David Gilmour’s Black Strat (and others) up for auction...

#22
Paul Gilmour’s songs are better anyway. PF has a handful of good songs, maybe two hands if I stretch it. The rest is pretentious prog. Rock and effects.

There I said it! ;)
 

Tankman

Subtly not giving a F*ck
#26
If this is the point where Dave steps out and says 'Ha ha, fooled you. I was using an early '90s Squier on Another Brick In The Wall!' then yes, it would be the case. And there would be some very angry, slightly less rich people :bounce::spider:
That's actually the case with Incubus. He used to play a really nice and very expensive PRS Hollow Body Double Cutaway Guitar. He picked up a Squier Classic Vibe Tinline Tele and liked it so much he bought it. Then he started playing it. In the end he wrote most of an album on it, recorded with it, and after replacing the neck with something a bit more roadworthy he toured with it for a long time.
 

Chu

Well-Known Member
#27
That's actually the case with Incubus. He used to play a really nice and very expensive PRS Hollow Body Double Cutaway Guitar. He picked up a Squier Classic Vibe Tinline Tele and liked it so much he bought it. Then he started playing it. In the end he wrote most of an album on it, recorded with it, and after replacing the neck with something a bit more roadworthy he toured with it for a long time.
I was trying to be clever with him recording a song in the late '70s with a '90s guitar.....

But anyway, no matter how great the guitar, who made it, with whatever components, only one guitar was used by DG for those key moments that resonate so deeply through my life. You're not buying a Strat, you're buying that Strat. If I could afford nearly $4m, i wouldn't rule it out. I watched Grand Tour recently with James May driving Neil Armstrong's Corvette which he had during his time as an astronaut. He was in tears, stating the absolute obvious 'Neil Armstrong drove this. He looked at those dials. He touched this gear stick'. My Volvo is a much better car but I somehow think it's not comparable!
 

Chu

Well-Known Member
#28
Further regarding cheap vs not cheap guitars, it's massively easy to ignore our own lust. People care about how it looks, how it begs you to pick it up. If not, we'd all be playing oiled planks. Forget nice colours, finishes and tints, it doesn't matter.

I'm gigging tomorrow with three guitars. The PRS SE has been subtly modded and is a brilliant guitar that can hang out nicely with the USA PRS I'm also taking. But I'm only satisfied with it because I've got that much more expensive version. Without that, I'd forever lust after it, demeaning the SE in the process.

We're all different. Some approach it scientifically, others emotionally, looking to buy that item of their dreams. It's all good in the end.
 

SemiCullen

Still haven't got the hang of Thursdays
#29
Further regarding cheap vs not cheap guitars, it's massively easy to ignore our own lust. People care about how it looks, how it begs you to pick it up. If not, we'd all be playing oiled planks. Forget nice colours, finishes and tints, it doesn't matter.
If we didn't care about out personal aesthetics, I think we'd all be playing Strandbergs or Abasi Concepts or something like them that were designed to be ergonomically better for us to play.
 

everfreetree

I... I like trees.
#30
If we didn't care about out personal aesthetics, I think we'd all be playing Strandbergs or Abasi Concepts or something like them that were designed to be ergonomically better for us to play.
And here I am, in the awkward camp of "I actually rather like Strandbergs' shape..." and also "Good God, I can't stand looking at those Abasi guitars..."
Strandbergs are like my gateway drug to the madness of ergonomic guitars.
 

SemiCullen

Still haven't got the hang of Thursdays
#31
And here I am, in the awkward camp of "I actually rather like Strandbergs' shape..." and also "Good God, I can't stand looking at those Abasi guitars..."
Strandbergs are like my gateway drug to the madness of ergonomic guitars.
I think Abasi guitars are awesome and don't really care for Strandbergs. :)

I was really just commenting to how they're very polarizing designs and aren't generally for the guitar market at large, but they're scientifically designed to be better for us to play.
 
#32
If we didn't care about out personal aesthetics, I think we'd all be playing Strandbergs or Abasi Concepts or something like them that were designed to be ergonomically better for us to play.
I can safely say I feel zero like for ergonomy at this point in time. If I have to use an ergonomic computer mouse or desk chair of a collegue then I am absolutely appalled by it. I suspect Strandbergs and the likes to be similar to me.
 

johnniegoat

Stop, don’t, come back.
#33
@Chu

ABITW solo was the goldtop straight into the desk, then re-amped through a hiwatt

there is an overbend near the start of the solo; the shorter gibson scale masde that bend easy - when he plays it live on a strat, he'll sometimes augment his left hand bend with a yank on the whammy bar to hit the correct pitch

told you i was dull...
 
#34
@Chu

ABITW solo was the goldtop straight into the desk, then re-amped through a hiwatt

there is an overbend near the start of the solo; the shorter gibson scale masde that bend easy - when he plays it live on a strat, he'll sometimes augment his left hand bend with a yank on the whammy bar to hit the correct pitch

told you i was dull...
I love stories behind music. So not dull

Another one that always sticks with me is the story behind King Harvest Dancing in the Moonlight, which is that the writer of the song got mugged on the beach late at night. Translates pretty badly to the song.

OT I think it’s pretty crazy to see this auction break all sorts of records, new highest sold Strat, LP and Acoustic if I’m not mistaken. Also for a good cause, without meaning to sound political.
 

Chu

Well-Known Member
#35
@Chu

ABITW solo was the goldtop straight into the desk, then re-amped through a hiwatt

there is an overbend near the start of the solo; the shorter gibson scale masde that bend easy - when he plays it live on a strat, he'll sometimes augment his left hand bend with a yank on the whammy bar to hit the correct pitch

told you i was dull...
Not wishing to sound like a douche, i knew that but omitted it for the purpose of making a stupid point..... I love details like this though, at times it counters some of the trappage of gear snobbery. Recently there was a guy searching for advice on the Kemper group for a perfect tone for On The Turning Away. There was lots of advice based on DG's live rig but with little on the studio side. When I suggested that it might have been the same as on Sorrow, for which he used a Steinberger headless with EMGs into a small Fender combo, then reamped through a massive PA, well the shit hit the fan. :bounce:
 

mirage2101

Well-Known Member
#36
Not wishing to sound like a douche, i knew that but omitted it for the purpose of making a stupid point..... I love details like this though, at times it counters some of the trappage of gear snobbery. Recently there was a guy searching for advice on the Kemper group for a perfect tone for On The Turning Away. There was lots of advice based on DG's live rig but with little on the studio side. When I suggested that it might have been the same as on Sorrow, for which he used a Steinberger headless with EMGs into a small Fender combo, then reamped through a massive PA, well the shit hit the fan. :bounce:
I love those small fender models! People go blind on some of the big names only to find out the track was recorded on a 5 watt dr Z or something simple the studio had lying around.
 

metromusic

Negative, I am a meat popsicle
#40
Not wishing to sound like a douche, i knew that but omitted it for the purpose of making a stupid point..... I love details like this though, at times it counters some of the trappage of gear snobbery. Recently there was a guy searching for advice on the Kemper group for a perfect tone for On The Turning Away. There was lots of advice based on DG's live rig but with little on the studio side. When I suggested that it might have been the same as on Sorrow, for which he used a Steinberger headless with EMGs into a small Fender combo, then reamped through a massive PA, well the shit hit the fan. :bounce:
I still think my favourite gear story is from the book Complicated Game: Inside the Songs of XTC (which is a great read for anyone who likes XTC, or titbits about studio work/songwriting). Andy Partridge says that on a few of the songs some of the guitar tones were recorded on one of those tiny battery powered novelty amps (sort of like the Marshall MS2). It makes me laugh thinking of working in a really big studio environment and just pulling the amp out of my pocket to record with :D
 
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