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 Not for everybody: The sickest mongrel strat yet. Okay, I lied.
In the previous installment of our ongoing mongrel strat series, I experimented with a version of Gibson’s oddball Vari-Tone circuit. I said it was too fussy and complex, and that I wanted to experiment with a simplified version.
So naturally, I built a “parts” Strat with a Vari-Tone twice as complicated as the original — a configuration I’ve dubbed the “Obsessive/Compulsive Tone Control.” I also deployed some of my favorite quirks and wiring tricks from previous strat experiments, plus a few new hardware discoveries. Result: a weird-ass guitar that only a geek could love a cool, one-of-a-kind instrument.
Check out the demo. Post-mortem after.
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 Better tools than I deserve: The Stew-Mac Essential Nut Making Tool Kit Not something I’d recommend to everyone, but…
…as part of an ongoing series on mongrel/hybrid Strats, I’ve built a new Strat from parts to house all the cool little tricks and quirks I stumbled upon during the series. (Wait till you hear the “Obsessive/Compulsive Capacitance” tone control!) I’ll be doing a post on the guitar next week.
Anyway, lazy slob perfectionist that I am, I usually take my instruments to my local guitar tech/genius Gary Brawer for setup work, especially for carving and fine-tuning the all-important nut. But feeling brave, I ordered a few blanks from Stewart MacDonald and tried making a nut from scratch.
Numerous times, actually.
The first attempt was, of course, an unmitigated disaster. The second one was a little better — I’d call it a mitigated disaster.
Only a poor craftsmen blames his tools, so I blamed my tools. I sprung for Stew-Mac’s Essential Nut Making Tool Kit, with all the proper files, saws, feeler gauges, and a nifty little vise. And it actually did help — thanks to some great instructions from the ever-reliable Dan Erlewine, which you can find here. (Understand that my workbench skills are a joke. I’m the kind of guy who grabs a screwdriver to pound a nail rather than take 30 seconds to fetch the…whatever the hell you’re supposed to use.)
Anyway, I saved a fortune! My new nut cost less than ten bucks — plus $200 in tools and about $2,000 in labor.
Am I bitter? No way! I learned a ton, and the next time I need a nut, whether it’s made by me or someone competent, I’ll have a much better idea what to go for. I kept comparing it to making one’s own shoes — not something most of us are dumb enough to try, but man, you’d sure learn a few things about the contours of your feet!
I’m not posting a pic of my work because it looks really nasty, and Gary Brawer might see it and laugh at me. But ugly as it looks, my third home-cut nut actually feels and sounds great. (BTW, I tried working with both real bone and the simulated stuff from Tusq. Both materials have their staunch advocates, but I can’t claim to perceive all that much difference in tone or workability.)
Anyone else tried this at home? (I’m not talking to you, pro luthiers — I mean regular people!)
 True fact: While Jimmy Page is usually pictured with a Les Paul, he recorded many of Led Zeppelin's greatest tracks with Fender guitars. (Artist's conception.) All aboard, mateys! Join our ship of fools as we sail the fiercest seas of guitar electronics: Yes, the legendary Jimmy Page wiring scheme. There will be NO QUARTER for pickup pussies!
Actually, there will be a great deal of quarter as we help each other with this cool but tricky project. I’ll be disembolwing the black Les Paul Custom I wrote about here. My hope is that many of you will join me on this voyage. We can troubleshoot together, share tips, and commiserate after we’ve destroyed a bunch of nice guitars other things.
As you probably know, this complex wiring scheme transforms a standard Les Paul into an über-versatile tone machine with added series/parallel, phase-canceling, and split-coil options. It was the means by which Pagey reproduced the many Telecaster and Danectro parts from Zep’s studio albums when performing live.
We’ll cover the classic arrangement, with four push/pull pots. Then we’ll go a step further: If you add a pair of Seymour Duncan Triple Shot Mounting Rings to the mix, you get many more options than with the original scheme. Yes, we can all be bigger badasses than Pagey. 
(FWIW, I’m less interested in cloning Page’s setup than in mastering the ins and outs of alternative humbucker wiring. So think of this as a chance to explore all available options, and refine a mod that works best for you.)
Here’s what you must have before setting sail:
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 iPad: Your pathway to a more productive and better organized workspace! It’s not as if Apple needs more free publicity, but IMHO, the iPad is the greatest workbench and rehearsal room innovation since the Mesopotamians perfected beer.*
Seriously — I find myself reaching for the thing as often as I reach for the soldering iron. In fact, I sometimes confuse the two, which probably explains the sketchy wiring in my pedals and the mysterious burns on my fingertips.
Marketing hype notwithstanding, there’s isn’t always “an app for that.” (In particular, I eagerly await the “Why Doesn’t This $^%&Y# Thing Work?” app.)
But I would like to share a few tools that proven consistenly useful in the two years since the iPad’s debut. Prices range from free to a whopping $5.99 for Electronic Toolbox Pro.
Is anyone else foolhardy enough to expose their expensive mobile devices to hazardous workbench and rehearsal room environments? What are your observations? Recommendations? Bitter regrets? Do tell.
* Just kidding. Kids, don’t drink and solder.
Sad news: Jim Marshall of Marshall Amplification has passed away at age 88. More info here.
He was a nice guy. I once ran into him, of all places, in a elevator in Tokyo.
 Move along — there's nothing to see here. Ordinarily I wouldn’t publicize “causes” on this site, but this one has special relevance for musicians and music fans.
My pal Count, a producer/mixer who’s done work for Radiohead, DJ Shadow, New Order, the Stones, No Doubt, and many other artists, is launching an online campaign to get musicians, producers, engineers, and other contributors credited on iTunes, Pandora, and other digital music services.
Consider the absurdity of the current situation: Why, in the digital age, are we granted only a fraction of the info available in the analog age? Why should fans be denied the details of their favorite recordings? And for underpaid musicians and technicians, the credit is often the only meaningful payment for services, a possible path to future work. The current state of affairs is just plain wrong!
If you agree that this is worthy goal, check out the page for Count’s Credit Is Due Facebook campaign.
 Vintage P.A.F. pickups are like snowflakes — only a lot louder and a lot more expensive. Aficionados of the P.A.F.pickup, the original humbucker, often say that vintage models are like snowflakes — no two are identical, due chiefly to the the pre-digital inconsistencies of their windings.
One particularly memorable pair of snowflakes resides in Joe Bonamassa’s 1959 Les Paul, the crown jewel of Joe’s insanely huge guitar collection. Joe and Seymour Duncan teamed up to duplicate their sound, and have released the results as the Joe Bonamassa Signature Pickup Set. As a rabid fan of Seymour P.A.F.-inspired Seth Lover and Antiquity Humbucker models, I couldn’t wait to smear greasy fingerprints all over the new set.
I got to hang out in the studio with Joe a few years ago during a project I was working on for Apple. He’s a phenomenal player, a nice guy, and a walking encyclopedia of guitar gear. There aren’t many players who better understand the glory of a great P.A.F. — and how to make the most of it.
As promised, these pickups provide superb P.A.F. tones, and they have a sonic personality quite distinct from Duncan’s other P.A.F. models. Check out this little demo I recorded:
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 A message from Earl? Weird but true: After my experience last week with simulated gut strings, I ordered a banjo set, figuring I’d restring my beautiful Deering with “nylgut” for an old-timey pre-bluegrass sound. But as soon as I tuned up, BANG! The head ripped in two.
I went upstairs and told my wife, “That’s weird — I’ve had that head on there for more than 20 years,” and she said, “That’s really weird — Earl Scruggs just died. Your banjo must be in mourning.”
Maybe. Or maybe Earl was just saying, “Don’t turn your back on bluegrass too fast, now, son.”
 I’m not much of a player, though I’ve used the instrument a lot on Tom Waits records. I bring the Deering to sessions, but he always says, “Why don’t you play one of mine?” He has a couple of beat-to-hell early-20th-century open-backs with crusty old strings — a sound he describes as “death banjo.” Which is especially morbid given yesterday’s sad news.
Anyway, I learned as a kid from Scruggs’ 1968 instruction book. I still keep it on my shelf.
 Dang — I wish I had a white turtleneck and a Mosrite electric resophonic! After some of the long-running contests around here, it was nice having a quickie for a change. San Diego-based steel guitarist Doug Meyer was the first of several readers to correctly identify the four iconic Bass VI riffs in the post on ancient strings. He wins a Seymour Duncan Pickup Booster, a cool clean boost pedal that sound fabulous on 6-string bass, not to mention standard-tuned guitars.
The tunes were, in order of appearance:
1. Glen Campbell’s “Wichita Lineman”
2. Glen Campbell’s “Galveston”
3. Elmer Bernstein’s “Theme from The Magnificent Seven”
4. Steve Earle’s “Guitar Town”
Glen Campbell not only sang those two classic Jimmy Webb songs, but played the beautiful 6-string bass parts. As most ’60s pop fans know, Campbell was a leading L.A. session player before becoming a star — he played with Elvis, the Everly Brothers, the Monkees, and on many Beach Boys sessions, including Pet Sounds (that’s him playing electric 12-string on “Sloop John B.”) [CORRECTION IN COMMENTS.]
About the ’90s reissue Bass VI that inspired my original post: I’ve always liked it, and I’ve used it on a zillion sessions, but I never thought it sounded as good as an original. Now I realize that it sounds just like an original — all it needed was the right strings! 🙂
PLUS: New Contest! Name the Classic 6-String Bass Riffs and Win a Seymour Duncan Pickup Booster Pedal!
 "We both love candlelight, long walks on the beach, and really expensive old-school strings." NOTE: The contest is at the bottom of this post. You can skip ahead if you don’t care about rare and expensive guitar strings.
What do the classical guitar and the Fender Bass VI have in common?
Both instruments were developed using types of strings that are practically extinct.
First, let’s talk nylon strings. When these appeared after WWII, classical guitarists, led by Andrés Segovia, ditched gut overnight. Nylon strings were louder and brighter, and they offered better consistency, superior intonation, and longer life.
Few living guitarists have ever actually played gut strings, which really are made from animal guts (usually cows, goats, or sheep). I’ve never tried them myself.
But one of my darkest secrets is the fact that I started out as a teenaged lute player. (I have a photo of myself playing on a hay bale at a Renaissance Faire, wearing a feathered tudor cap and white tights. And you will never, ever see it.) I experimented with gut lute strings, only to run screaming. Total tuning nightmare, especially on an Elizabethan-era axe with friction tuning pegs, not to mention lots of unison- and octave-tuned strings. Guitarists were smart when they ditched the stuff.
But I recently bought a new ukelele, which came strung a set of Aquila strings from Italy. They have several lines of faux-gut nylon strings made from a proprietary material called — wait for it — “nylgut,” which allege to capture the sound of gut without the tears. They sounded cool on the uke, so I ordered a few guitar sets. At between $12 and $21 dollars per set, depending on the bass-string wrap material, they’re pricy, but not crazy expensive — about the same as other high-end, E.U.-made brands, like Savarez or Thomastik-Infeld. (Aquila’s US distributor is Just Strings.)
And holy cow, do I love ’em! They don’t look anything like gut strings, which resemble, well, dried-out intestines. But they really do capture a lot of “gutness.” Their tone is quieter and warmer than conventional nylon, with markedly less string noise (a great thing for a very rusty classical player like me). Check out this demo:
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