Due Pierre de Beauport never answered and I'm still waiting like a decade later here is the question again,

I am strongly leaning towards changing my bridge plate and Saddles on my 5 string open G Tele to those as Keith has on Micawber. It will costs me a couple of bills to do so. In your opinion does the brass bridge plate on Micawber set it quite apparently apart tone wise from Keith's other Tele's which do not carry the brass.?
Thanks to all who care to chime in for like the 100th time/.
BP



Edited 1 time(s). Last edit at 2020-08-25 17:01 by bv.

Try Johnny Starbuck

I try an Armadillo saddle on my telecaster and it Works good and sounds better.

[www.armadilloguitar.com]



Edited 1 time(s). Last edit at 2020-08-25 07:51 by 5strings.

Quote
banditpanda
Due Pierre de Beauport never answered and I'm still waiting like a decade later here is the question again,

I am strongly leaning towards changing my bridge plate and Saddles on my 5 string open G Tele to those as Keith has on Micawber. It will costs me a couple of bills to do so. In your opinion does the brass bridge plate on Micawber set it quite apparently apart tone wise from Keith's other Tele's which do not carry the brass.?
Thanks to all who care to chime in for like the 100th time/.
BP

A Micawber brass bridge will only differ in sound marginally, if at all, to the sound of Malcolm, which sports a modern chrome coated, six (ok,five) saddle bridge. the pickups and the body wood play the bigger role in sound, imo.

take a closer look and perhaps a file to your existing bridge, because undneath the chrome plating...there's brass to be found. mostly.

[g-gotoh.com]

the difference to a vintage style 3-saddle bridge though, is huge.

Oh Pierre is guarding state secrets and lest he get in dire straights with his employer . It would be nice if after all is said and done that Pierre writes a book or something and divulges all of the tone secrets/ingredients of an exhaustive and thorough examination of Keith's rig and instruments and set ups , from string gauge to gauge of picks to how Pierre sets up Keith's instruments and exactly what pickups are in each instrument . Including a thorough run down on the amps Keith has used during Pierre turn at the helm and how the amps are dialed in . What if any pedal(s) Keith has used . I mean everything on what and how Keith does it and why not right ? It's not like we would be able to play or sound like the Human Riffmaster would as only Keith can sound like Keith . I have to really compliment Keith on inventing his own unique style of playing that no one can copy . That's pretty cool

Quote
TheGreek
Oh Pierre is guarding state secrets and lest he get in dire straights with his employer . It would be nice if after all is said and done that Pierre writes a book or something and divulges all of the tone secrets/ingredients of an exhaustive and thorough examination of Keith's rig and instruments and set ups , from string gauge to gauge of picks to how Pierre sets up Keith's instruments and exactly what pickups are in each instrument . Including a thorough run down on the amps Keith has used during Pierre turn at the helm and how the amps are dialed in . What if any pedal(s) Keith has used . I mean everything on what and how Keith does it and why not right ? It's not like we would be able to play or sound like the Human Riffmaster would as only Keith can sound like Keith . I have to really compliment Keith on inventing his own unique style of playing that no one can copy . That's pretty cool

Almost all these thing have been published in various guitar magazines and books through the years Everything from amp setting through string gauges. The Stones Gear Book has great information. Nothings a secret anymore. As far as Pierre goes the guy is probably bombarded with requests and questions. He knows more about guitars and amps that Keith could ever wish for.

Quote
More Hot Rocks

Quote
TheGreek
Oh Pierre is guarding state secrets and lest he get in dire straights with his employer . It would be nice if after all is said and done that Pierre writes a book or something and divulges all of the tone secrets/ingredients of an exhaustive and thorough examination of Keith's rig and instruments and set ups , from string gauge to gauge of picks to how Pierre sets up Keith's instruments and exactly what pickups are in each instrument . Including a thorough run down on the amps Keith has used during Pierre turn at the helm and how the amps are dialed in . What if any pedal(s) Keith has used . I mean everything on what and how Keith does it and why not right ? It's not like we would be able to play or sound like the Human Riffmaster would as only Keith can sound like Keith . I have to really compliment Keith on inventing his own unique style of playing that no one can copy . That's pretty cool

Almost all these thing have been published in various guitar magazines and books through the years Everything from amp setting through string gauges. The Stones Gear Book has great information. Nothings a secret anymore. As far as Pierre goes the guy is probably bombarded with requests and questions. He knows more about guitars and amps that Keith could ever wish for.

I have the Andy Bubiak book and it is good but , Pierre could fill in a lot of the blanks . The book is a reference guide like you would find in a library or an almanac . What I want to know are the personal specs and set ups and how the amps are dialed in and what if any coloring Keith uses regarding effects and such . More specific info . I do like the Stones gear book .

Thanks to all for taking the time to comment again on this perhaps long forgotten and perhaps solved question.
I am going to get the modern Tele brass saddles (a la Micawber) and not spend the extra bucks on the brass plate.
I feel that the general consensus is that a brass bridge plate has at best a very subtle to negligible effect on the final tonal result.

Well said, @TheGreek both posts.
I'd love to read what Pierre de Beauport has to say ...in his words, with some hardly kown secrets sprinkled in.
is it the Broadcaster wiring in “Micawber”?

I still don't have Andy Bubiak's Stones Gear Book but I'm under the impression that it's a blotting paper, that sucked up everything offered on the web. including IORR.
no personal opinion offerd and all written things must be taken as fact.

Did I board the wrong boat?

Quote
banditpanda
Thanks to all for taking the time to comment again on this perhaps long forgotten and perhaps solved question.
I am going to get the modern Tele brass saddles (a la Micawber) and not spend the extra bucks on the brass plate.
I feel that the general consensus is that a brass bridge plate has at best a very subtle to negligible effect on the final tonal result.

Please share some sound clips so we can all enjoy

Here's some interesting articles i found on Keef's rigs and Pierre.

[www.guitarworld.com]

[www.groundguitar.com]

Quote
open-g
Well said, @TheGreek both posts.
I'd love to read what Pierre de Beauport has to say ...in his words, with some hardly kown secrets sprinkled in.
is it the Broadcaster wiring in “Micawber”?

I still don't have Andy Bubiak's Stones Gear Book but I'm under the impression that it's a blotting paper, that sucked up everything offered on the web. including IORR.
no personal opinion offerd and all written things must be taken as fact.

Did I board the wrong boat?

Greetings , I never considered the fact about the wiring in "Micawber" ? The book is great with all of the color photos , which is nice and the author gives broad strokes on details and I want to say that it probably is more info than on the internet , but it's not the details all of us gear nerds want and need to fill in our blanks . For the non gear head the book is very informative and great . Get Pierre to dish and spill and divulge and then we have the real nitty gritty ! I would recommend that you get the book as it is a good reference guide with great photographs and I believe that is the best selling point of the book . I can't remember what it cost , and I know it was more bucks than a regular book , but it's well worth it .

Posted by: open-g ()
Date: August 25, 2020 11:35

A Micawber brass bridge will only differ in sound marginally, if at all, to the sound of Malcolm, which sports a modern chrome coated, six (ok,five) saddle bridge. the pickups and the body wood play the bigger role in sound, imo.

take a closer look and perhaps a file to your existing bridge, because undneath the chrome plating...there's brass to be found. mostly.

[g-gotoh.com]

the difference to a vintage style 3-saddle bridge though, is huge.[/quote]


Thank you! I have ordered the Gotoh Modern Tele bridge.

Described as :"This is a heavier bridge with a solid brass baseplate and allen-adjustable brass saddles."
BP



Edited 2 time(s). Last edit at 2020-09-01 07:50 by banditpanda.

Posted by: Koen ()
Date: August 26, 2020 03:39
Please share some sound clips so we can all enjoy .QUOTE



Parts are en route.
I'll see what I can do when all is ready to go.
BP



Edited 2 time(s). Last edit at 2020-09-01 07:46 by banditpanda.

I have two cheap Telecaster-Style guitars from slick guitars (a sl 50 and a sl 51, each costs about EURO 300,00)).
And if I want them to sound Keith-like, they do. No matter what amp I use (Laney, Fender, Marshall, Vox).
Euipment is important. But the player is so much more important. And I am only talking about sound, not other abilities.

Reply to: Posted by: RockingLonestar ()
Date: September 1, 2020 10:41

Respectfully, disagree. Don't want to start a sub text dialogue here though.
Obviously player technique is of utmost importance i.e. you have to know how to play in open G tuning, the chords have to be properly formed and strumming technique and timing are crucial.
It goes without saying that you need to know how to play guitar in the style of which we speak.
A majority of players will tell you that amp circuit and speaker type / configuration provides the end result voicing.
A large number of players will tell you that the pick ups, being the first responder, so to speak, will define the sound being amplified.
Less again will support maple fret boards over rosewood fret boards and Ash (Swamp) body woods over other types.
Player ability aside, the above ingredients put together a recipe for specific tonal qualities.
So, imo, to reproduce this voice : [youtu.be]
one has to assemble as many of the ingredients as one can.
If you can say that you can get that tone using Chinese guitar with Chinese pups running thru a Laney than more power to you.(I'm not saying your guits are Chinese)
I'm just having fun putting together a Keef/Micawber & bros. type recipe.
BP
p.s. I currently run a CIJ '52 RI Tele loaded with Bill Lawrence Micro-coils into a Marshall DSL 40H into 2x1x12" cabs holding WGS ET65 and WGS Retro 30 boosted with the Catalinbread SFT(original version) and a Scorpion compressor.
Sounds pretty darn good however I have en route brass bridge components and a 50's spec bridge pup just to see if I can get closer to the sound I hear. A Fender Champ or Pro Junior is also on the menu.
BP



Edited 1 time(s). Last edit at 2020-09-01 16:36 by banditpanda.

Quote
banditpanda
Reply to: Posted by: RockingLonestar ()
Date: September 1, 2020 10:41

Respectfully, disagree. Don't want to start a sub text dialogue here though.
Obviously player technique is of utmost importance i.e. you have to know how to play in open G tuning, the chords have to be properly formed and strumming technique and timing are crucial.
It goes without saying that you need to know how to play guitar in the style of which we speak.
A majority of players will tell you that amp circuit and speaker type / configuration provides the end result voicing.
A large number of players will tell you that the pick ups, being the first responder, so to speak, will define the sound being amplified.
Less again will support maple fret boards over rosewood fret boards and Ash (Swamp) body woods over other types.
Player ability aside, the above ingredients put together a recipe for specific tonal qualities.
So, imo, to reproduce this voice : [youtu.be]
one has to assemble as many of the ingredients as one can.
If you can say that you can get that tone using Chinese guitar with Chinese pups running thru a Laney than more power to you.(I'm not saying your guits are Chinese)
I'm just having fun putting together a Keef/Micawber & bros. type recipe.
BP
p.s. I currently run a CIJ '52 RI Tele loaded with Bill Lawrence Micro-coils into a Marshall DSL 40H into 2x1x12" cabs holding WGS ET65 and WGS Retro 30 boosted with the Catalinbread SFT(original version) and a Scorpion compressor.
Sounds pretty darn good however I have en route brass bridge components and a 50's spec bridge pup just to see if I can get closer to the sound I hear. A Fender Champ or Pro Junior is also on the menu.
BP

There are many guitar players I know, who buy those chinese guitars just because of the chinese pickups. And then they put those chinese pickups in their american Fender and Gibson guitars.

Quote
banditpanda
Reply to: Posted by: RockingLonestar ()
Date: September 1, 2020 10:41

Respectfully, disagree. Don't want to start a sub text dialogue here though.
Obviously player technique is of utmost importance i.e. you have to know how to play in open G tuning, the chords have to be properly formed and strumming technique and timing are crucial.
It goes without saying that you need to know how to play guitar in the style of which we speak.
A majority of players will tell you that amp circuit and speaker type / configuration provides the end result voicing.
A large number of players will tell you that the pick ups, being the first responder, so to speak, will define the sound being amplified.
Less again will support maple fret boards over rosewood fret boards and Ash (Swamp) body woods over other types.
Player ability aside, the above ingredients put together a recipe for specific tonal qualities.
So, imo, to reproduce this voice : [youtu.be]
one has to assemble as many of the ingredients as one can.
If you can say that you can get that tone using Chinese guitar with Chinese pups running thru a Laney than more power to you.(I'm not saying your guits are Chinese)
I'm just having fun putting together a Keef/Micawber & bros. type recipe.
BP
p.s. I currently run a CIJ '52 RI Tele loaded with Bill Lawrence Micro-coils into a Marshall DSL 40H into 2x1x12" cabs holding WGS ET65 and WGS Retro 30 boosted with the Catalinbread SFT(original version) and a Scorpion compressor.
Sounds pretty darn good however I have en route brass bridge components and a 50's spec bridge pup just to see if I can get closer to the sound I hear. A Fender Champ or Pro Junior is also on the menu.
BP

We had an idiot on one of the other forums arguing with us that it's not the guitar , it's some replacement pickups and stomp pedals that can get you there . The individual was basically saying we were idiots for paying over a certain amount for a 6 string and that any overseas knock off can get you the desired results . I happen to agree with you that it is the sum or whole of the ingredients along with decent playing that gets you in the ball park . It's the guitar, the amp , any pedal that is called for on a specific song , and the playing . not that it is hard to play note for note , it's darn near impossible to get Keith's style /feel = his sound . It took me forever and a lifetime to get the sound , forget about me copying Keith's style , as I would easily be identified as a fraud as I am not Keith Richards -the human riffmaster . It sure is fun playing the songs and music and hearing it sound decently though , and at the end of the day the object is to please one's ear . That in a nutshell is my challenge !

Quote
RockingLonestar

Quote
banditpanda
Reply to: Posted by: RockingLonestar ()
Date: September 1, 2020 10:41

Respectfully, disagree. Don't want to start a sub text dialogue here though.
Obviously player technique is of utmost importance i.e. you have to know how to play in open G tuning, the chords have to be properly formed and strumming technique and timing are crucial.
It goes without saying that you need to know how to play guitar in the style of which we speak.
A majority of players will tell you that amp circuit and speaker type / configuration provides the end result voicing.
A large number of players will tell you that the pick ups, being the first responder, so to speak, will define the sound being amplified.
Less again will support maple fret boards over rosewood fret boards and Ash (Swamp) body woods over other types.
Player ability aside, the above ingredients put together a recipe for specific tonal qualities.
So, imo, to reproduce this voice : [youtu.be]
one has to assemble as many of the ingredients as one can.
If you can say that you can get that tone using Chinese guitar with Chinese pups running thru a Laney than more power to you.(I'm not saying your guits are Chinese)
I'm just having fun putting together a Keef/Micawber & bros. type recipe.
BP
p.s. I currently run a CIJ '52 RI Tele loaded with Bill Lawrence Micro-coils into a Marshall DSL 40H into 2x1x12" cabs holding WGS ET65 and WGS Retro 30 boosted with the Catalinbread SFT(original version) and a Scorpion compressor.
Sounds pretty darn good however I have en route brass bridge components and a 50's spec bridge pup just to see if I can get closer to the sound I hear. A Fender Champ or Pro Junior is also on the menu.
BP

There are many guitar players I know, who buy those chinese guitars just because of the chinese pickups. And then they put those chinese pickups in their american Fender and Gibson guitars.

Can you give me a couple of examples of these Chinese made pickups , so I can check them out ?

Quote
TheGreek
We had an idiot on one of the other forums arguing with us that it's not the guitar , it's some replacement pickups and stomp pedals that can get you there . The individual was basically saying we were idiots for paying over a certain amount for a 6 string and that any overseas knock off can get you the desired results . I happen to agree with you that it is the sum or whole of the ingredients along with decent playing that gets you in the ball park . It's the guitar, the amp , any pedal that is called for on a specific song , and the playing . not that it is hard to play note for note , it's darn near impossible to get Keith's style /feel = his sound . It took me forever and a lifetime to get the sound , forget about me copying Keith's style , as I would easily be identified as a fraud as I am not Keith Richards -the human riffmaster . It sure is fun playing the songs and music and hearing it sound decently though , and at the end of the day the object is to please one's ear . That in a nutshell is my challenge !

Yes!
Do you have a thread or post on this Forum which describes how you are creating your sound?
BP

Quote
banditpanda

Quote
TheGreek
We had an idiot on one of the other forums arguing with us that it's not the guitar , it's some replacement pickups and stomp pedals that can get you there . The individual was basically saying we were idiots for paying over a certain amount for a 6 string and that any overseas knock off can get you the desired results . I happen to agree with you that it is the sum or whole of the ingredients along with decent playing that gets you in the ball park . It's the guitar, the amp , any pedal that is called for on a specific song , and the playing . not that it is hard to play note for note , it's darn near impossible to get Keith's style /feel = his sound . It took me forever and a lifetime to get the sound , forget about me copying Keith's style , as I would easily be identified as a fraud as I am not Keith Richards -the human riffmaster . It sure is fun playing the songs and music and hearing it sound decently though , and at the end of the day the object is to please one's ear . That in a nutshell is my challenge !

Yes!
Do you have a thread or post on this Forum which describes how you are creating your sound?
BP

No I don't .

Quote
TheGreek

Quote
RockingLonestar

Quote
banditpanda
Reply to: Posted by: RockingLonestar ()
Date: September 1, 2020 10:41

Respectfully, disagree. Don't want to start a sub text dialogue here though.
Obviously player technique is of utmost importance i.e. you have to know how to play in open G tuning, the chords have to be properly formed and strumming technique and timing are crucial.
It goes without saying that you need to know how to play guitar in the style of which we speak.
A majority of players will tell you that amp circuit and speaker type / configuration provides the end result voicing.
A large number of players will tell you that the pick ups, being the first responder, so to speak, will define the sound being amplified.
Less again will support maple fret boards over rosewood fret boards and Ash (Swamp) body woods over other types.
Player ability aside, the above ingredients put together a recipe for specific tonal qualities.
So, imo, to reproduce this voice : [youtu.be]
one has to assemble as many of the ingredients as one can.
If you can say that you can get that tone using Chinese guitar with Chinese pups running thru a Laney than more power to you.(I'm not saying your guits are Chinese)
I'm just having fun putting together a Keef/Micawber & bros. type recipe.
BP
p.s. I currently run a CIJ '52 RI Tele loaded with Bill Lawrence Micro-coils into a Marshall DSL 40H into 2x1x12" cabs holding WGS ET65 and WGS Retro 30 boosted with the Catalinbread SFT(original version) and a Scorpion compressor.
Sounds pretty darn good however I have en route brass bridge components and a 50's spec bridge pup just to see if I can get closer to the sound I hear. A Fender Champ or Pro Junior is also on the menu.
BP

There are many guitar players I know, who buy those chinese guitars just because of the chinese pickups. And then they put those chinese pickups in their american Fender and Gibson guitars.

Can you give me a couple of examples of these Chinese made pickups , so I can check them out ?

Aren't Chinese pickups junk? I haven't come across any that aren't monophonic.

Quote
Cooltoplady

Quote
TheGreek

Quote
RockingLonestar

Quote
banditpanda
Reply to: Posted by: RockingLonestar ()
Date: September 1, 2020 10:41

Respectfully, disagree. Don't want to start a sub text dialogue here though.
Obviously player technique is of utmost importance i.e. you have to know how to play in open G tuning, the chords have to be properly formed and strumming technique and timing are crucial.
It goes without saying that you need to know how to play guitar in the style of which we speak.
A majority of players will tell you that amp circuit and speaker type / configuration provides the end result voicing.
A large number of players will tell you that the pick ups, being the first responder, so to speak, will define the sound being amplified.
Less again will support maple fret boards over rosewood fret boards and Ash (Swamp) body woods over other types.
Player ability aside, the above ingredients put together a recipe for specific tonal qualities.
So, imo, to reproduce this voice : [youtu.be]
one has to assemble as many of the ingredients as one can.
If you can say that you can get that tone using Chinese guitar with Chinese pups running thru a Laney than more power to you.(I'm not saying your guits are Chinese)
I'm just having fun putting together a Keef/Micawber & bros. type recipe.
BP
p.s. I currently run a CIJ '52 RI Tele loaded with Bill Lawrence Micro-coils into a Marshall DSL 40H into 2x1x12" cabs holding WGS ET65 and WGS Retro 30 boosted with the Catalinbread SFT(original version) and a Scorpion compressor.
Sounds pretty darn good however I have en route brass bridge components and a 50's spec bridge pup just to see if I can get closer to the sound I hear. A Fender Champ or Pro Junior is also on the menu.
BP

There are many guitar players I know, who buy those chinese guitars just because of the chinese pickups. And then they put those chinese pickups in their american Fender and Gibson guitars.

Can you give me a couple of examples of these Chinese made pickups , so I can check them out ?

Aren't Chinese pickups junk? I haven't come across any that aren't monophonic.

He has it backwards. People buy these cheap Chibsons fron China. You're right the electronics are garbage. They replace all the hardware and put in american made picksups. Now you have a good guitar for a fraction of a new Gibson or Fender.

Yes!
Do you have a thread or post on this Forum which describes how you are creating your sound?BP[/quote]

Quote
TheGreek
No I don't .

Would you care to tell us your recipe.?
BP

Quote
TheGreek

Quote
banditpanda
Reply to: Posted by: RockingLonestar ()
Date: September 1, 2020 10:41

Respectfully, disagree. Don't want to start a sub text dialogue here though.
Obviously player technique is of utmost importance i.e. you have to know how to play in open G tuning, the chords have to be properly formed and strumming technique and timing are crucial.
It goes without saying that you need to know how to play guitar in the style of which we speak.
A majority of players will tell you that amp circuit and speaker type / configuration provides the end result voicing.
A large number of players will tell you that the pick ups, being the first responder, so to speak, will define the sound being amplified.
Less again will support maple fret boards over rosewood fret boards and Ash (Swamp) body woods over other types.
Player ability aside, the above ingredients put together a recipe for specific tonal qualities.
So, imo, to reproduce this voice : [youtu.be]
one has to assemble as many of the ingredients as one can.
If you can say that you can get that tone using Chinese guitar with Chinese pups running thru a Laney than more power to you.(I'm not saying your guits are Chinese)
I'm just having fun putting together a Keef/Micawber & bros. type recipe.
BP
p.s. I currently run a CIJ '52 RI Tele loaded with Bill Lawrence Micro-coils into a Marshall DSL 40H into 2x1x12" cabs holding WGS ET65 and WGS Retro 30 boosted with the Catalinbread SFT(original version) and a Scorpion compressor.
Sounds pretty darn good however I have en route brass bridge components and a 50's spec bridge pup just to see if I can get closer to the sound I hear. A Fender Champ or Pro Junior is also on the menu.
BP

We had an idiot on one of the other forums arguing with us that it's not the guitar , it's some replacement pickups and stomp pedals that can get you there . The individual was basically saying we were idiots for paying over a certain amount for a 6 string and that any overseas knock off can get you the desired results . I happen to agree with you that it is the sum or whole of the ingredients along with decent playing that gets you in the ball park . It's the guitar, the amp , any pedal that is called for on a specific song , and the playing . not that it is hard to play note for note , it's darn near impossible to get Keith's style /feel = his sound . It took me forever and a lifetime to get the sound , forget about me copying Keith's style , as I would easily be identified as a fraud as I am not Keith Richards -the human riffmaster . It sure is fun playing the songs and music and hearing it sound decently though , and at the end of the day the object is to please one's ear . That in a nutshell is my challenge !

Interesting topic....I have quite a guitar collection, with vintage, custom shop and masterbuilt guitars, and I have to say that in the end a good pickup and your own fingers get you there 90% soundwise. The thing is -I hear the other 10% when I play, but I doubt many people will do. And when I listen back to my own recordings it often is difficult to hear what guitar I played. Fact is, you can play country bends on a Les Paul that will not sound any different than a nice Tele.

I have put in at least 10 brands of PAF's in my Les Paul and ES-335, and while it always sounded like 'my guitar' the differences were stellar, with unfortunately one of the most expensive ones being really the best, it really brings out the most of the guitars. I have had many Tele's, but basically any Tele with my prefered Seymour Duncan Broadcaster or '55 Antiquity will have a great sound, from that $300 Squier to a $6000 masterbuilt.

Mathijs

Quote
banditpanda
Due Pierre de Beauport never answered and I'm still waiting like a decade later here is the question again,

I am strongly leaning towards changing my bridge plate and Saddles on my 5 string open G Tele to those as Keith has on Micawber. It will costs me a couple of bills to do so. In your opinion does the brass bridge plate on Micawber set it quite apparently apart tone wise from Keith's other Tele's which do not carry the brass.?
Thanks to all who care to chime in for like the 100th time/.
BP

The sonic differences are there, but do not really stand out. The original ashtray bridge with brass saddles has a lot of air, and little compression to the chords, and lots of treble. The modern 6 saddle bridge has a bid more midrange, makes it a bit more compressed and tight, and has somewhat more aggressive edge to it. A brass bridge sounds very much like a a modern bridge, with perhaps a little more low end. But that's quite stretching it, I think. I doubt I would hear the difference between brass and modern blindfolded.

I like the look of a brass bridge on a butterscotch Tele, or on a sunburst Custom Tele like Andy Summer, and I just do not like the ashtray soundwise and it interferes with my playing.

Keith's Micawbre received a brass bridge because it was the most modern thing to do, stuck brass things to your guitar. And apparently it was the only bridge available when they wanted to replace the old bridge in 1981.

Mathijs



Edited 1 time(s). Last edit at 2020-09-02 17:34 by Mathijs.

Best pickups for all of my teles is a set of Kluson Texas Blues.

The pickups are GERMAN pickups ;-)

Quote
RockingLonestar
Best pickups for all of my teles is a set of Kluson Texas Blues.

The pickups on the Slick guitars are Slick pickups, designed by Earl Slick, former guitar player of David Bowie, John Lennon, Ian Hunter etc.
In the US you can order them via WWW.GUITARFETISH.COM
I prefer the Old School Humbucker set, which cost about US $ 80,00.

Quote
Cooltoplady

Quote
TheGreek

Quote
RockingLonestar

Quote
banditpanda
Reply to: Posted by: RockingLonestar ()
Date: September 1, 2020 10:41

Respectfully, disagree. Don't want to start a sub text dialogue here though.
Obviously player technique is of utmost importance i.e. you have to know how to play in open G tuning, the chords have to be properly formed and strumming technique and timing are crucial.
It goes without saying that you need to know how to play guitar in the style of which we speak.
A majority of players will tell you that amp circuit and speaker type / configuration provides the end result voicing.
A large number of players will tell you that the pick ups, being the first responder, so to speak, will define the sound being amplified.
Less again will support maple fret boards over rosewood fret boards and Ash (Swamp) body woods over other types.
Player ability aside, the above ingredients put together a recipe for specific tonal qualities.
So, imo, to reproduce this voice : [youtu.be]
one has to assemble as many of the ingredients as one can.
If you can say that you can get that tone using Chinese guitar with Chinese pups running thru a Laney than more power to you.(I'm not saying your guits are Chinese)
I'm just having fun putting together a Keef/Micawber & bros. type recipe.
BP
p.s. I currently run a CIJ '52 RI Tele loaded with Bill Lawrence Micro-coils into a Marshall DSL 40H into 2x1x12" cabs holding WGS ET65 and WGS Retro 30 boosted with the Catalinbread SFT(original version) and a Scorpion compressor.
Sounds pretty darn good however I have en route brass bridge components and a 50's spec bridge pup just to see if I can get closer to the sound I hear. A Fender Champ or Pro Junior is also on the menu.
BP

There are many guitar players I know, who buy those chinese guitars just because of the chinese pickups. And then they put those chinese pickups in their american Fender and Gibson guitars.

Can you give me a couple of examples of these Chinese made pickups , so I can check them out ?

Aren't Chinese pickups junk? I haven't come across any that aren't monophonic.

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banditpanda
Yes!
Do you have a thread or post on this Forum which describes how you are creating your sound?BP

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TheGreek
No I don't .

Would you care to tell us your recipe.?
BP[/quote] Okay , For amps I use 2 Marshall 2555X's into 2 Marshall 2551AV's cabs loaded with Celestion Vintage 30's speakers ( my favorite ) This is a modern high gain sound . For guitars I favor Gibson Custom Shop Les Paul's -R9's and R8's loaded with ThroBak MXV-SLE-101 Plus pickups with A5 Magnets . I have Fender Stratocasters and Telecasters . The USA 52 reissue 1993 Fender Butterscotch Maple neck Telecaster which is stock except for the Fender Texas Special pickups , 2016 Fender Custom Shop Rosewood Telecaster and lastly a 1969 Fender Double bound Alder Sunburst Telecaster with a huge flamed Maple neck , all original . This guitar played thru my rig sounds like Keith ,which is unbelievable to me when I first played it and the funny thing is I hate Alder bodied Fenders as I am partial to Ash bodied Fenders as I feel they resonate better ( steel bridge with 3 saddles ) That darn bridge pickup delivers the Keef Flavor and Tone . I always wanted a Double Bound Telecaster with a Maple neck and never once did I think I would get into Keef tone country . This is one instance where I really believe the old growth wood theory . Along with the Nitro lacquer and the pickups and how this instrument sounds . I also have a 1969 Dan Armstrong Plexiglass guitar that sounds great and better than I thought ( if only it would stay in tune ) I also have a 1991 Gibson Reverse Firebird V in Cardinal Red , and a 1982 Korina Flying V in Antique Natural, also a 1972 Martin D-41 acoustic . For pedals I use a Cry Baby Wah , a script logo vintage MXR Phase 90, BOSS TU-3 Tuner, BOSS BF-2 Flanger, BOSS CH-1 Chorus and lastly a BOSS DD-7 Delay . I also have to use a Radial Big Shot ABY True Bypass Switcher Pedal for the 2 Marshall half stacks to have them in phase ,which is important . The sound is massive coming from the King of Loud amps from the Guvnor himself Jim Marshall . This is my recipe for fun and sonic mayhem . At the end of the day my challenge to the instrument is to make it pleasing to my ears , because the ears do not lie and know good from bad .