Doctor J

Half the accounts are Fender shills. No matter what the question is, thirty lads are lined up to tell you Fender is the answer. A depressing turn of events as it used to be a decent resource.

Listen to the interview video.

Until your singer quits the band midway through a song, that song being about halfway through your first ever headlining set, walks straight through the crowd and out of the venue without even stopping to pick up his jacket, to the sound of one scallywag singing "One of these kids is doing his own thing!", while the guitarist (who was so stoned he came up to you before the gig to say he couldn't feel his hands and was slumped over throughout his "performance" on a bar stool on stage, because it turned out he couldn't really feel his legs either) continues to fumble his way through something loosely resembling your music because he hasn't noticed the singer is not only not singing, but isn't even in the venue any more, you haven't really had a bad gig. There's a worse one out there waiting for you. These will make you appreciate the good ones more, so chin up. 😃

Perhaps this will help? https://www.deanguitars.com/

It was carried out under the new management regime. However many of those guitars were made -the third video speculated less than 800 - Gibson intentionally destroyed almost half the number of these guitars in existence as a financial write-off. They had to destroy all the parts and cases too as a result. That’s why they’re strung up, with the tuners, pickups and electronics in place. The whole instrument needed to be destroyed in order to write off the full value. It’s a financial move, pure and simple. They weren’t defective, other than the actual design, and they weren’t unsafe, other than to their tax liability. The cost of this kind of nonsense is absorbed into the price tag of every other Gibson out there, just bear that in mind next time you’re looking at one in a shop. A final point and one which is being overlooked - Gibson finally made a guitar where it seemed to take effort to remove the headstock and they destroyed them. It’s a crazy, crazy world.

They weren’t flawed or B-stock as the interview made clear.

Next video will be the creepy “play authentic” guy driving a Prius over a load of Deans shouting “DO YOU SEE, DEAN? DO YOU SEE WHAT HAPPENS WHEN YOU FUDGE A STRANGER IN THE PASS?!?!?!”

A friend of mine went to Lisbon a few weeks ago to see them, so there has been much Tool-talk recently. Here’s hoping they can maintain that very high standard with the new one.

That’s not damage, that’s mojo. You know how it works. That brick looks like an original 31 also, they’re quite rare these days. Soon, there’ll be bricks for sale just like it, skilfully “relic’d” by artisan builders, selling for a premium and also not damaged. People will ask “Why don’t you just buy a new brick and damage it yourself through honest wear and tear?” but they just don’t get it.

Neodymium magnets are much stronger than the alnico I’m guessing the Geezer is built with. They won’t have the same output level at all. Set the Geezer where it sounds best.

It’s not what you started out trying to create and a form of music you’re not really into? If you saw what it is now on an ad, would you consider applying if you were never involved in the first place? It sounds like you might have lost interest anyway, sooner or later, and these guys just saved you a load of time. Chin up. Believe in yourself and your abilities and focus on what it is you really want to do. Put your energies into chasing that. You’re the right man for that gig.

Old is gold for me. I have an pair of 89s, an 800LE and a 1000E which cost less together than a new 500e. I would go second hand base it on the features I’m looking for rather than a higher number. I love the sound of the reversed P and J setup and the older necks are a smidge thicker than the current ones, I think. Hence, the early ones attract me but it’s hard to go wrong with the current roster. They’re generally excellent from the mid-range models up. Find what it is you like and get the one which has that.

Not just signature models but they spend significant amounts of money making sure their instruments are in the hands of B-listers also.

I wonder if Cruz spent time replicating the shonky build quality of your average 70’s Fender, you know, sanding a few extra mm of breathing room into the neck pocket and such?

Or they could just try to make the competition disappear?

Very, very nice.

Nor the JPJ Precision.

The other side of it is the countless number of folks who think they can upload and do what they wish with someone else’s music. Those who show no respect for the work of creative artists, not just for big acts, but for us bottom-dwellers too. For example, I released some music recently, recorded with a mate. Ahead of the full release date, we released one song on youtube and, a couple of days later, another song on bandcamp. A few days later, we released the third and final song on youtube (we do very low tempo stuff so our three songs clock in at just under half an hour 😂 ). The next day, my mate sent me a link to a youtube video asking if I had put it up. I checked the video. It was our three songs in one video, compiled by someone in Poland who had ripped the audio from bandcamp and uploaded our music, ahead of our chosen release date, using the original artwork we paid for, without our permission. It’s small potatoes, I know, but to have someone wrestle what little control you have of how your music is released and presented is a pretty crap feeling and takes a lot of the fun out of what should be an enjoyable event. Checking the guy’s channels, he had more than one, all he did was upload other people’s music from all genres randomly and try to monetise it. Around the same time, we received an email from another guy asking permission to upload it. His channel is also just music he uploads, but he promotes the kind of genre we operate in and he asked first, so we gave permission. To get onto Spotify, itunes, etc, we had to go through a broker service - we chose cdbaby - and also published through them. A few days later, I noticed the licensing information added to the second guy’s video, see below. This was done via the clever algorithms called out in the OP’s video, no doubt. While I think the situations outlined in the OP’s video are extreme and pushing things a bit too far, it should be remembered that there are plenty of people using original music without permission for their own gain. It’s not just The Eagles who won’t miss another ivory backscratcher, but us nobodies, too, who are getting screwed. There is merit to both sides of the arguement. As with everything, some balance is required to find the appropriate solution. We’re not there yet, though.

Alternatively, sell it and have a nice holiday. Japanese Boss pedals command a premium, old and boxed ones even more so. I think the cardboard traps the tone and mixes it with the space-time mojo and then they sound better than the same pedal not old and boxed. There is a hipster somewhere who doesn’t know he needs this in his life yet. To ebay with you!

Humans need to disappear.

I saw these fellas in Hamburg last year, most enjoyable racket.

I bought this DOD FX 59 “Thrash Master” sometime in 1990, I think. It’s a terrible sounding thing on a guitar, for which it was designed. On a bass, however, the copious amount of low frequencies give a thick and meaty distortion which could level a village in the wrong hands.

Nasty Gibson were seemingly threatening shops which stocked Deans with legal action prior to them filing a suit against Dean themselves. That'll win them friends. https://guitar.com/news/dean-seeks-trademark-cancellation-against-gibson-alleges-dealer-interference/

You’d need a medium now.