Ah yes, Malcolm Young, the oil that made the AC/DC engine run.
Ever since Gretsch launched their tribute to Malcolm… I’ve been annoyed with them, I felt 10 grand was way too much and not targeted to the real fans ($7k should’ve been the custom shop price). The. They launched the cheaper alternative, which looked exactly the same… however… the neck pickup hole had two painted pieces of wood to the sides…. Instead of being all black like the custom shop. So I guess Gretsch said, let’s make sure people can tell from far who has purchased the expensive one. Poor marketing from Gretsch.
Anyhoo… for those who remember, these models I mentioned above are not the first attempt to do a Malcolm replica, this might be the 2nd or 3rd attempt.
But there’s now a 4th attempt!! That all Malcolm Young fans have noticed… and this is the G5222, a Korean made affordable guitar, and there’s nothing cheap about it! Well… the price is low.
This is actually my first Gretsch, since I play Angus at my band Meanstreak I never had the need to buy a Malcolm lookalike guitar.
I was so impressed with this guitar as soon as I picked it up, setup was excellent, intonation was excellent, great sustain and the pickups… they sounded great! Very distinct sound, not a normal gibson type humbucker.
I of course already started the conversion to Malcolm’s Gretsch, I wasn’t totally sure originally… I felt the guitar was too good to butcher it, but… the guitar is for the band and… it needed to look closer to Mal’s.
I removed the neck pickup, removed toggle switch and one of the knobs, I bought bolts which I only used their heads to replicate Mal’s buttons. I’m now waiting for a 455 Schaller bridge to replicate the Donington look. I’m excited!!
The late part of 1963 was an important year for the SG, this is when the SG earned its own identity, they stopped calling it “les paul” and it also lost the “les paul” branded truss rod cover.
Some say that this is when the SG really took off, I’m actually not sure what was holding it back… but when you look at a 61 and a 64, the differences are obvious.
First, let me state that the 61 Reissue that we all know (and love) it is not period correct, the vibrola was a sideways one… the one that is used on the 61 Reissue actually came about on 63/64, this was a considerable change in design, the vibrola became more useful and stable.
So, what are the differences? Well… apart from the vibrola change, the neck is also different, the scale and amount of frets are the same, however it is no longer a 60s slim taper neck, it is much more C shaped, making it more like a “baseball bat” type of grip, this is similar to a regular production standard that you can grab off the shelves today.
The playability is great, I also own a 61 Custom shop and it also plays great… but the changes on the neck of the 64 certainly fit the SG well, in fact, the black SG that Angus uses almost exclusively on live shows is a 1964 which he removed the vibrola and painted black.
The finish is also quite different, the 61 has a much lighter cherry tone whereas the 64 is darker, which looks great with the vibrola.
In this particular example that I own, the pickups are also quite different, they are the same type… Custombuckers alnico III however the resistance is much larger, the 61’s bridge pickup reads around 6.9 whereas the 64 reads 7.8! It is much hotter and you can tell the difference when playing it, the neck pickup of the 1964 is also 7.8 and the 61 is 7.86, so much closer. Even though the bridge pickup is hotter, it still cleans up very nicely when the volume is turned down.
The feel of the volume control is also different, you don’t loose that much treble when rolling down the volume and the tone control is also quite nice to experiment with. I found myself for the first time being able to tame some of the brightness by just rolling the tone down, I believe this model has “black beauty” caps as opposed to bumblebee caps on the 61.
Yes… another SG, this one took me a while to get, and I sold a few to get it, I found my self having 9 SGs and only using 3 or 4, it seemed wrong and I wasn’t comfortable with having unused guitars just hanging there.
So I published a bunch on on reverb and sold within like 3 days. I bought a few Marshall cabs and then this gorgeous SG came up for sale on reverb, my first Gibson Custom Shop
What an instrument! I don’t know what they do in the custom shop but playing one of these is like playing your favourite guitar, the one that just fits you…. maybe I got lucky but I doubt it… i think that is the purpose of a custom shop Gibson, to just… deliver what you need.
The finish is perfect, the intonation… perfect, the looks… perfect, the thin nitro finish… perfect, the smell of the case… perfect too! It smells like the nicest Gibson ever, Gibson owners know what I’m talking about.
It comes with PAF pickup replicas, in theory they use the same machinery used back in the 60s and pickups back then had uneven amounts of turns of wire… because apparently no one counted them, so they also replicated this process and people go crazy for these PAFs! I only just realised this. Owners are always changing pickups around but apparently Gibson Custom Buckers PAFs are probably the only ones that doesn’t get swapped.
The sound is nice, well formed, very balanced, slightly mid rangey, I’m not sure if this is the Custom Bucker or the bumblebee capacitor, the resistance is 6.8 on the bridge and 7.86 on the neck, I think the bridge could use a little more power, but the sound is still great and you can get very sweet sounding cleans and devilish distortion too!
So… is it just another SG? Yes… of course, 2 horns, fat bottom and 6 strings, so what? Well… this one has the nice bevels, great looking tuners, the hardware is nickel which I loge because it looks like it’s been there for ever, and the most important of all… it has a very thin coat of nitrocellulose paint… which in theory allows the wood to breathe and resonate more, I don’t really think that’s true or at least impossible to prove… but… I love a nitro finish, it just looks great!
How does it play?
This is what I’m most amazed at, it just play as the nicest guitar you can possibly have, the first time you pick it up is like you’ve had this guitar all your life and you know everything about it, it might be the setup, it might be the size is just right, it might be the shape of the neck… the thin nitro on the back of the neck helps too. I truly don’t know what it is but… they have something different to Standard ones, it feels exactly like my 1971 Standard, like the wood has already settled in the instrument and the wood said “ok… this is my job for the rest of my life… I accept it… and I’ll behave”
Is it worth it?
Ah! The million dollar question. For me… it’s a resounding yes, I bought it used (like all my gear) so I paid half of what it costs new and getting a good deal always makes you feel better about the instrument, but money is relative… and the question here is… does it play twice as nice as a regular standard? I think it does… maybe not twice as good as my favourite Standard…. but it plays nicer than that one too… and I’ve bought many SGs before keeping only one standard…. definitely spent more then 4 thousand dollars on that journey, but the journey was great and it makes me realize how good this custom shop is.
So… should you buy one? YES! Go and play one somewhere… but don’t buy a new one… these custom shop cost a fortune and they lose a LOT of value as soon as you take it out of the shop.
I’ve never been a Fender fan…. I love many players that play fender… but I never got used to the scale Fender uses compared to a Gibson, it always took me too long to get used to it when switching guitars.. but that’s mainly on a Stratocaster, also the middle pickup always gets in the way of picking.
However the Telecaster is a whole different beast, for someone like me who likes good old rock and hard rock, a Tele is not a very desirable guitar, but they are very sexy and let’s not forget that Jimmy Page uses one every now and then. I’m aware that Keith Richards also is a tele man but I’ve never been a fan of him, also SRV has been seen with a tele a few times.
Anyway… I had a tele many years ago but I sold it to buy my first SG. and I haven’t played a Telecaster until 2 years ago when I went to the Birmingham Guitar Show and I saw an Elite hanging on the Fender area…. it was calling at me…. gorgeous finish, shiny frets, body binding… it was really beautiful, but that was not it… I plugged it in and it played phenomenally well, the fret finish was impeccable and the neck felt like part of my hand.
I went out of that guitar show impressed with that Tele.. 2 years went by and I convinced the boss to let me buy one :), I went with the budget to buy anything up to a Custom Shop, I drove 2 hours up to Birmingham because that’s where PMT had a gorgeous custom shop I wanted, I went in.. sat down and started playing it… it felt really bad.. sticky neck, the neck was also huge and not comfortable… so I asked for an Elite.. and all those feelings I had came back, it was like playing a guitar you’ve had for ages, everything felt right, so I went ahead and purchased it!
I still have it but I rarely use it.. mainly because the music I play needs a humbucker and not a single coil but everytime I feel like SRV blues style I pickup that Tele and have a great time, if you are in the market for a Tele… do yourself a favour and go try an Elite, it is by far the best Fender I’ve played and possibly the most comfortable guitar out there.
Don’t be a knob snob, that is my advice and second advice is… follow suggestions to prove them wrong or right.
I don’t have much patience when it comes to trying things out, usually I just try to plug in and play, I have little time to play during the week and I sort of think that I waste time when I find myself fiddling with gear for hours.
However I’ve decided to start locking some time in and try to record a few things (I also don’t like recording) just to see if I could come at peace with this tedious and boring task. To my surprise… I still found it tedious and boring… but… it helped me re-discover my amp controls and equalization, I know this sounds obvious and most of the amps have had those 3 basic eq controls since the beginning of time, but I’m sure that most of you keep everything in the middle… (noon).
We all know what they do… but we often play with treble or bass controls and leave the mids in the middle right? I learnt what the mids does when I started playing heavy metal… I had one of those valvestate marshalls that had the “contour” control which scoops the mids, scooping the mids means taking out mids, remember that U shaped eq on your dad’s hi-fi system? Well it’s the same thing.
What does this does to my tone? Well… it adds “tightness” it changes the way distortion sounds, it’s an awesome thing to play with, suddenly everything sort of sounds better, the problem is that if you scoop them too much your sound will not cut through the mix, but a little bit of it can get you to that sweet spot you’ve been waiting for.
Even though I knew about mids (of course… I’m not a rookie… right? :p) when I finished my recording tests I found that the guitar was too much in my face… like a gritty sound, I tried mic placement (another art) which it changed the sound but I still wasn’t happy, so I went to the Eq section and started moving things around until I remembered that U shape!!, so now even though I mainly play AC/DC I still scoop the mids a bit… if listen to “Shoot to Thrill” you’ll see that mids are heavily scooped.
Long story short…. spend time playing with the knobs, try recording and playing with the eq on the computer/ipad, you’ll be surprised how closer you’ll get to the sound you are after and then you can try yo mimic those settings in your amp. Remember that all the records or live concerts you hear have a myriad of experts sorting out every detail of the sound until it’s perfect. Remember that old story “guitar straight to amp”? Well… it is true… but remember there’s a team between the amp and the sound you finally hear.
Review of a classic… this pedal has been around for ages, more precisely it was released in the 70s and according to Wikipedia it instantly became a “Nashville Standard” I’ve only had this pedal for 6 months or so, so it’s not a classic for me but as soon as I plugged it in something snapped.
I first tried it with my Eric Clapton Stratocaster, as we all know compressors are sort of associated with chicken picking… and so are guitars with single coil pickups, the sound instantly becomes “studio” like, that was the first thought that came into me… everything just sounds tidier… compressed (of course), if you play “under the bridge” by RHCP with this pedal… you’ll think you are listening to the studio version, it’s pretty amazing.
So… first impressions were great I fell in love instantly and I said to my self “I’ll stuck this pedal to the amp with Velcro and never turn it off again”, however not everything that shine is gold, the pedal is a bit noisy, and what happens is there is a lot of noise when you are not strumming the strings and as soon as you strum.. the pedal compresses the sound causing a “volume difference” all the time which is a bit annoying but I do understand that this is the nature of a compressor, but it could have a noise gate of some sort.
I then moved on to the SG (humbucker guitar) and tone was ok, the best thing about combining this pedal with distortion is the sustain you get out of it… however the sustained note seems to vary in volume as it sustains for longer and longer, making me think the pedal is not entirely designed for this task… however I did hear that Angus Young uses a bit of compression on his Schaffer Replica to get that extra sustain, but we’ll touch on that later since I’ve already pre-ordered a Solo Dallas Storm (mini Schaffer Replica).
I totally recommend this pedal by all means this should be in your arsenal, you can have loads of fun with it but I’m not sure if it would be the 1st pedal I would buy, I think the Ibanes TS9 or a Vox 847 Wah Wah should definitely come in first.
I’m not trying to be “picky” but… plectrums are important.
They are the ones responsible of translating our amazing right hand ability to our strings, and we can never have enough of them.
I’ve decided a few weeks ago to buy all sorts of different picks, I’ve always played with Gibson’s medium/heavy until I discovered the Dunlop Tortex (1.14) they are for me the best picks available, they are very rigid but not thick… the strength of your picking action translates straight to the string without much effort and they last a lot longer than other normal picks, and most importantly they just feel right for me, and that’s the key here… It’s not about what someone else uses it’s about what makes you feel comfortable because when you are on that stage and the pick falls out of your hand in the middle of the solo… You are pretty much living every guitarist’s nightmare.
But… What is it that is right for us? guitarists are usually very mood dependent, anything wrong with our rig can throw off our mood for that perfect solo.
There is a great variety of picks out there, and it’s very hard to choose, so just buy them all! fortunately picks are cheap (compared to your vintage TS9!) and we can test them out as we please.
This is what I got from Ebay.
From left to right and top to bottom:
Carbon Fibre Dunlops, Bone, Beehold (back and front), Coconut shell (back and front), Dunlop Tortex (1.14, 1.0, 0,9 and 0.79)
They are all different and yes… They produce a different sound, I was very sceptical of this but different materials affect the tone.
The Dunlop Jazz carbon fiber: They are very hard but too small… They have a pattern that helps you keep them on your fingers, but because they are so small they are not very comfortable and it’s very easy to drop them.
Bone (made by Steve Clayton): I really liked these the sound is so warm and natural… but you can still get harmonics…they are good for blues and any kind of strumming… so I’m sure they must be a killer for any acoustic guitar, really worth a try!
Beehold (made by Steve Clayton): I didn’t liked them as much.. it’s got an hexagonal hole to enhance grip but the hole it’s too high for me… the actual pick quality is decent… but the sound you get is a bit trebly and the pick is flimsy.
Coconut (made by Steve Clayton): it’s ok… I think it might be good for acoustic guitars, the main issue is that it’s curved, they are gorgeous though.. but it takes some time to get used to them and they are fairly big.
And finally my favourites!
Dunlop ULTEX Sharp: oh man, these picks are incredible, I prefer the 1.14 they are very stiff but thin, you get great control of the pick because the size is just right and it’s very hard to wear them out. If you want an ULTEX but you are more of a soft/medium pick guy/girl… I recommend 0.73 or 0.9 they are great as well.. but too soft for my taste.
So there you go, get a few picks and try them out, don’t just settle with the ones you get for free at the music store, picks are important to your tone and it will help you shape your signature sound.
The title of this post is not an understatement… Strings are very important just as important as tyres are for cars, surely you can drive with worn tyres, but you’ll probably slip at some point!
Every time I change my strings I re-discover the guitar tone, that first strum… the first lick you play… it just sounds great and for me it goes… “oh.. have I played this song since I changed the strings? I gotta try it”, but let’s face it changing strings is a pain in the neck, and 70% of the times I end up stinging one of my fingers with the high E so it’s a task that I usually don’t look forward to, the good thing about it? apart from the tone is that we get to buy something for our beloved guitar, whatever it is we just love buying stuff.
But… which is the right string for me!? and this is as hard as searching for your tone or more likely… it’s part of searching for your tone, because as the title states the strings are the soul of your guitar (and your fingers are the engine) and every gauge, brand, material, etc. sounds different some brighter, some darker, some just break all the time and some just “do the job” and we stick with those, but is this ok? should we not experiment a bit more? I mean… they are only like £6 a set, so why don’t we try more brands and gauges and materials? I bet is because you also hate changing strings!
Well… I always used Ernie Balls, either 0.010 or 0.009, because that’s what everyone uses, and it’s just what they usually have at the stores, however we now have Ebay! (I know it’s been around for ages… but I’m trying to prove a point here) and we can buy all sorts of different strings, there are tons of brands out there now, but there is something that recently has caught my eye (or ear?) I saw an interview with Billy Gibbons, and he talks about the time he met BB King and how BB asked him if he could play his guitar… of course Billy was more than happy to do this! and BB goes “your strings are a bit heavy”, Billy of course says “well.. we are just looking for a specific tone and sound”, and this is probably the reason why most of us go with 0.10 because we feel that 0.09 is just too thin and the sound it’s just too thin as well, but BB says “that’s all fine, but the question is… why are you working so hard?” BB was one of the first bluesmen to use low gauge strings (I think they were 0.008) so Billy listened to him and he swapped his 0.011 with 0.008 and never looked back, to the point that he went down to 0.007, and this is where my story begins…
I saw the interview and I thought… I need to try this, so I went online and bought a set of Rev. Willy’s 0.007 and man… was I impressed! they are so good! and the playability is just effortless, bends are easier and the tone is all there! it takes a bit to get used to them because they are thin! you can barely feel the high E, but trust me they sound amazing, I equipped my ’71 Gibson SG with them and I love it.
So… don’t just use 0.009 just go ahead and try! SRV used 0.013 but BB used 0.008 and they both sound amazing so there you go, spice is the essence of life, in our case it could be strings!
Also there is something “new” out there called Polyweb… from Elixir, I haven’t tried those but they are supposed to be great as well!
Have a look at the video, enjoy “La grange” but also at the end you’ll listen at Billy talking about his strings.
Touching on the “guitar practice” issues again, sometimes having an amp is not even possible, because someone in the household might have a problem with us shredding away… and sometimes like in my case… it cuts your inspiration.
I’m a keen user of iPhones and its useful apps for guitarists, from tuners, to amp modelers to track recording, but it always seems that each one of those apps is missing something, but most of them have one thing in common… they won’t let you play Spotify while you are trying to listen to your guitar, except for Jam-Up (find it here) this little free app let’s you plug in your guitar (with the use of an iRig) and also play some tunes on Spotify which means you can play along your favourite records while blasting the volume away!.
I’ve been using this app for a week and I love it, it’s just simple and free, you can also pay and get more options, but the free version is pretty good, you get a few pedals, few amps, tuner, recording facilities, etc. and the amp modellers sound very decent, just try the JMP 50 Watt with any guitar and you’ll love it (even more with humbuckers). I’ve also bought some headphones for practicing, since the iPhone in ear phones are not that great in terms of sound quality, cable is too short and you can’t headbang because they’ll fall out of your ear, so I bought some AKG K77 for £24.50, that’s a steal! you can also find cheaper ones with studio quality, just go to guitar sites instead of fancy technology sites and you’ll find decent headphones with a decent price tag.