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 EBow on a Dobro? Oh, yeah! If you’ve screwed around much with an EBow—you know, that battery-powered plastic thingie that you slide against your guitar strings to magnetically invoke infinite sustain—you may have also noticed that it works on steel-string acoustic guitar, especially on the unwound first and second strings. It’s hardly an earth-shaking tone— just a thin whine, really— though you can sometimes use it to good effect, compressed and processed within a mix.
But when I got my first Dobro last year (okay, I was a little slow getting around to it) the technique really came alive for me, and I’ve been using it on tons of tracks ever since.
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 UPDATE, Friday, September 23th: Attend the first Tonefiend DIY Club meeting here.
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Can if I make like a zombie and eat pick your collective brain?
One of my key goals for this blog is to promote do-it-yourself experimentation. It’s a topic I approach with the passion of a recent convert, largely due to the influence of the Maker Faire, the unspeakably cool DIY event that has sparked a worldwide movement. (Witness this video I shot at a 2011 Maker Faire, in which hundreds of little kids learn to solder.)
My question: Would anyone be interested in joining a guitar electronics “makers club” suitable for absolute beginners? I’m sure that many of you already have more workbench skills than I will acquire in several lifetimes, but I have a hunch there are at least as many who are curious about making and modding, but just haven’t taken the leap of faith. Am I right?
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 Compare the honkin' magnets on the installed Quarter Pound to those of the factory pickup. The original P-Bass is a fascinating instrument. It’s wasn’t the first electric bass guitar—inventor and owner Paul Tutmarc claimed that title with the instruments he created and sold through his Seattle, Washington, music shop in the 1930s and ’40s. But the P-Bass, released in 1951, was the first electric bass that really mattered—the one that made the instrument a fixture of our musical landscape.
The P-Bass has evolved much over the course of its 60 years. In fact, its creators instigated the first big makeover back in 1957, when Fender abandoned the original Telecaster-inspired styling and single-coil pickup in favor of a sleeker, Strat-type look and a split-coil pickup wired in humbucking mode. (The earlier P-Bass style resurfaced in the late ’60s as the Telecaster Bass, and in Fender’s ’51 P-Bass reissues.)
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. . . to a blog about all the things you can do with — or to — a guitar. Topics: DIY, instruments, amps, effects, recording, software, technique, music history, music heresy.
UPDATE, Friday Sept. 23: The contest is now closed! Read the results here.
 Yet another thing you could be doing instead of practicing. I knew it would be hard, but I didn’t think it would be that hard!
The Amps vs. Models Contest is still very much in progress. Yes, yes, yes—you still have a chance to win fabulous prizes and even more fabulous bragging rights.
One of two things must occur to conclude this thing: Either a) three contestants need to get perfect scores to claim the three instant prizes, which hasn’t happened yet, or b) we wait another six weeks till Halloween, when the prizes simply go to the three best scores.
No one wants to wait six weeks to wrap this up—least of all me. I’m dying to spill the beans, and I’m so tempted to blab when people write asking for details. But dropping hints wouldn’t be fair to the plucky contestants who dove right in with no hints whatsoever. But I will make one seemingly obvious suggestion: Consider a bit of research about what the amps are supposed to sound like. You Tube clips may help here. 🙂
 Lavalier mics: Not just for talking heads! UPDATE: You’ll find a reworked version of my article on the “forbidden” guitar mic here at the online guitar magazine Pure Guitar — along with a ton of other great stuff. It’s still free! :beer:
 Excuse me, Mr. Beatle, but Scotland Yard would like to speak with you about your illicit treble content. DISCLAIMER: I am not encouraging any illegal activity. Just sharing some observations.
Over the last few years, just about every musician I know has been spellbound by a series of illicitly leaked recordings. These files, sometimes lumped under the name “Multitrack Masters,” feature dozens of classic rock recordings, broken out into individual tracks. You hear isolated Beatles vocals, Queen guitar stems, Bob Marley rhythm tracks, Stevie Wonder keyboards, and much, much more.I don’t know how they came to be leaked in this form, though I’m guessing one or more sneaky remixers did the deed.
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The story so far: In Part 1 of this post, I snatched a pair of Seth Lover pickups in an attempt to improve my unlovable ’81 Les Paul. Will they transform the guitar from a pig to a prince? Or am I just casting pearls before swine?
I’m sharing some comparative recordings I made so you can judge for yourself. I distort, you decide!
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 Makes you sound pretty as a picture! When it comes to seriously messed-up guitar effects, few can rival the Uglyface. And, as they say on infomercials, “It’s not available in any stores!” In fact, as of this writing, the only way to unleash this particular brand of brutality is to build the box for yourself.
It’s based on one of dozens of great circuits created by Tim Escobedo, a stompbox genius who has shared his innovations with the world for free. His library of schematics has been dormant for years, but it’s archived here. Almost all these great-sounding designs display true originality, a rare commodity in pedaldom.
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UPDATE, 11.19.11: Dutch reader Rob sent my an obit announcing that Tielman died on Nov. 10 at age 75.
For the last year or so, this video has been ricocheting back and forth among my guitarist friends. It’s a 1960 clip of the Tielman Brothers, featuring guitarist Andy Tielman, an early rock-and-roller justifiably famed in has native Indonesia and in the Netherlands (Indonesia’s former colonial power), but practically unknown everywhere else. (Admit it: When you think of high-octane rockabilly, Surabaya, Indonesia, isn’t exactly the first burg that springs to mind.)
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