Dub-T-123

Damn that couch takes me back.. The dogear is not height adjustable so you have to make sure your neck angle gives sufficient clearance or just use the soapbar style which is adjustable

The best answer is going to be to play them and decide yourself I got a 59 reissue in 2020 and I don’t really know how to describe the pickups but they sound freakin good and the neck is not what I would call fat. I have played some reissue LPs with just humongous necks. Most of the 59 reissues now come with a neck profile which was laser scanned from an original 59 called “Carmelita”. This is not a fat neck, it’s not quite 60s C either. It has a little more depth to it than the 60s profile, but it doesn’t have any bulky “shoulders” to it so it really doesn’t feel big in the hand I think the neck is outstandingly comfortable and I prefer it to the typical 60s style which I find slightly wide and thin feeling for my hand. The wide thin combo makes my thumb cramp up on the back of the neck The pickups just sound like a Les Paul to me. It sounds really sweet clean, in the middle position you can actually get a bit of quack going. Through a dirty amp it just sings. Very throaty when you roll the tone back a bit, very rude when you roll the bridge pickup wide open. Neck pickup sings. It’s a perfect guitar. No idea about the Supreme to be honest and I don’t know anyone here who has one

I’ve been really into dissecting/collecting/building/designing pedals for a long time now but my interest has fallen off in the last couple years. There was a long time when I was building stuff every day Pedal builders are notoriously deceptive. They want consumers to think they did so much R&D leading up to a massive ground breaking discovery of a magic circuit or component which gives you TONE. The truth is that an OD or fuzz pedal is very rudimentary technology and does not require extensive knowledge to understand. This is compounded by the fact that we see the exact same circuits over and over and over again. You learn one circuit and you know how like 1,000 overdrive pedals work. It’s like learning chords on a guitar. You can learn 3 chords and play thousands of songs When you buy electronic components like an op amp for example, the manufacturer has a datasheet detailing all of the specs of this component and recommending several different ways to use it. They will have schematics that you can just copy and adjust/augment to your needs and this is essentially the basis of how electronics are designed. The rangemaster and Fuzz Face came from an old Mullard handbook. I guess what I’m saying is the real high IQ research work is done by some geniuses in a lab before the components reach the consumers. Were just a bunch of apes huffing solder fumes

^^ I think that’s one of the most interesting things about his playing. The way he uses different modes and scales was so unique and interesting. Obviously a very smart guy, he was a real master of the guitar.

The neck joint was at the 16th fret in 1982 and 1959 so something is wrong. I don’t want to be a **** but I would never approve of what you’ve done here it just isn’t good

The 1/2 coat is probably the last thing I’d ask about. The neck joint looks horrendous and LPs are supposed to have the neck joint at the 16th fret so I’m not sure what we’re doing here but it’s not right.

I understand what you’re wrong about and why you’re wrong about it but it’s too much work for me to convince you with no incentive

P Dawg. I was sorta careful to not inject any of my personal opinions into my post and just mentioned a couple things which I understand to be factual. Your reply gives me the feeling that you interpreted my post as bashing Taylor which is not my intention. I probably left a bit too much unsaid since I don’t want to be too wordy In no way did I suggest that the cheapest and most expensive version of a given Taylor model sound exactly the same. I said they use the exact same CNC milled bracing which is a fact. I obviously understand that using a different wood for the top etc will result in sonic differences and no two pieces of wood are completely identical. Again the point remains true that you get the exact same guitar with different materials and aesthetics at any price range I made no comparison to Gibson or any other mass manufacturer You either missed the point or are incorrect about the bracing. Loading a piece of wood into the CNC is not the same as what I described. I didn’t describe the whole process because I’m not a traditional luthier and I’m not trying to teach you how to be one. Hand carved bracing by a master luthier is objectively superior to mass produced CNC milled bracing in all ways except efficiency and profitability. A traditional luthier is going to progressively carve away at the bracing until he has the least amount of material possible which still offers the necessary amount of reinforcement. This produces a more resonant sound board. A CNC machine is going to invariably make every single piece a bit heavier than it needs to be to account for variables in materials Hopefully we can understand these facts without implying that Taylor guitars are “bad” or sound bad. Of course I realize the vast majority of Gibson and Martin parts are machine made. However Gibson and Martin have custom shops, where when you spend big money, you get a whole different level of craftsmanship. With Taylor you spend big money and you get the same guitar pumped out of the same machines with special materials and aesthetics

Taylor is an easy target for people who appreciate traditional luthiery because all of their parts are CNC milled throughout their entire price range. Whether you get their cheapest or most expensive version of a particular model you get the same CNC milled bracing etc Traditionally when making bracing for an acoustic you split the piece of wood with an axe so that it breaks along the grain. You then take those pieces and mill them in a way which maximizes the quartesawn orientation and minimizes grain runoff. Essentially you end up with the smallest lightest piece of wood which maximizes strength and straightness for its given application Taylor does everything by CNC on even their most high end instruments, so you really never get the benefit of traditional luthiery no matter how much you spend With Taylor you get the same guitar at all price ranges. You are just paying for a different type of wood that they inserted into a machine or inlays which are done by a machine or other aesthetic modifications It doesn’t sound like a big deal but for their high end stuff they are charging an amount of money that you could easily spend elsewhere and get a superior instrument

Any positive comments appreciated. lol That is such a perfect sentence for this industry. When everyone is just copying the same two circuits over and over again it really is mostly the positive affirmation that we’re seeking Lovepedal is sorta unique in that they love to clone the Electra Distortion while everyone else does Tube Screamers. If you like the Electra Distortion then Lovepedal has a variety of flavors for you. The Zen Drive is obviously a licensed clone of the Hermida which is actually a good pedal. Hermida was using MOSFETs as clipping diodes like the OCD. The Purple Plexi is one of those LM386 based things. The pinnacle of collectibility in this particular flavor of drive would be the D*A*M Sonic Titan. The LM386 just doesn’t break up the way a tube amp does. It’s fun and convincing for a few minutes but it always sounds like a pedal. It doesn’t sound like an amp. I would never ever recommend spending any big money on a LM386 based object. It is a very cheesy low hanging fruit type option for designers

The LP is obviously the big dog in this sale, but I’ll be interested in seeing a Garnet Herzog prototype or something if you don’t know, Randy had a really unique distortion sound with tons of sustain and compression. This was achieved with some tube driven distortion units that were custom made for Randy, and later sold commercially as the Garnet Herzog

I see Bonamassa’s guitar playing sorta the same way I see an autistic person learn to socialize. He paid very close attention to the style of BB, Albert King, Eric Johnson, etc and he mimics them perfectly. except the listener is usually aware of the mimicry and something feels strangely disingenuous about his music. I wish to some day be as great a player and as influential as Bonamassa, but I have no desire to actually listen to his music. I had the pleasure of chatting with Joe at the guitar show they hold at the OC fair grounds. I’m not sure if Joe still goes every year but he was very friendly and welcoming when I met him. He’s really just passionate about guitars and he knows so much about playing guitar and the history and everything. I’d love to hang out with him, get guitar lessons from him etc, but I don’t actually listen to his music at all

This will also melt the finish on a Gibson if left in place for a bit of time The nitro and rubber won’t react instantly, but I still wouldn’t recommend this method.

That is a well known and intentional feature of the Tube Screamer. As you add more distortion you will typically want to reduce the amount of low end or things get too flubby and loose. Think of it this way.. the Tube Screamer is not really meant to CUT low end in practice. It is supposed to increase the higher frequencies at a disproportionate level. A loud distorted amp is going to sound farty if you slam it with a bunch of low end. If you slam it with higher frequencies, you get the distortion where you want it but keep the low end at a level your amp can still manage Personally I’m not a huge fan of the TS or most of its countless derivatives but huge bass is rarely desired in distortion or overdrive

Ye olde chatoyance