The Schecter C-1 Classic is, for better or worse, my main axe at this stage, having owned it for two years and a half. I used it in most common scenarios, from home practice to recording, rehearsal, and gigging.
Let’s say you somehow got someone foolish enough to do your every bidding, whatever it may be.
You take him to your studio, grinning, and you force him to do one job, and one job only: you have him hold on to a volume knob for dear life, and every time the sound volume goes above a certain predefined threshold, he should turn the volume down by twisting that knob you chained him to. You instruct him to do so only after a certain time has passed after the threshold was reached – you call this time interval the attack, because you tell that poor man to “attack” the knob to bring down the volume.
The Gibson Les Paul is a legend, and rightly so. A very sought after legend. It’s played by countless guitar heroes, and has a long and noble history I won’t go into here.
The Gibson Les Paul is, beyond all doubt, a marvellous instrument. It sports a look that hints really close at perfection. From the body shape to the headstock shape, from the fretboard inlays to the controls arrangement, the Les Paul is a thing of beauty. Along with its distinctive, iconic tone (that practically defined the sound of classic rock), this makes it a very desirable guitar.
Windows 7 freezing with the hard drive led on, for a variable amount of time, often until a hard reset is performed, is now a pretty notorious issue with Windows 7 on certain hardware configurations, one of which is the Dell Studio 1735.
I arrived at the Big Stubby picks1 from using the Dunlop Tortex Standard 0.88-1.14 (green, blue, purple) habitually, because I had this almost undefined need to go thicker. The Big Stubby Lexan® 2.0 mm is now my favourite pick, for both electric and acoustic.
This question pops up every once in a while among guitarists: why would I tune down a semitone? Well, there are certain benefits in tuning down a half-step to E♭ (E flat, or E bémol), along with your entire band, of course. These are:
Some people swear by paper-in-oil (PIO) capacitors for electric guitar tone circuits. They say all else being equal (same capacitance, similar tolerance — voltage is not relevant in guitar circuits), a PIO capacitor will sound different, meaning better. Words like “warmer”, “mellower”, “livelier” are being employed to describe the difference. The theoretical basis for this would be the dissipation factor, which obviously varies with capacitor “architecture”.
I own a Schecter C-1 Classic, a beautiful guitar, factory-equipped with Seymour Duncan pickups, the Jazz SH-2 (neck) and the JB SH-4 (bridge), which, although a famous and great sounding set (in certain instruments, Seymour Duncan himself uses it in a Telecaster-type guitar), always seemed to me somehow unsuited to this guitar – these pickups, with their Alnico 5 magnet, especially the overwound JB, seem too hot, and either too muddy or too shrill for many applications, prompting me to do my JB SH-4 vs Custom SH-5 comparison.