another one off the new album

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Noirie.
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Post: # 1352974Post Noirie. »

Woah, what guitar did you use?
theshadowofseattle wrote:less being WOKE
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Noirie.
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Post: # 1353047Post Noirie. »

Noirie. wrote:Woah, what guitar did you use?
theshadowofseattle wrote:less being WOKE
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Post: # 1353122Post batsbrew »

Hi Noirie!!

thanks for listening.


guitars used on this recording:

Image

the vintage white strat, is a custom USACG build, with a gibson scale length maple/pau ferro neck.


the burst strat, is a very custom short scale 24" build from 1986.....
It's called the "Williams Special", after the name of the luthier.
made from scratch, it is a Les Paul-Strat-Mustang-Explorer hybrid, with hollow body cavities, Mustang scale length, built like a paul with mahagony and maple top, with vintage-dimension strat body, explorer headstock.


a custom build (obviously!) i think it's pretty unique...

started out with a EMG SA assembly, that was changed to a pair of Wilde L-280's in neck and middle, with a duncan Lil 59'r in the bridge.

folks sometimes think that the bridge pickup is moved out, but it's really the neck and middle that are moved towards the bridge, because of the scale length and the 24 frets...
it's kinda like brian may's red special that way.....
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Post: # 1353123Post Noirie. »

You should make a thread about the short scale one.

This is short scale after all 8)
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Post: # 1353232Post batsbrew »

hey noirie!

i HAVE posted about the williams hybrid before,
it's in here somewhere!!

but i'll do a recap right here:

This guitar was commissioned in 1986.

It is a Gibson Les paul-Fender strat-Fender mustang-Gibson explorer HYBRID.
-built by Stan Williams, Rome Georgia.

-based on the Fender Mustang scale length at 24.0"....this design is also similar to brian may's red special.

*honduras mahogany body, with air cavities carved in the body below the maple top.
*flame maple top, 3/8" thick.
*vintage-dimension strat body.
*2-piece flame maple neck, with ebony fingerboard.
*no truss rod!
there are (2) rectangular pieces of aircraft aluminum running the length of the fretboard.
*flame maple veneer on headstock; front, sides, and back.
*jumbo frets, nickle alloy
*custom inlays: mother of pearl, diamond shape, with a split diamond around the center pickup.
*Kahler 2300 pro tremelo.
*(3) off/on switches
*master volume, master tone, 3rd pot now unwired-
*Pickups: originally equipped with a EMG SA assembly, and the 3rd knob was the presence control.
--now has (2) bill lawrence L-280's, and a duncan Little 59 humbucker in the bridge.
*explorer headstock shape, true to scale.
*long tenon set neck
*13 degree tilt back headstock
*graphtec nut, with locking kahler nut mounted behind it.



*Wood: the Flame maple used on the top and neck, and veneers, was from a large timber
(139 years old as of 2014) salvaged from a barn in Illinois.

The honduras was acquired long before there were conservation laws on that particular wood
(blank dates back to pre-1980).

___________________________________________________________

design criteria:

the les paul connection:
the basics of the les paul (the obvious basics) are:

slab mahogony body;
maple top;
strings on top of body;
2 piece maple neck;
glued in neck, long tenon;
tilt back headstock, no string trees required.


later, in 2008, they started weight relieving the standards, but remember, i built this in 1986.
so, the Gibson nod starts there.

This one has:
Honduras mahagony body -- maple top -- strings on top of body via the Kahler -- 2 piece maple neck
-- a glued in neck with long tenon -- tilt back headstock.


My design tried to improve on my favorite aspects of the 4 different guitars, the mustang, explorer, strat and paul.


for example:

*the volute on the explorer headstock is inherently stronger than the les paul (commonly known over time for breaks at the neck),
plus i liked the headstock shape

*the weight relief is secondary-- the sound cavities i had routed strictly for that semi-acoustic property,
making the guitar, at stage volume, extremely lively - this followed the basics of the Brian May Red Special,
which was my starting point. his guitar is designed more like a 335 than mine, but i went there as much as i could
without floating the top over a central beam

*the ebony fretboard brings out more les paul-style tonal characteristics than, say, a rosewood fretboard would have

*the glue in neck was a must, and unlike the les paul, which has that awkward heel, mine is smoothed out right into the back of the body, without so
much as a line, almost invisible. the tonal effect with the glued in neck, and the long tenon is an obvious connection to the les paul lineage

*the tilt back headstock was unnecessary with the kahler locking nut, but i added it anyway,
feeling that the downward pressure of the strings still helps to maintain a strong connection to the neck,
vibration wise, and this is very much in les paul territory

*the strings on top, versus thru the body, is a very important link to the overall sound,
and the use of the kahler is a great way to bridge the gap between a stop tailpiece and a floating trem.

*though Kahler did not have it then, they now have a 'hybrid' tailpiece, that can lock as a hard tail, or float as a trem.
best of both. i have one on my '84 Carvin DC200k, and will eventually updgrade this one with one as well.
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Post: # 1353233Post batsbrew »

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Post: # 1353236Post Bacchus »

It's a shame there aren't more tracks recorded using that guitar.
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Post: # 1353242Post batsbrew »

there are!

i'll be posting more tunes along the way,
but since this one is for sale,
i'll only put up a couple at a time.

if you want to hear an hours' long instrumental project, using nothing BUT this guitar,

it's here:

False Haruspex

http://falseharuspex.aeriemonks.com/
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Noirie.
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Post: # 1353270Post Noirie. »

Bacchus wrote:It's a shame there aren't more tracks recorded using that guitar.
+1

Have you considered doing some covers?
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Post: # 1353291Post batsbrew »

i did an licensed cover of creedence clearwater revivals' classic 'Bad Moon Rising' on this album..
just because i always loved this song,
and made it my own.


but i quit doing 'covers' many many years ago.

i have focused on getting better writing songs of my own,
i have no interest in covers at all.
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Post: # 1353292Post batsbrew »

see, i played professionally full time on the road for 6 years...cover bands, a couple of original bands....
in that time, i memorized well over 500 cover songs...

if i never play another cover song in my life....!!
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