How about any guitar we’re he won’t take a solo

..or the amp that prevents all the really bad mistakes from being played/heard. Don't get me wrong..I thought Arizona 2019 was a good,solid rock show. But...is it going down in the annals...emmm..no. The Stones' Top 10 All-time gigs is safe.

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KeithNacho
Mesa boogie and black tele 72 custom standard tuning
That's my Keith Richards

Yes I agree - I love the look and sound of Keef in 81. The black 72 custom is awesome. I recently bought a Tele custom (I had always in the past had strats, regular teles and les pauls). but when I plugged on the 72 custom I instantly got the 81 tour sound! Love it!

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dcba
"What guitar or amp would you like to see Keith bring back?"

None but I'd like Mick to gift Chuck with a real piano on the next tour...

A nice concert grand Steinway of course in white but I would also settle for traditional black . As I write this I know there is no snowballs chance in hell of this happening . When Stu was alive and touring with his friends he used a real piano and I think it was a baby grand and not a full size concert grand piano and they would have to have a piano tuner come in to each and every tour stop to tune the piano which is very time consuming and expensive and thus the plinky plinketey plink of the Casio continues . P.S. I have grown and evolved where I am directing my what ever you may call it on Casio and not Chuck Leavell .

black les paul customs and the ampegs.

i love the footage of hendrix looking dubiously at the clear plastic guitar backstage

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5strings
The 5 strings Zemaitis aka "macabre"guitar and the Ampeg amps like in 75 were not so bad.

Yes.That guitar sounded brilliantly on the 1975/76 tours (listen to HTW on Love You Live).
Surprisingly, the guitar did not sound that good in 1978 (BS on Some Girls Live In Texas).
So it seems that it is not the guitar, but the guitar, the amp and the sound that Keith wanted!

Wouldn't it be nice if Keith got back all of the guitars that got swiped from Nellcote

Flying V that he used once or twice.

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Big Al

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Nikkei
Keith has more that once shown that he is willing to play one song on a novelty guitar. The silver-pink tele from 02/03 was also sort of cool

Wasn’t that a gift from ZZ Top’s Billy Gibbons?

Yes it’s a Bolin.

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Nikkei

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erikjjf

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Big Al

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Nikkei
Keith has more that once shown that he is willing to play one song on a novelty guitar. The silver-pink tele from 02/03 was also sort of cool

Wasn’t that a gift from ZZ Top’s Billy Gibbons?

It was.

I always thought Woody made him do it as he also had a silver strat for the encore

Also a custom made Bolin.

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MadMax

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5strings
The 5 strings Zemaitis aka "macabre"guitar and the Ampeg amps like in 75 were not so bad.

Yeah he used a Zemaitis replica for Sway in 2005/2006, but put it through the Twin reverb as usual.

It was a Macabre replica. Both Keith & Ronnie got several new Zemaitis guitars from the japanese custom shop during the japanese tour 2006.

The ones used on GYYYO using the same key.

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JumpinJeppeFlash

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Nikkei

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erikjjf

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Big Al

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Nikkei
Keith has more that once shown that he is willing to play one song on a novelty guitar. The silver-pink tele from 02/03 was also sort of cool

Wasn’t that a gift from ZZ Top’s Billy Gibbons?

It was.

I always thought Woody made him do it as he also had a silver strat for the encore

Also a custom made Bolin.

Woody's silver Woody Woodpecker Strat also was commissioned by Billy Gibbons
at Bolin Guitars.
Billy was pretty nervous when he handed this Strat backstage to Woody.
Ronnie had to help him opening the zipper of the guitar's bag.



Edited 1 time(s). Last edit at 2020-07-05 18:28 by Phil Good.

Strongly agree with those who clamor for the Ya-Yas combination; been so long since Keith's guitars had that signature 'buzz'.

And while we're at it, can we bring back Bill Wyman and his bass? Man, I sure do miss his sound.

Cyril from the Flaming Groovies has an early model Ampeg perspex guitar. He insists that only the first 90 made have superior wiring and better tone.

His is a beauty and immediately produces a recognisably 'period' tone. Had it not been nicked, I imagine Richards plexi would have seen use in further decades.

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AmpegVT22
Cyril from the Flaming Groovies has an early model Ampeg perspex guitar. He insists that only the first 90 made have superior wiring and better tone.

His is a beauty and immediately produces a recognisably 'period' tone. Had it not been nicked, I imagine Richards plexi would have seen use in further decades.

It was constantly out of tune, though

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DandelionPowderman

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AmpegVT22
Cyril from the Flaming Groovies has an early model Ampeg perspex guitar. He insists that only the first 90 made have superior wiring and better tone.

His is a beauty and immediately produces a recognisably 'period' tone. Had it not been nicked, I imagine Richards plexi would have seen use in further decades.

It was constantly out of tune, though

Which one was constantly out of tune ? The Dan Armstrong Plexiglass ? ( great for slide but if you bend there goes the tuning , has to be something on the bridge saddles or nut ? )

Yep, the plexi

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DandelionPowderman
Yep, the plexi

The vintage one ? not the reissue

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TheGreek

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DandelionPowderman
Yep, the plexi

The vintage one ? not the reissue

Listen to 69-71-shows. He had trouble keeping it in tune.

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DandelionPowderman

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TheGreek

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DandelionPowderman
Yep, the plexi

The vintage one ? not the reissue

Listen to 69-71-shows. He had trouble keeping it in tune.

This is always quite perplexing for guitarist -the infamous battle between the nut and the bridge saddles . On the Dan Armstrong Plexiglass the nut is genuine Ivory . So I would have to think that a tiny bit of sand paper on the sides of the nut slot , and the danger is not to go down and deep as that would trash the nut . On the bridge it's not like it's a Gibson ABR-1 ( as I trashed one of those in the past from the dreaded pinging sound, and they are easy enough to replace ) (lest I forget the going out of tune and having to constantly retune ) and the old file(s) must be used ever so gently to get that string from hanging up either in the saddles or the nut . An issue that can make you scream and really better left to a tech with the touch of a Heart Surgeon .

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TheGreek

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DandelionPowderman

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TheGreek

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DandelionPowderman
Yep, the plexi

The vintage one ? not the reissue

Listen to 69-71-shows. He had trouble keeping it in tune.

This is always quite perplexing for guitarist -the infamous battle between the nut and the bridge saddles . On the Dan Armstrong Plexiglass the nut is genuine Ivory . So I would have to think that a tiny bit of sand paper on the sides of the nut slot , and the danger is not to go down and deep as that would trash the nut . On the bridge it's not like it's a Gibson ABR-1 ( as I trashed one of those in the past from the dreaded pinging sound, and they are easy enough to replace ) (lest I forget the going out of tune and having to constantly retune ) and the old file(s) must be used ever so gently to get that string from hanging up either in the saddles or the nut . An issue that can make you scream and really better left to a tech with the touch of a Heart Surgeon .

To pour some lead in the nut is another trick.

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DandelionPowderman

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TheGreek

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DandelionPowderman

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TheGreek

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DandelionPowderman
Yep, the plexi

The vintage one ? not the reissue

Listen to 69-71-shows. He had trouble keeping it in tune.

This is always quite perplexing for guitarist -the infamous battle between the nut and the bridge saddles . On the Dan Armstrong Plexiglass the nut is genuine Ivory . So I would have to think that a tiny bit of sand paper on the sides of the nut slot , and the danger is not to go down and deep as that would trash the nut . On the bridge it's not like it's a Gibson ABR-1 ( as I trashed one of those in the past from the dreaded pinging sound, and they are easy enough to replace ) (lest I forget the going out of tune and having to constantly retune ) and the old file(s) must be used ever so gently to get that string from hanging up either in the saddles or the nut . An issue that can make you scream and really better left to a tech with the touch of a Heart Surgeon .

To pour some lead in the nut is another trick.

That's one that I know about , I just have never tried that one . Also Big Bends Nut Sauce works also .

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TheGreek

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DandelionPowderman

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TheGreek

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DandelionPowderman
Yep, the plexi

The vintage one ? not the reissue

Listen to 69-71-shows. He had trouble keeping it in tune.

This is always quite perplexing for guitarist -the infamous battle between the nut and the bridge saddles . On the Dan Armstrong Plexiglass the nut is genuine Ivory . So I would have to think that a tiny bit of sand paper on the sides of the nut slot , and the danger is not to go down and deep as that would trash the nut . On the bridge it's not like it's a Gibson ABR-1 ( as I trashed one of those in the past from the dreaded pinging sound, and they are easy enough to replace ) (lest I forget the going out of tune and having to constantly retune ) and the old file(s) must be used ever so gently to get that string from hanging up either in the saddles or the nut . An issue that can make you scream and really better left to a tech with the touch of a Heart Surgeon .

The nut on a Dan Armstrong is from plastic, not genuine ivory.

The tuning problems with the original guitars was really due to the bridge, which was a simple strip of fret wire on a piece of wood, which was not fixed tight to the guitar. So when tuned up, the guitar never really is in tune to start with, and you don't need much to get it further out of tune. The 2008 model had the bridge change to a fixed tune-o-matic bridge, which really solves all the tuning issues.

Some people say the early models Schaller tuners were changed to Grovers to improve tuning stability but this is not true. The change simply was for Grovers being more readily available.

During the three production years only two things were changed: 1969 and early 1970 models had a thick, D-profile neck, much like a '58 Les Paul, and later models went to a much thinner C-profile. These later models are much less desirable. The other change was a slight change in wiring, enabling to take the volume and tone completely out of the circuit. The change is sound is really minimal, some perceive it as a tiny bid louder.

Mathijs

I have an early 1969 with a low serial # and it has been confirmed that it is a genuine Ivory nut , you could tell from looking at it as it looks funky and unlike any other nut and the size of the nut is quite large . It is very well documented and easy to prove as there are countless sources that can verify it and the utmost expert who helped build these models in the 2 years that it was manufactured was Dan Armstrong young apprentice Matt Umanov who personally sourced the Brazilian Rosewood boards used for the fingerboards and the Genuine Elephant Ivory from Chinatown in lower Manhattan a mere stones throw from Dan Armstrong workshop where the prototype #1 which went to Keith and was later nicked in Nellcote in 1971 to the early production models including mine in 1969 until at some point either in late 1969 or early 1970 production was moved across the river to NJ Ampeg factory site where the run was concluded and when Dan Armstrong grew disillusioned with the corporate atmosphere of Ampeg led him to call it a day with Ampeg . Oh Mathijs you were so right about the early models having the thick chunky D-profile neck along with the maple being quarter sawn and really nice flame figuring as well . This is quite the mind blowing guitar and a really sonic treasure for the ears as this guitar has tons of tone and the Bill Lawrence design pickups are equally mind blowing as well . I thought that because they are technically single coils that it would be a Fender type sound and it is more like a really hot vintage Gibson PAF pickup sound . I can clearly see why Keith loved this guitar so much !

Also Mathijs , I can send you lots of images of the Plexiglass and others that would be of interest , just send me your E-Mail if you like .

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TheGreek
I have an early 1969 with a low serial # and it has been confirmed that it is a genuine Ivory nut , you could tell from looking at it as it looks funky and unlike any other nut and the size of the nut is quite large . It is very well documented and easy to prove as there are countless sources that can verify it and the utmost expert who helped build these models in the 2 years that it was manufactured was Dan Armstrong young apprentice Matt Umanov who personally sourced the Brazilian Rosewood boards used for the fingerboards and the Genuine Elephant Ivory from Chinatown in lower Manhattan a mere stones throw from Dan Armstrong workshop where the prototype #1 which went to Keith and was later nicked in Nellcote in 1971 to the early production models including mine in 1969 until at some point either in late 1969 or early 1970 production was moved across the river to NJ Ampeg factory site where the run was concluded and when Dan Armstrong grew disillusioned with the corporate atmosphere of Ampeg led him to call it a day with Ampeg . Oh Mathijs you were so right about the early models having the thick chunky D-profile neck along with the maple being quarter sawn and really nice flame figuring as well . This is quite the mind blowing guitar and a really sonic treasure for the ears as this guitar has tons of tone and the Bill Lawrence design pickups are equally mind blowing as well . I thought that because they are technically single coils that it would be a Fender type sound and it is more like a really hot vintage Gibson PAF pickup sound . I can clearly see why Keith loved this guitar so much !

I actually never noticed the nut was an ivory nut...it has always appeared very plasticky to me. On my 1969 ADA, I am actually quite convinced it is plastic....

Mathijs