We play your typical pub rock, but I’m hoping to bring a few new ideas in… if the guys will have them!

So, I’ve got a few things to do before my first gig on 21st August (The Chequers, Stotfold):

• Learn the set;
• Decide what tunings/guitars I’ll need… Probably my PRS, 0001 and Gold Top (in drop-D);
• Finish building (and testing!) my Airbrake power attentuator;
• Finish building the Booster and Phase45 pedals that are currently in pieces on my bench;
• Buy a Polytune;
• Rebuild my pedalboard.

Oh, and I’ve got a patio to re-lay and a conservatory that needs paint, flooring and skirting boards.

Priorities, eh? Who needs ‘em?

Project 0001 - the body

Well, the replacement body turned up – a three-piece alder body with SSH routing, undrilled, finished in Vintage White.  Initially, I thought that either I or they had cocked up with the colour; as it’s definitely cream, not white.  However, checking against Fender’s standard colour chart, I can see that it’s as specified… My bad!

Still, in my mind it looks pretty good against the gold anodized scratchplate (and appears to be a pretty good match to the original).  The ‘plate, incidentally, is the real deal – a Fender ’57-style.  The original one, bought from eBay, looked great face-on but otherwise appeared silver…  Not the effect I was looking for!  Thankfully, I managed to lose that one via the ‘Bay so I’ve virtually broken even there.

Since the body was undrilled, copious measurements were taken, drawings made and photos referred to to ensure that everything went in the right place.  It was then that I realised that the neck pocket had to be reshaped slightly to accommodate the square-heeled neck that I’d already prepped (note to self – buy a router and templates.  Quicker and easier than playing with chisels and miniature sanding drums!).  Of course, this reshaping also necessitated some alteration to the scratchplate, too.  It’s not the tidiest of jobs, but it will be hidden by the 22nd-fret overhang.  Before anyone flames me for being a “bodgit and leggit”, don’t forget that this is both a personal project and a learning curve for me!

Anyway, centre lines were marked, neck was offered up, string positions calculated and the final bridge position determined.  I used the Power8 Workshop‘s pillar drill to bore the bridge screw holes…  I’d already established that the centre two holes would need to be drilled free-hand, as the throat on the Power8 isn’t huge.  Large carpenters squares and spirit levels are incredibly useful in this scenario!  Additional screw holes were marked, punched and drilled and all parts screwed to the body using a good ol’-fashioned screwdriver.  I’ve heard too many tales of wandering bits and snapped screws to risk using anything powered!

So far, so good – everything fits and, through my eyes, looks pretty good.  Next step – fixing the neck.  Then on to shielding the cavities and wiring.

I’m aiming to get this finished by the time I hit the UKMG National at Buxton in November… Time will tell!

'56 Les Paul Gold Top

Don Maclean wrote the line “the day that music died” in memory of that February day in 1959 when Buddy Holly, Richie Valens and JP Richardson (aka “The Big Bopper”) were tragically lost before their time.

More recently, the demise of a certain MJ Jackson rocked the world of popular music. But today, dear reader, there is, sadly, a more poignant loss.

Today, 13th August 2009, saw the passing of one Lester Polsfuss, aka Rhubarb Red, aka Les Paul. To musicians (especially guitarists) he was a legend… Nay, an icon.

If you’ve listened to any piece if popular music made since the 1950′s, you owe him a debt of gratitude for inventing multitrack recording. He was a man that would never accept the status quo, and wouldn’t be beaten. If it wasn’t for his foresight and tenacity, the guitar that bears his name would not exist… And that might’ve meant no Clapton, Page, Beck, Green, Slash, Rhoads and countless others.

Even at 94 years of age, he was still packing them in every week at the Iridium, NYC.

RIP Les Paul – the most important man in music in the last 100 years…

It’s made by Johnson and has own-branded pickups, made by EMG.  It’s as purchased (I haven’t even plugged it in) and is still boxed.  The paint job is a very dark blue metallic – I suppose “midnight blue” would be an apt description.

The pics below aren’t brilliant, but they’ll give you an idea.  Anyone want to make an offer?  I’m ideally looking for around UK£65, plus shipping (charge tbc).  If you’re interested, please drop me a line.

When I last posted, I had just created the headstock logo and decals.  I’m pleased to say that the headstock now also sports a set of gold Wilkinson Deluxe machineheads (tuners, to those of you across the pond).  Whilst not strictly accurate (i.e. split post), these have two holes at 90 degrees to each other – maximum string-lockage without the need for fancy cam/screw systems.  Sadly, I also managed to drop the neck (silly, silly boy!) which has left a couple of marks. If things continue like this, the “to relic or not to relic” argument may answer itself…

Anyway, on to the body…

The (abused) blue poly finish was stripped using a chemical stripper, followed by copious amounts of sanding.  Going back to the bare wood probably wasn’t the best move, but at least I knew what I was dealing with.  Neck mounting holes were drilled out and plugged with some hardwood dowelling (turned by my father-in-law) and all other screw holes were filled with cocktail sticks and PVA glue.  Once dry, these were cut and sanded flush.

I spent quite a while sanding everything to a good standard and was ready to spray.  I screwed a batten into the neck pocket to act as a handle before applying a few coats of Volkswagen Vintage White.  As colour matches go, this was pretty good – although the spraying left a lot to be desired.  Hey – call it learning!

It was at this point that I noticed a dirty great crack opening up in the body – from the bottom strap-pin hole all the way up to the heel on the back, and up to the bridge on the front.  A better man may be able to salvage this beast but not me!  I’ve decided to keep this for my spray-practice and have purchased another, undrilled body – this time already finished in Vintage White.  No doubt the factory will produce a far superior finish than I can manage!

So, not quite where I wanted to be after another year but who knows?  I might even have it completed inside another 12 months…

So, in no particular order, I give you the winners…

1. Another Brick In The Wall Pt II (Pink Floyd) – specifically David Gilmour’s guitar solo.
2. Sweet Child O’ Mine (Guns n’ Roses) – right at the end of the “where do we go” section (at 5:11), Slash repeat picks a full tone bend on the top E string (22nd fret), followed by a let-down 18 to 17.  Spine-tingles all round.
3. Somewhere Over The Rainbow (Eva Cassidy) – it may be an overplayed, clichéd bit of schmaltz, but EC’s pure voice, combined with the innocence of the song, hits me square in the guts every time.  Don’t know why, don’t *want* to know why… All I know is that it has the power to cause a little dust to enter my eyes.
4. Cause We’ve Ended As Lovers (Jeff Beck) – I had to pick one JB tune and this is it.  Late at night, sitting in the darkness, glass of wine and this on the stereo. Perfection.
5. Little Wing (Jimi Hendrix) – it’s Hendrix, and a world away from the guitar-burning, feedback-laden live performances that many people think of when JH comes to mind.
6. In The Air Tonight (Phil Collins) – bear with me on this… The transition from drum machine (808?) to the power drums just lifts me; almost like a double espresso after a relaxing meal.
7. Fire (Jimi Hendrix) – yup, him again. Why? ‘Cos I can.  This one always peps me up, without fail.
8. Albatross (Fleetwood Mac) - Peter Green and Jeremy Spencer’s high harmony bends, Mick Fleetwood’ subtle cymbal rolls… Simply sublime.
9. O Fortuna (from Carmina Burana, Carl Orff) – Got to ‘ave a bit of culture, ‘aven’tcha?  I performed this years ago with my school choir.  The opening bars blew the first row of the audience back three feet… Now’s *that’s* music to move you.
10. I Want It All (Queen) – to quote Jeremy Clarkson, “POOOOOWWWWWWEEEEEERRRRR!”

 That’s it from me – anything you’d like to add?

* “Wonderboy” – The mighty Tenacious D.

Blue Meanie

It’s taken a while, but I’ve finally got around to taking a few photos of my bitsa-super-jackson-strat-type guitar that was completed in October 2006.

I’d collected the parts over the previous year or so; some from friends, other from that great guitar-parts emporium known as eBay.

I chickened out of assembling the thing myself, and instead dumped a gig-bag of parts on Paul Creedy’s doorstep.  To stop him thinking I was some crazed fly-tipper, I thrust some crinkly beer tokens into his hand and waited…

…a few months later (hey, I wasn’t in any real rush), he presented me with the results.

Darned fine results, too!

Yup, another successful National get-together with the guys ‘n’ gals associated with the uk.music.guitar newsgroup – thanks again for a(nother) memorable weekend.

Anyone interested in seeing photos (and, eventually, videos) of the event should stop by the newsgroup and say hello – linkage abounds therein.

1. A Harley Benton GA5 baby valve amp
2. A THD Hotplate (8 ohm, please)
3. A Boss RC20XL Loop Station
4. A Digitech Vocalist Live 2 (the Live 4 is all very nice, but I don’t want to be too cheeky)

That’s it – not very much at all.

TIA,

Ross.

Holly: “Holly looking at guitars for Daddy.”
Me: “Are you going to buy me a new guitar, then?”
Holly: “Yes.”
Jo: “I think Daddy’s got enough…”
Holly: “No, Mummy – more!”

I don’t think anything else needs to be said…