rockabilly69

That guy from Psionic Audio is a dipshit who seems to ride the high horse with his opinions, while ripping people off constantly!!!! Type "Ripped off by Psionic Audio" into any search engine, and you will see what I mean. He had the balls to say he could improve TopHat amps. In his dreams. Brian Gerhard (Tophat) knows how to build amps period! As for Boogie amps being unreliable, I have owned 4 Boogies and only had one problem in all 4 of them. Yes they stack a bunch of stuff in thier amps, but most of these amps have ton of options so there's not going to be a bunch of room in the chassis. There is a tech named Mike C in Salt Lake City that totally knows his way around Boogies, I had tube go bad in my Fillmore 50 but that ain't the fault of Mesa. He had my amp back to me in less than a day. As for Metropoulos Amps, they are stellar. The guy knows how to build a Marshall better than Marshall.

I don't think that guy Thomas Grassel is still making the Flatbucker, but there's a guy in the USA making killer RESO pickups Krivo. I have one on my National Tricone at it slays. It's one of the few magnetic pickups (like Flatbucker) that is microphonic enough to pickup up the difference in tone on resos. https://www.krivopickups.com/store/p2/Krivo_Humbucking_Pickups_for_Resophonic_Guitars..html Mine is just mounted with two sided foam tape.

Thanks! As for playing resonators, the big thing about them is that they are loud and that could me intimidating at first! And the break angle at the bridge makes them feel much different than acoustic guitars. I find them harder to flatpick, but I love playing them fingerstyle like in this video! Yes that's a "Dual Caliber" DC2 Boogie and a Fulltone Fulldrive II Mosfet. That's for the dirty side of the signal. There's also an RE-20 Boss Space Echo in there too! And the reso also has a mic on it for the acoustic tone. Thanks, and yes that metal guitar, amplifier, and suitcase have bounced around in the back of car for many gigs! As for the Boogie, I've had it about 20 years and not one blip. That amp is ridiculously relaible. It still gets used in the rehearsal room at some decent volume most every Monday night. I did change the speaker to my favorite though, a Weber 12A125A, which is my favorite all time speaker. I have one in my Princeton Reverb, Tophat Club Deluxe, Clark Beaufort, and this Boogie! In a few days I'm going to try one in my Vox AC15HW1.

A guy that I recorded bought me a beautiful personalized Thalia Capo as gift for the work I did for him, and frankly I find it clunky, and my girl bought me one for Christmas this year and same with that one. I prefer simple Kysers.

They're 12 I I've measure all 4 Heritages that I've owned and they were all 12's

I'm with you there, I've had more bad experiences with them than not. But my buddy Ryan, the other guitarist in my band, has using fuzz pedals down to an art form, and he really wanted to get me on board, so he gave me the Sunface. There is some tricks to getting the best out of them, and the most important of those tricks is to where they go in the order of pedals, first is best. Fuzz pedals are very interactive with the volume and tone controls on your guitar. And, a good fuzz cleans up beautifully when you back up the volume. Hendrix did that quite a bit, and was a big part of his clean tone. There is another thing about fuzz pedals, germanium transistors generally have a more organic squisher tone (like a sag on a tube rectified amp), that sounds great, but they are very unstable and can change tone mid gig as they warm up. Silicone ones (like the one I am using), are very stable, but to me lose a bit of the magic as a tradeoff. I just bought a germanium one just for recording. This is the actual pedal in the video, and the one I bought, it is supposed to be the most stable of the germanium based fuzzes. https://www.buyanalogman.com/Analog_Man_Sun_Face_p/am-sun-face-readylgrca.htm

I stopped playing reso on stage a while ago but I always liked this tone. It's from 14 years ago. The pickup is a Flatbucker. https://youtu.be/JJTOLHiw_Fs?feature=shared

THat's EXACTLY what I want to do, as the song is going to open up a set. 4 clicks of the drum sticks and boom, there it is

New version of this song which will be more of the template of how my band will play it. The licks will be played exactly like this, which I think showcases the SUNFACE a bit better with it's vocal tones. And it's not just a Sunface to get the vowel tones, there's also a Origin Effects M-EQ Mid Driver that brings out that quality...

In my best Ed McMann voice "How cold is it Johnny"? (Johnny replied "Even witches are wearing thermal bras")

It's pretty unthinkable. With the with the devastion in North Carolina and Florida, this just adds up to a bad run of natural disasters. My heart goes out to all of the people that have to go through this suffering.

Years ago, I saw Keith Richards and Ron Wood play together in Salt Lake City with the New Barbarians. They were both playing Mesa IIC amps and they sounded great. I was right up front so I could hear those amps really good!

Thank you, sir

Not this one Goon, this one is fixed bias. I have used the sun faces with the sun bias knob and they are pretty cool if you really want the thing to spit, but I don’t really go to that dirty so it wouldn’t be as useful to me

Thanks Chris, it’s a fun little pedal. It definitely brings out the rrock ‘n’ roll roller in ya when you plug it in

My musical partner in crime Ryan, who plays guitar with me in our band Vorraro gifted me this great Fuzz, check it out… https://on.soundcloud.com/WFeDMaVeSHaYBDgT9

Good review Kuz, I would like to see a close up of the R9 top, love the color of the back on that one, love the top of the CC. I see mineral streaks too, running perpendicular to the treble side tailpiece stud running right through the checking and I love them! Both guitars are great looking. Odd though, the bridge of the CC looks more like a Nashville (wider frame) than the ABR on the Gibson. Was that before the switch, or is it an optical illusion. Would also love to hear some clips!

They aren't the same exact circuit because alot of the original parts (ie transformers), aren't available, but from what I can tell, they sound great. I guess if you want one bad enough you'll buck up. I don't, but I can see why many people will, especially if after time people in the real world say they bring the goods. I'm a Mesa fan. I've had, and still have, a few of their amps. I have a DC2 with a Weber 12A125A speaker in it that sounds great, and a Fillmore 50 combo that I love.

Maybe it's just that bridge, stranger things have heppened! As I said though, I've replaced more than my fair share of Gibson bridges with Fabers, and I've had nothing but good luck, and no "zingy overtones" The only thing that matters is that you've got your guitar sounding the way you want.

With Faber posts and thumbwheels? Or did you adapt it to what was on there? And what saddles? I've never had a Faber bridge not sound better than a stock Gibson bridge, except for one time when Faber had a bad run of bridges, and without even prompting him, Larry Corsa send me a new bridge free of charge.

Funny I'm an unabashed Gibson fan, but I've always preferred the Heritage H150 pickguard. I love the way it follows the body lines...

Holy Moly that's a bunch of birds! Do they all belong to one person, or was this at one of the Heritage gatherings?

Kuz told me the finish on my H535 P90 is a special Marv Burst, I love it. I really like the transitions...

H137/LPSpecials are pure rock and roll machines. There's something to be said for a nice lightweight mahogany plank with two P90s (or one)! Glad to see you out there using yours for what it was intended.

You're basically saying my buddy is full of it, and equating him with so called internet modding experts. The guy I'm talking about is one of the finest players I know, and he is one of the best amp guys I know who's got a killer ear for tuning amps. If I was going to trust anybody's opinion on sound it would be his, not some internet expert. And BTW he didn't do it for a tone change, his guitars had overly thick finishes that he thought would feel better if they were thinned, and they guy that knocked them back did a great job and rebuffed them to a gloss. And as I said, the finish looked, and more importantly felt great when finished. The tone thing was just an added bonus that he wasn't expecting and he didn't say it was a massive improvement. I don't think you have enough practical experience to call this BS. Yes, wood doesn't breathe, but thinner finish can help the wood vibrate more (if the wood isn't just plain dead). On a good piece of wood, thick poly finishes dampen resonance. And many people that call this BS are playing with potted pickups that have zero ability to hear any difference in the improved resonance. I've done quite a few finish experiments. And I've stripped three different guitars of mine with poly finishes, and all three of them looked, felt, and sounded better than when I started. You can keep on believeing what you want about finishes, but I will believe what I've felt, seen, and heard. Gibson has sprayed too many guitars with thick overly plasticized lacquer, and many people I trust, who've thinned them, or better yet, refinned their guitars can hear a difference. And another thing that distinquishes poly and urethane (and even overly plasticized nitro), from a properly shot thin nitro, is that it's way harder to repair finish flaws with poly/urethane/plasticizednitro. Certain finish repair people I know won't work on certain gibsons because of the plastizers That's another reason alot of us prefer a good thin nitro finish.