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I had a Mosfet back in the day. It was never loud enough. How’s yours?

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That’s a good combo! I always thought that a dimed muff sounded most like his main distorted sound. But The Super fuzz will give you that nice violin sustain tone for leads when combined with the Muff.

I think th you guys would find the Boss OD a good companion for the Big Muff. It’s more tone ful and not as white noisy as a DS-1. I AB’ed them this morning and the OD blows the DS1 away. Good thing is they are a dime a dozen, like ds-1’s so you can’t go wrong with either.

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Cool. Can you give us more info on the metal muff? I’ve wondered about them, but haven’t pulled the trigger.
Comparisons?

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Great thread. Weezer had a major label budget, big-time producer(Ric Ocasek/singer of the cars) and if I’m not mistaken a year to demo and record that first album. Does it sound huge. Hell yes. Is the mix boring. IMO yes.
Three references were made to(obviously) Dinosaur’s first 3 albums, Bob Mould and the Freed weed.
Each is artist/album is instantly recognizable, totally different and are devoid of Pro tools trickery. The Sebadoh stuff is just enveloping. The warbly production is beautiful and to my ears adds a layer missing from alot of music. it adds something in the same way that reverb ‘makes’ surf music or how echo adds depth to the beach boys or Jefferson airplane. Same with GBV who I saw mentioned. I like the hiss!
Bob Mould’s guitar sound is insatntly recognizable as is his snarling voice. And Husker albums were recorded quickly with few ‘dubs. I love that trebly skronk.
I think some of the later Dino stuff has a boring mix although some great tunes. Out There, start Choppin’, great songs but the same mix. Later stuff, like I’m Insane, kinda returns to that chaos that we know and love.
I’m eager to hear the new album.

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Forget theory. I can’t tell you how many people can’t even pound out rudimentary rhythm guitar parts for more than 30 seconds. You’re right about many(not all) blazing technicians.

I used to play in a band w/a guy who had just started playing about 6 months before joining the band.
I wasn’t Vai but could play fairly well in comparison and knew a little a bit scales and theory. Prior to him joining I had taken over writing the band’s songs and we had some success. Suddenly he comes in with these two chord ‘musings’. I though it was a joke. I had come in with sonsg that had beginnings, middles and ends.
But we jammed it out and suddenly, I realized that what he was doing great/unique and that I could lend structure and an arrangement. It worked. But that was a case of taking something and shaping it into something else, ignoring the ‘rules’.

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For me the key to using the muff is to dime it.(All three knobs full on) I don’t recommend standing in front of the amp after this, but to get that trebly, glassy, gorgeous sound w/o booster, it’s the only way IMO.(I’m using something different right now, but have used the muff for years. ) When I used to use the muff, I tried to dial a thick Pumpkins sound. It sounded great by itself but got lost in the mix. The dimed muff just becomes explosive through a nice tube amp.
I’m using a Boss Super Overdrive for an OD and boost to distortion. Main dist. is the Eh HotTubes(recent)

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I think the perfect book would cover all the aspects of guitar playing and a career playing music. Technique, technical/gear, influences, buisness aspects, media,life on the road.
Would be able to be grasped by beginners and interesting to the most jaded road dog. Should cover the degrees of involvement necessary for success and have the underlying mantra that you should be true to yourself and that no one piece of advice or path is right or wrong for everyone. No sugarcoating. It sounds vast, but you asked.

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I love how the first album sounds. The band playing those songs live is just like a supercharged version! I love how the first and second records have those volume dynamics. Sometimes they sound a bit amatuerish(the mixes) but have such life and color compared to much of today. Bands don’t have flangers and wahs swooping across the frequency spectrum. They sound huge but lack some of the dynamics Dino has in spades.

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Any see or try the Jaguar Bass? I want my bro to try one out. I think a jag bass +jazzmaster would look killer.
Supposed to have updated electonics too. GC has 30 day return right? Do it.

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Check your e-mail! Full details.

I always thought that f spacing referred to fender neck width. oh well

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Great site! Thanks. Electrical tape seems a little crappy but I forgot about the grounding issue.

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Sludgefeast
Mountain Man
I’m insane

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Just check that the spacing is the same on the jazz/jag as a Gibby. I know you need what they call "f-spacing" (fender) spacing for PU’s. I guess that the widths of the fingerboards are different. I know that poles don’t line up perfectly if you slap a Gibby humbucker in a fender ala Billy Joe.
I’m gonna take a wild guess and say you’ll hate the bridge. I’m pretty sure J uses a tune-omatic. You’ll likely have to custom install with some wooden dowels.

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I’ve read all the posts from sweatshops to sell-outs and I can’t wait to get my hands on a pair. Flame if you wish, but after all the talentless idiot rappers and flash in the pan hoopers/athletes and their crappy shoes, I’ll be proud to sport my alterna-sellout-metro-sexual-space boots at my next show!!!!!!

Hey, also lots of folks have no idea about the small skate companies, but they know who Nike is. I think it’s a great tribute.

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I know what you mean with making things that haven’t been made. I found a Rickenbacker 350(like the Susanna Hoffs, deluxe full scale, checker binding, pretty much one of kind so I’ve been told). After much soul searching, I put vintage PU’s on it and an vibrato(no bigbsy holes…yet) on it and I now have my own signature Rick.(LOL, but never seen another one like it).

The neck PU on the Jazz is so awesome, twangy but deep. The bridge PU is great, but I miss that double tone in the treble range which a humbucker gives you. I’m trying to find an epiphone V treble PU from ’98 or ’99 for a future Jazz Project. I won a body on the ‘bay last week. Now I have to find a neck with blocks and binding. Then the assembly will begin.

As far as cars, well I’m fortunate that my dream car sits in my driveway, bone stock, fast as hell and pretty rare. Although I wish I had the confidence/knowhow I have for pulling apart guitars that could be applied to my car. ( a garage may help too…)

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