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“Theory is something that is written down after the music has been made so we can explain it to others”– Levi Clay
https://www.researchgate.net/publication/227630822_Making_Magic_Fetishes_in_Contemporary_Consumption
http://www.tandfonline.com/doi/full/10.1080/19401159.2016.1252973?scroll=top&needAccess=true&;
However anything to do with art/music is never rational, it is all about emotion and to me how a guitar looks is the vital component.
They have to be the right guitars and they have to be the right colour. I wouldn't be happy otherwise.
Why put up with something you don't like the look of or hate the colour when you don't have to?
All the science in the world can't duplicate emotion.
You could argue the Strat is seen as the guitar that is used by boring old farts mostly for hanging on the wall and admiring the CS relic paint job.
Neil said:
Quite right, and videos only tell a very small part of a story. Different guitars feel differently, respond differently, to me that's every bit a reason to chose the 335 over the Tele or whatever, as the pickups. They make me think, feel & play differently.
The different between a Strat and an LP might not be clear through a small amp or modelling or whatnot at home, but run them through a stack or a big amp and the different sound and feel is blindingly obvious.
Clapton's 1964 Sg Standard was a very nice sounding guitar. Imagine if he had bought it just a couple of years before he did.
John Mayall might not have noticed. But Scott Chinery and Dirk Ziff would have noticed.
If he did say bad and really bad, maybe he didn't like the bridge pickup tone either...
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
I thought this was the 50s Telecaster wiring scheme:
Position #1 (switch lever on the right): Bridge pickup alone with tone control engaged. (This is identical to today’s modern Telecaster wiring.)
Position #2 (switch lever in the middle): Neck pickup alone with tone control engaged. (On modern Telecasters, this position engages both pickups wired in parallel.)
Position #3 (switch lever on the left): Neck pickup alone with a bassy-sounding preset and no further tone control. (On a modern Telecaster, this selects the neck pickup alone with tone control engaged.)
This circuit is often referred to as the “dark circuit” or “blackguard” wiring and was roughly used from mid 1952 up to late 1967. Within this 15-year period, the circuit stayed mostly untouched, but Fender changed the specs of the two capacitors several times.
Electronically, the original dark circuit—often referred to as “dark circuit 1st generation”—features two 250k Stackpole audio pots, two Cornell Dubilier (CD) 0.05 µF/150V paper-waxed caps, and one 3-way pickup selector switch, originally from CRL with a 1452 imprint.
Although the 50s Tele wiring has the bridge pickup with the volume control, not the tone control.
Either way it was probably the limitations of the wiring that he found too restrictive.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein