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It’s official — we now have over 500 cool users’ tone secrets over in The Secret Room. Want to learn a foolproof method for adjusting your pickups? Great advice on surviving soundchecks? Simple but brilliant wiring mods? Words of wisdom about technique and musicianship? It’s in there — along with lots of hundreds of other tips. Your reactions will range from “Wow, why didn’t I think of that?” to “Ugh — why would anyone think of that?” 🙂
Right now the most popular secret reveals how to determine how much sustain an electric guitar has — before plugging it in. All you have to do is…
…naw, you’ll have to read it for yourself. All you need to do to join the conversation is submit a secret of your own.
 Seymour Duncan's 59/Custom Hybrid humbucker is a compromise between a vintage PAF and a higher-output pickup. My ears perked up when I heard about Seymour Duncan’s new 59/Custom Hybrid bridge humbucker. I’d never tried a pickup that combined coils from two very different pickups — in this case, the ’59, a vintage-accurate PAF, and the Custom, long described as “a PAF on steroids.”
I was eager to hear how a hybrid pickup would blend with a vintage-style neck PAF. My test guitar was a Hamer 20th Anniversary retrofitted with Antiquity Humbuckers. (It originally had a JB/’59 pair.)
I had several burning questions:
• Could I could get a hotter bridge tone without losing too much treble definition?
• Would the more powerful bridge pickup overpower the neck pickup?
• Could I still get a delicate, chiming clean tone?
• How would it sound in split-coil mode (which solos the hotter Custom coil)?
• How would the split-coil bridge blend with the neck pickup?
I made some before-and-after recordings. Have a listen:
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 There are a LOT of secrets out there . . . It’s hard to believe it’s only been a week since we launched the Secret Room site. Hundreds and hundreds of guitarists and bassists have posted cool tone tips. Thanks to all those who’ve been generous enough to share their secrets. I can’t believe how many helpful and inspiring ideas we’ve been privileged to post. I’m confident the site will evolve into a fabulous resource for musicians. In fact, it already has!
I’d like to share a my few of my favorite secrets so far:
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UPDATE: I’m proud to announce that the first part of my report on high-end picks has been selected to appear in the debut issue of Pure Guitar, a new digital guitar mag whose editorial staff includes my two music journo mentors : Tom Wheeler and Jas Obrecht. Also on board: jazz ace Wayne Goins, session superhero Tim Pierce, Nashville’s leading guitar tech, Joe Glaser, and other preeminent axe experts.
You’ll find my article here — but frankly, I recommend starting at the homepage of issue #1 and reading all the way through!
Congrats, guys, on the new mag. I’m psyched to be part of it. :beer:
 It's a world of secrets out there . . . Holy cow! I had no idea there were so many secrets out there, and so many players eager to divulge them!
In other words: The Secret Room project is off to a roaring start, with hundreds of cool submissions, and I’m working overtime to get them posted.
In the meantime, I wanted to share a couple of thoughts about the process so far, and invite your input in comments. (I’ve closed comments in the Secret Room announcement post, because too many people were posting secrets there, rather than using the submission form.)
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UPDATE: Wow! I’m overwhelmed by the initial response. Hundreds of cool tips! Please bear with me as I process them and send out the access info. I could automate the process, but I want this to be more than just a bunch of random posts, and I want to weed out the silly stuff. —Joe
Do you have a secret? I want it!
No, not your credit card number, or the truth about what you were really doing on the night of September 23rd. Just a cool tip about anything that makes you play better or sound better. The kind of hard-won musical wisdom that’s almost too good to share.
And in exchange for surrendering a precious secret, you get access to the best secrets of many other players, including some whose names you know.
Just contribute a cool tone secret, and you’ll get access to this password-protected site. While there, you’ll be able to comment on the secrets and add ratings. Just to keep things lively, the authors of the highest-rated secrets will win cool gear prizes. In fact, whoever creates the highest-rated post between now and March 1st will receive a Godin Natural Summit CT, a lovely and versatile carved-top solidbody electric guitar that sells for $1,000. The authors of the second and third most popular posts win a their choice of Seymour Duncan pickup sets. (Custom Shop sets excluded.)
The site is already looking pretty cool — but it will be cooler if you contribute! Learn more (and submit a secret) here.
Don’t you love when someone revisits a weird idea from the past — and makes it even weirder?
I got a new bass last week, right before I left for the NAMM show. I finally had a chance to try it out yesterday. I think I’m in love. View the incriminating evidence in this brief video:
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 Amazing things at NAMM, #1,287: Bootsy Collins's right hand. Just got back from a couple of days at the 2012 NAMM convention in Anaheim. And I’m glad to be writing about it rather than talking about it, because I have no voice left from screaming over several days of unbelievably loud ambient noise. How ironic that we evaluate the musical instrument industry’s new creations in one of the earth’s most acoustically abysmal environments.
Still, I had a blast. I saw tons of cool new things that will appear on this blog as they become available. I got to see lots of old pals and hobnob with great musicians, brilliant builders, visionary designers, and amusing crackpots. Fun was had.
I didn’t prepare anything like a comprehensive report. For an overview of all the product announcements and press releases, just go here. This is just a short video documenting the misbehavior of my friends and colleagues some cool stuff I saw.
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It has been brought to my attention that there is, in fact, another event this weekend called a NAMM show. I’ll be there Friday and Saturday with Seymour Duncan. If you’re at the show, please stop by. And tomorrow — Thursday — I’m playing a show at Taix in LA’s cool Echo Park neighborhood with my band, Mental 99. Please come by and say hi! (And for those who live in or near my fair city of San Francisco, we’re also playing tonight at the super-cool Madrone Art Bar.)
I’ll try to post pics of the cool stuff I see in Nam at NAMM!
 This is not a Swedish guitar. (Photo by Candace Burnham.) Everyone’s talking about the upcoming Nam show, so I figured I should post something relevant. I’ve never been to Southeast Asia, though everyone I know who has loves the place. And I’ve been floored by the beauty and originality of those Vietnamese electric guitarists who scallop their fretboards not because they love Yngwie, but to replicate the wild swoops and expressive quavering of their indigenous folk instruments. Put it all through a cheap solid-state amp and vulgar digital reverb, and it’s…perfection.
I’m no expert on the style, so I turned to Scott Collins, who’s posted here a few times. He’s a dauntingly knowledgable player and teacher who runs an interesting site called Guitarchitecture. The centerpiece is a comprehensive guitar method he’s created that applies visual metaphors to the process of mastering the fretboard.
Anyway, Scott hastens to point out that he’s no expert on Vietnamese guitar either, yet he’s created a beautiful little piece on the topic. He visited Viet Nam with an eager ear, a respectful attitude, and keen powers of observation. You won’t be bored. —Joe
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