’s disapproval haha
Couldn't agree more on the DS-1 swap for Ts9. I used the Ts9 for well over a decade. I tried the DS-1 on a whim and it absolutely destroyed the Ts9 in every way. I use it for boost to get the break up based on attack. So much better.
Here's a shout out for the StewMac offset humbuckers. I put a set in a Strat-shaped Ibanez Artcore semi-hollow (along with CTS pots and an Orange Drop tone cap). The tone is between PAF and Fender Wide-Range. Am loving the middle setting for rhythm and either neck or bridge for leads.
Always liked the design of Revstars. Looks great.
The singing while playing guitar thing is why I think that Chris Cornell is actually underappreciated. I know he's recognized as a great singer but playing the Rusty Cage riff and singing like that is nuts to me. I can't play the riff even without singing and I couldn't play a note while screaming my lungs out like that
Listen to Cornell's song "Dead Wishes" from his album "Higher Truth". Some great singing and guitar picking.
I think Rhett needs to look at the Origin MEQ. His Tube Screamer take makes me really want to see his thoughts on the MEQ
When my bridge PU died in my '81 LP. I replaced both PU's with Stewmac Golden age humbuckers. Never had a second thought about replacing them.
Honestly the best tip I've taken from Rhett is the Strymon Deco and I'm tickled every time it's brought up! I absolutely love it!! Such an underrated sleeper of a pedal! I picked it up solely based on Rhett's video of it and it's never leaving my board. So versatile and sounds amazing with bass and vocals as well! Thanks Rhett and keep up the great work guys!!
I want to get one so bad. It will be a studio tool probably.
I bought one too based on his video. It’s so cool. I love the saturation especially
I've had one for almost ten years, I think. It's a wildly good pedal, I was just playing with it five minutes ago.
I'm fond of finger style playin on electric guitars. I like the dynamic control by feel. I learned to coordinate the hands and fingers to provide implied chord progression, rhythm, melody, and harmony. Later I heard the term "slice" method" used to relate this for instruction. I added lyrics to several instrumental pieces without pairing the down to sing over. I simply let my senses carry the song in the guitar and then sang along as if I had an accompanist. Now, I arrange guitar playing style to suit a new cover song to support the recognizable melody. I make my own song sheets with careful placement of chord progression "ques" over critical vowels. Whether I'm the singer, or not, these cues allow me to tailor my playing to suit the other players. We don't always have a keyboardist. The first instrument I learned was piano ad I still think along those lines but add bending and sliding as is helpful. I accompany other singers by carefully following those progression ques until I just feel I need to temporarily "solo under" (if a break isn't provided). Commitment to active listening in real time cannot be overstated. Music is all about the "now" which is why I prefer it to graphic arts which predominated my artistic interest prior to getting a musical instrument.
Love the program! For what it’s worth, I believe the wood affects the behaviour of the strings enough to matter. I’ve owned heaps of guitars, and no two sound the same. The other touchy subject on the forums has to be; to over wrap the tailpiece or not? I believe it makes a difference to the feel, works for me.
8:50 - I make guitars out of all different kinds of wood and materials. Everything from fallen and dried out eucalyptus, to a 2x4, to litter that I moulded with acrylic. I can confirm that *there is no difference in tone* when plugged in with the same pickups. Only reason people think there is a difference is because we have a passion for guitars, and want to justify why one is better than another (nothing wrong with that, might I add)
Do you guys think that volume comes into play regarding tonewood? Obviously at stage volume the guitar will resonate more due to the vibrations from spl of the amps. A lot of home players don't play at those volumes, and at low volume perhaps the difference isn't noticeable. It's when I really crank my amps that my guitars shine and the amps come alive. All those resonant frequencies come through and it just hits you in the chest. My Gibsons into my Marshall's loud are amazing. When I play at low volume they sound great but not the same and a low end copy could suffice at the low volume.
DJ Rhett on the 1's and 2's
I have a Parker Fly Mojo. The wood (mahogany) is routed pretty thin but on the back of it body & neck is a carbon fiber shell. It matters most when using the acoustic transducers but gives a great illusion of acoustic tone and depth on an otherwise solid body guitar. Everything matters when it comes to tone
I'd also add that it's important to mention that most of the people that are asked about tone wood etc. have a HUGE incentive in believing there are big differences between woods that matter. Not saying that means they are lying or anything like that, just that a guitar building saying his guitars are the best has an incentive. A collector has an incentive. A buyer of one of the choice woods has an incentive. That's what makes this stuff hard. Same reason amp builders claim everything in the amp they happen to choose makes a big difference that can be heard by the player.
@Rhett add a 4 way switch into that Esquire if you do convert it to a Tele. The 4th position is both pickups in series and is a really cool pseudo-humbucker tone
Hi, thank you for a great podcast, always a nice day when I see the notification flash on my phone.
But on tonewood. I don’t think you really understand why we in the anti-camp are so happy about it.
You’re right, I have never heard the difference, I lack the experience. I’ve played as many guitars as a normal guitar player does, some friends have custom shops, one or two has a vintage fender. So no, I haven’t played that many of the vintage stuff, and that’s fine by me.
What got us all the most happy about Jim Lill’s video was the fact that you can get a cheap guitar close to a boutique one.
Maybe tonewood matters, maybe it doesn’t. I’m not going to loose sleep over the wood in my guitars.
I bought a Bartel Roseland recently. After hearing both of you talk about the tone king, I’m thinking you would really like it. It’s an absolute work of art in every way.
I just posted the same thing, I agree. I have the Sugarland and love it.
If he charged $10,000 for them i still don’t know how he’d make money building them
Wood matters significantly… if not to the tone of the electric, then at least how it feels to play. Yamaha also makes brass and wind instruments… they’re pretty good at being a conglomerate. The things they make are designed and built competently, typically.
70's/very early 80's Seymour Duncan 59's rock I have them in several guitars. If you can find them in double cream for the look
I just got a Catalyst 60 to replace my Hot Rod Deluxe (to heavy for a 70 year old guitarist). After using the Editor, it sounds great.
Also Rhett dude, accept it. A mid boost into a big muff is classic and awesome; you're thinking of it as an overdrive or with respect to the amp. In this rig, it works into the fuzz for extra saturation, shaping, vocal mids. Not your sound, fine, but not conceding on this use case can seem a little close minded.
Zach - on the popping issue, have you tried replacing all electrolytic coupling caps with MLCC or polybox equivalents?
I don't know if this is just for Rhett or for Dipped but there needs to be "Fuzz Prophet" tee with a great graphic.
For the Tube Screamer debate merch, "To Scream or not to Scream?"
After watching for a couple years now, I’m beginning to get the idea Rhett doesn’t much care for Tube Screamers.
I (Zach) will win him over...or beat him down eventually.
@@DippedInTone That might take some doing!
@@DippedInTone "We've replaced the guts of all of Rhett's pedals with Tube Screamers. Let's see if he notices..."
Every time i hear you guys talk Tone King I am sooo interested in hearing you both play a Bartel amp. Can that happen this year?
I feel the same about Tube Screamers and I am alao giving up on the Klone tone. Playing single cut humbucker guitars I guess I have enough midrange in my tone 🤷🏻♂️
My favorites this year are below:
* Universal Audio Dream Amp
*Neural Tone King.
* Neve 511 Pre
* SSL UV EQ 500 Series
* SSL Six Channel 500 Series
* Lewitt 440 Pure
* Universal Audio SP-1
Rhett, when I hear this Tube Screamer debate it brings me back to that great video you did when you visited Tyler Bryant and he was demonstrating his Rodenberg Tyler Bryant Drive Shakedown Special Overdrive Pedal. Basically a Tube Screamer variant. You could see the joy in his eyes as he described it and you can't argue Tyler doesn’t sound amazing with that thing. Just sayin'.
@Zach Aren’t the JHS multipedals made miniature (surface mount) versions of full circuits of each version of the pedal? I think that’s what the Rat Pack PCB looked like.
Regarding the SLO, I saw Warren Haynes earlier this year, and he's got the 100 as one of his main amps (the other is, I think, a Homestead?) He had such a great tone...Kinda blew my mind, but it backs up your impressions of the 30 and 100.
Where did you see the Les Paul Dutch burst for sale? I know of one and that's at the guitar store near me, in Scheveningen. For sale at Max Guitar. And yes that '59 needs a name.
I'm a guitar newbie. Regarding tonewood, any further comments on Novo using pine?
15:00 That's not what significance means in the context of an experiment / scientific study. When something if significant, it means there's a good chance the effect you're observing is not the result of chance. Effect size is the 'significance' he's referring to.
Rhett with all the respect in the world. A DS-1 is a distortion pedal with a completely different clipping style than a Tube Screamer overdrive. I love DS-1s but let’s not pretend it’s a good replacement for an od pedal. 😅
"They told me they fixed it!! It's not my fault!!"
Spam, Spam, Spam, Spam, Spam, Spamity, Spam!!!
I have fond it harder to dial out the harshness of a DS-1 than to pair a Tube Screamer with an amp for improved effect.
in recording , do you have drum tracks that you always use or do you take the time to program a track that is in your head and record that be fore you even pick up the guitar ? or record your ideas then add drums later ? asking for myself ... my friend left the room
Tonewood debate hot take: it matters to passive pickups far, FAR more so than active pickups. Case in point: EMG 81/89 set. You can put those into a brick with an attached scale and sound like a $9000 Zakk Wylde Les Paul. (As if anyone would care to do so.) Yet we can scale this back to a used Eppiphone Les Paul Custom and arrive at the same results for a tenth of the price. The feel may be different, but the tone will be close enough to be not worth talking about. Such is the quality control at EMG. Likewise, Seymour Duncan Blackouts and Fishman Fluence pickups are deliberately designed for specific outputs. Changing the tone is a matter of reprogramming the individual preamps.
Rhett could test this. He'll hate it, but he could test it. Pick a few guitars with the same pickup layout and start swapping out the passive pickups with a single set of active pickups. Say... swap out the pickguard of a Squire, MIM, American Standard, and Custom shop Stratocaster. (Told you he'd hate it.)
It's not all bad. If the tone woods are inferior, the active pickups can bring new life to a properly setup dud. Since people like me see no utility in instruments costing north of $3k, we can have something killer for less than $1k.
Don't want the tone wood debate to end. I seriously feel it i a recipe of both electronics and wood combination.
So, why don't microphone manufacturers seem to care about building microphone bodies out of tonewoods? They're really missing out on this ground-breaking technology that guitar manufacturers have developed that allows a non-ferrous material, such as wood, to effect a magnetic field. :)
The Wampler Metaverse is a really great delay box from 2022.🤟🏻🎸🔥
Pickups are not microphonic. When you shout into them you are making the strings vibrate and since they are metallic the vibrations induce a current in the pickups.
Rhett, what about building a guitar with the tele body that you took with you to NY to Carmine Street Guitars?
My DIT Xmas wish is that Rhett stops saying "could not be happier/better/etc." Stop the backhanding and just be straight up happy, thrilled, stoked, excited, etc.
It seems like theres 2 camps in the anti-wood faction. 1. that the wood positively doesn't influence or affect the sound whatsoever (usually emphasizing pickups being the end all be all of tone) - and the more nuanced camp of 2. that the marketing of certain species as being superior (and hence more expensive i.e. brazilian rosewood) and categorizing these different species into generalized sonic qualities is bullshit. Therefore the whole "tonewood" jargon is all a ploy to extract more money from players pockets.
FWIW I believe the wood used in a solid body electric guitar does affect its tone. But rather than qualifying its affect by the species (ash is bright, rosewood is bright/bassy, mahogany is mid focused, maple is bright, alder is flat, blah blah), I think it comes down to the actual cut of wood or individual tree despite the species (wood density, dryness, grain, consistency throughout etc). I don't negate species generalizations but I think that the individual cut of wood has alot more influence on the sound than it's species name.
My question is, does anyone think that they're able to differentiate a wood vs acrylic bodied guitar? Or a wood vs aluminum necked guitar? Has this been tested with limited (to no) variability?
I like the tube screamer especially before a fuzz. Then again I’ve got got a tube screamer, Klon clone, king of tone clone and a ocd clone. So maybe I’m not the best judge on overdrive.
As far as the guy who made the video of the strings between 2 work benches, the thing he didn't consider is the fact that the work benches are made of wood,
Perry Straps FTW! amazing straps and they cost the same as any other major brand
Does the LP’s nut need replaced or just a little work to stop the pinging?
Damn that ‘54 reissue is awesome
Someone may have mentioned this, but the StewMac humbuckers have double cream bobbins!
There is an unfortunate reality that we are all not created equal. I do not have perfect pitch l, but am amazed at those that can sing A440 cold. Similarly, some people can hear minutely and others can’t. The Tone Wood debate is not fair to those who are unable to observe where others clearly can. If you can’t, that’s ok, just acknowledge that you can’t hear it. No one will fault you, rather we can look at your other positive attributes.
The Tele neck pickup is my favourite pickup to play through. When it’s right, it spans from warm & almost lush, to airy. There are way, way more bad Tele neck pickups than good ones. Too many sound muted, hollow, or boring- I get why people put higher output pickups in the neck position. The stock pickups in my Tele are ‘58s from fender and I am happy with them, but there’s definitely gold in the boutique market. Would love a video on the esquire conversion Tele.
Also, I believe tone wood 100% matters. In my best description, I think that the difference in density/weight across the pantheon of the preferred body woods does colour the acoustic overtones. Pickups are just transducers with a varying degree of microphonics, which also colour the sound. For me, tone woods matter on a qualitative level. Plus everybody’s body is different. That has to translate to a measurable difference in how the guitar’s weight + body shape influence the act of playing.
As a guitar builder, I totally agree the type of wood does affect the sound of an electric guitar.
The only reason why I even know about the Jim Lill video is because of Dave's World of Fun Stuff (guitar set-up channel). Dave mentioned it while stressing the importance of proper set-ups for guitars, especially string and pickup height being what it "should" be. Whether it's a Harley Benton or Donner beginner guitar or a R9, if it isn't set up correctly, it's gonna sound bad and suck to play.
The question is Not if tone wood Matters , but how much. And if its really necessary to cut rare woods overseas or in General cut more woods. Or better use instead recycled/upcycled materials , eco friendly composites and so on...
Please do a video series about the refret
Thanks 😊
I live to search for the best overall tone with the crappiest amps through a minimum of pedals. Currently I'm enjoying a wet-dry-wet setup with a dingle 12" between two 10" amps totaling only about $800 for all three (including speaker upgrades). The pedal board totals 8 units but I do need an ABY box and pedal board split cabling.
What songs from Madison Cunningham do y’all like? I work in an intense environment for too many hours per day, so I don’t really have time to listen to every song back-to-back. Basically I am looking for a good starting place with her music. Thanks everybody!
I'll answer if nobody else will. All At Once, Pin It Down, Hospital, Trouble Found Me, and Beauty Into Cliches are my favorites
Just put Hospital and Pin it Down on a loop and that’s enough, those songs are so immediate
But her other material is just as great!
@@dylandenney3980 Thanks!
@@severebash9153 Thank you, too! I’m seeing a pattern. On it!
Rhett, have you considered using the Seymour Duncan Secret Agent for the neck pickup on your Esquire? Then you get a Tele that looks like an Esquire. :)
Funny you mention your Esquire @Rhett Five Watt World's Esquire history is sitting here on my sidebar.
A great opportunity missed to name this episode "the Shills of the year"
That rig is very nice, but I do agree it could use some echos.
Ok so. I have played thousands of guitars, thousands of gigs, I’ve even built a few guitars. I’m a tech/luthier, and, wood clearly influences tone, take acoustic instruments for example. BUT, on electric guitars I believe wood is the least influential component on the guitar. Any attribute the wood would impart on the tone can be negated or completely counter acted by electronics, eq, etc.
I gotta know what watch Rhett is rocking!
Love your work, both of you. And I completely understand that you both are talking to your own situations and that’s cool. I’m just a hack player with aspirations and your stuff is not oriented in any way to a beginner or intermediate player (me, intermediate). You have a view (and reasonably) towards folks that have a bunch of disposable income and that ain’t me. If I get a pedal a year, that’s my big spend.
Anyway, love you guys and all, but all of your purchases are crazy expensive and thus interesting, but irrelevant.
Blessings to you both and Merry Christmas!
Make some pins! 🤘🏽
Does tonewood make a difference if the guitar makes a musical sound?
Question for Zach! What pickguard is on the R4? The colour looks really good, is it just factory or changed?
Factory! Only mods i've done are aged speed knobs from Montreux and BareKnuckle Riff Raffs
Those bareknuckle covers are BANG on to a PAF. I thought they must be PAFs until you said they weren't
Hey, tone wood folks. Do you care about the plastic in the pickup rings or scratch plate? That's the part that the pickups are attached to in many cases and I've rarely heard anything about that. If the wood is important (not saying it is or not) surely solid mounted pickups should be the best to get the most out of the wood?
That’s kind of like saying if you had a mic stand made out of wood it would make your mic sound different, pickups pickup the vibrations off the strings vs the vibrations off the guitar it’s self; I think the debate is more about the various differences guitar body comp has on sustain and or information translated from the guitar to the pickups
@@bocajeijlem but how it is connected should affect how the pickup vibrates compared to the string right? I mean the vibration of the body must affect everything attached to the body in one way or another.
Some companies do direct mounting to the body for exactly that reason. But it's more expensive.
Tasters Choice is an awesome nickname
If you put the same pickups on a strat and then the same pickups on a Les Paul they will sound different. Maybe it doesn't show so much in the recording but in the room it's a huge difference.
That's not just the wood, but also the different pickups along with different construction, the mass, the scale, the.....
@@Dan-tp3py My post said same pickups……
@@ronniewebster4365 okay, my bad. Just paying devil's advocate. I think it's silly to think that the wood has no affect, but equally silly to insist it's a colossal influence, specifically on an electric guitar. Rhett likes to shit on Jim's video as being not scientific at all.... well, he completely removed the wood, and i think even the most stubborn amonst us would admit that was a pretty good tone!
Personally, i think a particular wood's greatest effect is psychological, and unique to each player, and therefore virtually impossible to measure.
@@Dan-tp3py I personally believe the wood has more of a feel difference than it does over all sound. Acoustics of the guitar should change there is no doubt but in a recording idk. But I had a set of Seymour Duncan PRails in a plywood body squire and then later put them in a non plywood body squire and I lost some of an odd plastic sound I was getting with the pickups Idk… Again might have been just a feel thing for me. Didn’t compare in recording. Other things probably make more of a difference. Obviously pickups but Nut, Fret Material and bridge etc.
@@ronniewebster4365 whichever side of the aisle we land on, it’s safe to say that the sum of all the parts is definitely greater. Cheers!
I think the whole "tonewood" discussion is being looked at in the wrong way! I agree absolutely, that a guitar made of a superior piece of wood will sound better than the same guitar made of inferior wood. It will feel better and respond way more and will "come alive", however, the tone will not change, it will be louder, clearer note separation maybe, more dynamic or whatever you want to call it, but the tone will be the same! I had an Epiphone 60's tribute with Gibson pups, bought from a guy who had 2! His was great to play and seemed louder, mine was a dead log...but the tone was exactly the same! Needless to say i sold it on, just had to much gas that day i got it and never bonded. On the other hand, i have a super cheap singlecut with P90's that must be made of a really good piece of cheap asian mahogany, because that guitar blew the Epi away! Just my 2 cents on "Tonewood"🎸🤘🎸
Replacing a Tube Screamer with a DS-1? What next? Replace it with a coffee maker that Tim Pierce told him about.
It seems kinda arbitrary to say that a sample size of 30 is necessary for a "bell curve" to be valid.. .Where did you get 30 from as opposed to 300 or 25?
I’m a weak guitarist. I want to experiment with sounds. If you were to build a pedalboard for someone like me, what pedals would you recommend. I have diverse sound interests from Mayer to Black Keys.
Pedal of the Year for me - EQD Special Cranker.