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 What could possibly go wrong? There are two ways to approach amplifying an acoustic guitar: trying to duplicate the natural sound, only louder, and NOT trying to sound naturalistic at all. This post is about the second approach.
I love playing acoustic through an electric guitar amp (as opposed to a dedicated acoustic amp). True, the tubes and speakers amputate all high frequencies. But if you think of the instrument not as an acoustic guitar, but an idiosyncratic electric variant, it opens up amazing possibilities.
More often than not, I prefer to play acoustic gigs that way. I did a fun benefit show last year playing rock and R&B covers with a band consisting of Flea, Tracy Chapman, and drummer Dawn Richardson. Tracy had a beautiful, ultra-hi-fi acoustic tone, and the ratty, rumbling sound of my acoustic through a small combo was — well, let’s just say it was a very strong contrast.
Admittedly, relatively few players exploit this technique. One notable exception is Daniel Lanois. He’s best known as a producer (U2, Peter Gabriel, Bob Dylan, etc.), but he’s also a phenomenal player who does amazing things with an acoustic guitar, an inexpensive magnetic soundhole mic, and small vintage Fender amps. I’ve watched him play up-close a few times, and he’s incredibly adept at conjuring a variety of tones and controlled feedback from this setup.
It’s definitely a white-knuckle playing experience. You have to listen carefully and nix unwanted feedback with quick damping technique. But it can be so expressive!
I’ll talk more about the technique in a bit. But first, check out this short video demo featuring distortion and other stompbox effects, controlled (and not-so-controlled) feedback, and a lot of awkward twisting and turning as I grapple with the tone:
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 Low-Voltage Chunk from Diode Distortion! Did you know you can add a simple circuit to your guitar or bass that produces onboard distortion — without using a battery?
The idea is pretty simple — you attach a pair of diodes to the guitar’s output via a pot or switch. With the diodes connected to ground, you get a fairly nice distortion sound. With the connection to ground broken, you get your regular tones. It’s the same method used to create distortion in a several ’70s distortion pedals, notable the MXR Distortion+ and the DOD 250.
You can purchase the necessary components in a sleek black housing under the name Black Ice for $27.50, or you can do a DIY version for about $2 in parts. I’ll explain how after this brief video demo:
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 Don't hate me for this. A little something to make your weekend miserable productive:
I learned this pinky-strengthening exercise many years ago from one of my teachers. If the fourth finger of your fretting hand is the runt of the litter, skill-wise, these combination barre-chord/hammer-on routines may help. Plus you’ll learn some cool retro R&B riffs!
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 The latest Mongrel Strat (artist's conception). Welcome to the second installment in the Mongrel Strat Series!
If I were a sensible person, I would have split this week’s experiments into several posts. But much like eating pistachios, it’s tough to know when to stop .
Anyway, this project tackles three topics:
1. Several readers dug the sound of the Telecaster-inspired Seymour Duncan Twang Banger pickup used in Mongrel #1, where I paired it with a Duncan Lipstick Tube for Strat neck pickup and a Alnico II Pro middle. But I wanted to hear how the Twang Banger sounded in a more traditional Strat array, so this time I paired it was a couple of vintage-accurate SSL-1s, with a reverse-wound, reverse-polarity model in the middle position.
2. Over in The Secret Room, a participant brought up the subject of the Vari-Tone control used in the Gibson ES-345. I wanted to learn more about this often misunderstood circuit (well, I never understood it, anway) and explore whether it had relevance for Strats.
3. In response to another Secret Room topic, I wanted to resolve whether there’s any sonic benefit in bypassing the tone circuit completely.
And the results? You tell me — here’s the video:
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 Raising the strings to pitch automatically clips the strings. While auditioning parts as part of the ongoing Mongrel Strat Project, I tried out my first set of Planet Waves Auto-Trim Locking Guitar Machines. I’m really digging them! They lock to pitch via a little button on the back, much like Sperzel locking tuners. But when you raise the strings to pitch, they automatically get snipped by the tuners. Smooth!
They’re nicely made, with an 18:1 ratio and a substantial feel. (I got the six-in-line set, though they also have a three-on-a-side model.)
I’m especially digging the fact that, once you’ve snipped a string, it’s easy to loosen and remove the strings for changing pickups, pickguards, and so forth. There’s no curled or barbed end on the strings, so they slide right back into the tuner when your work is done. The only catch: The snipping process can be a bit tough with heavier strings. I installed am .011-.052 set, and it took a bit of work to slice through that fat E string. Not a problem in the end, but it could be an issue with higher gauges.
Now back to messing up some mongrel strats!  In the meantime, what are some of your favorite tuners these days?
 "We am have photo finish!" It’s midnight here in California — March 1st. Which means the Secret Room’s first contest is over. The rules were simple: The tone secret with the highest user rating earns it author a $1,000 Godin Natural Summit CT, a versatile carved-top solidbody. The authors of the second- and third-most popular posts each win a set of Seymour Duncan pickups of their choice (excluding Custom Shop models).
Drop by the Secret Room and read the winning posts — or anything else that captures your interest. All you have to do is upload one of your best tone secrets. Read more here.
Can you believe it’s almost March? But February won’t officially creak to its conclusion until we announce the winner of the first big prize in our Secret Room giveaway. Yep — come the first, we will be awarding a $1,000 Godin Natural Summit CT to the author of the most most popular user-submitted tone secret, as judged by all the other players who have submitted tone secrets. And there are well over 500 of them — and mostly really good ones!
You can still influence the outcome — and learn an INSANE amount about tone, technique, gear, and DIY. If you’ve already submitted a secret and obtained a password, there’s still time to vote for your fave secrets. And if you haven’t yet checked out the Secret Room, learn more here.
 Three "mismatched" Duncan pickups in an off-the-rack Mexican Strat. (Left to right: Lipstick Tube for Strat, Alnico II Pro Staggered, Twang Banger) As previously threatened, here’s the first installment in a series on unusual Strat pickup combinations, inspired by a big box of Duncan pickups and a couple of prewired “BYOP” pickguards. I tried a couple of meh combinations that I didn’t like enough to record, but this third experiment seemed worth sharing. Dig this odd combo: Lipstick Tube neck. Alnico II Pro middle. Twang Banger bridge. Comments and post mortem after the clip. Have a listen!
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 Sixteen Current V-Pick Models (clockwise from upper left): 1. Ruby Red Traditon Ultra Lite; 2. Tradition Lite Sapphire Blue; 3. Chicken Picker; 4. Euro; 5. Nite-Glow Medium Rounded; 6. Pearly Gates Medium Round; 7. Medium Rounded; 8. Dimension Buffed Smokey Mountain Series; 9. Ruby Red Medium Pointed; 10. Dimension Junior Buffed; 11. Pearly Gates Small Pointed; 12. Medium Pointed; 13. Small Pointed Lite; 14. Switchblade; 15. Stiletto, 16. Nexus Unbuffed. Readers had a lot to say about a recent post on high-end guitar picks. I focused on some of those ultra-hard picks made from natural materials, such as stone, bone, wood, and horn, plus ones made from synthetics designed to mimic those materials, such as GraphTech’s Tusq series. I’d concluded that, while these picks cost a lot more than garden-variety plastic picks, they offer unique benefits, including stronger fundamentals, more low-end mass, and varying amounts of percussive treble “slice” that can help a guitar track stand out in a mix.
Anyway, several readers spoke highly of V-Picks, a small handmade pick company from Nashville run by Vinni and Nancy Smith. I bought a few, and was deeply impressed. So I got a bunch more and made the set of reference recordings included here. Have a listen!
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 I've got a box of strat pickups and I'm not afraid to use it! Okay, this should be an interesting experiment!
I’ve scored a box stuffed with wildy varied Seymour Duncan replacement pickups for Strat™ guitars, plus a couple of the company’s just-announced BYOP Liberator Pickguards. (These are prewired pickguard assemblies, minus the actual pickups — “BYOP” stands for “Bring Your Own Pickups.”) That means I can pop in whatever pickup I want to try without even firing up the soldering iron.
No, I’m not going to make comparison recordings of different replacement pickup sets (though that would be a worthwhile project). Instead, I’m going to experiment with unusual/unlikely pickup combinations, searching for something cool and unique.
Will I strike pickup-pairing pay dirt? I guess we’ll find out together!
I’ll also be taking a look at some of the alternate three-pickup wiring schemes we’ve been talking about over in The Secret Room, such as the bridge-pickup on/off switch and the middle-pickup fader option.
In the meantime, I’d love to hear about your experiences in choosing pickups for Strat-style guitars — especially any successes you’ve had in combining pickups that weren’t necessarily intended to go together. If you have a story to share, cough it up in comments!
I have a hunch we’ll uncover some cool new things. Stay tuned.
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