New video: Ten Things Leo Got Wrong

[Spud]

Come on, we’re the bacon bits to your spud

I will ruminate on upon this. Hawks play ,tomorrow, so don’t expect any expedient illumination.

 

[Spud]

Come on, we’re the bacon bits to your spud

But you don't ask with respect, you don't offer friendship; you don't even think to call me Spudfather

 

[TBurst Std]

But you don't ask with respect, you don't offer friendship; you don't even think to call me Spudfather

Leave the gun, take the Canoli

 

[Chuckles]

I think it can be done with a 5 way too. It's not untrue.............if you believe it.

The toan is in the belief.

 

[NedRyerson]

I see the toxic guitar people have been triggered....

 

[cuthbert]

Wow....like any rational person, I never have a beef with people's opinions that run contrary to mine. But some of those comments on YouTube today have been simply awful. Really viscous ad hominems aimed at me. I had to delete a few.

I just can't understand how people can allow themselves to become so spiteful over things that matter so little.

The internet is truly a strange place.

The issue is that vintage guitar is a sort of weird religious cult that brainwashes a good % of guitarists and all the collectors, and I use this term for people who think they are players but in reality are capable perhaps of playing three chords and a pentatonic scale.

Not that there's anything wrong with that, but those people think they are some sort of fine connoisseurs with perfect ears.

Let's be honest: the design of the vintage saddles of Fender bridges is atrocies, they are uncomfortable to palm mute and tend to rust for the simple reason that they were supposes to get in contact with the palm of your hand, however according to them they are superior to anything else developed by Fender itself or other companies.

Let's not start with the hate for Floyd Rose and the weird idea that a vintage Fender tremolo can hold tuning better, despite of Jimi Hendrix proving otherwise in many live performances.

 

[aarontunes]

.....despite of Jimi Hendrix proving otherwise in many live performances.

And what's up with him counting the frets before every show? LOL. Has anyone figured that out yet?

 

[Strat Avenger]

The issue is that vintage guitar is a sort of weird religious cult that brainwashes a good % of guitarists and all the collectors, and I use this term for people who think they are players but in reality are capable perhaps of playing three chords and a pentatonic scale.

Not that there's anything wrong with that, but those people think they are some sort of fine connoisseurs with perfect ears.

Let's be honest: the design of the vintage saddles of Fender bridges is atrocies, they are uncomfortable to palm mute and tend to rust for the simple reason that they were supposes to get in contact with the palm of your hand, however according to them they are superior to anything else developed by Fender itself or other companies.

Let's not start with the hate for Floyd Rose and the weird idea that a vintage Fender tremolo can hold tuning better, despite of Jimi Hendrix proving otherwise in many live performances.

They've made a religion out of it, and you'll never be able to reason with them despite the fact that 70 year-old technology is in no way equal (much less superior) to today's technology. Of course I prefer the styling of the vintage instruments (Strat, Tele, Les Paul, etc.), but I insist on modern upgrades.

 

[cuthbert]

They've made a religion out of it, and you'll never be able to reason with them despite the fact that 70 year-old technology is in no way equal (much less superior) to today's technology. Of course I prefer the styling of the vintage instruments (Strat, Tele, Les Paul, etc.), but I insist on modern upgrades.

Besides technology, music back in time was much more simple to play : without distortion palm muting was not as relevant as to say, in heavy metal. Leo designed the bridges of his guitars without thinking about this feature, later in the 60s he inserted the mechanical palm muting on Jaguars and JMs but they never worked even for the music of the time.

Vibratos are another example : they were designed for a gentle shaking, not divebombing. The first guy who used it in a more creative way always had tuning problems on stage.

Not to mention the noise of the single coils, not an issue for clean small amps but non manageable at high gains etc...

But in the end we also need to remember they created a lucrative business : vintage guitars, so they are incentivized to sell smoke and create a mythology around these instruments, otherwise how could they justify asking hundred or thousands for a 50s Les Paul?

 

[BroccoliRob]

Besides technology, music back in time was much more simple to play : without distortion palm muting was not as relevant as to say, in heavy metal. Leo designed the bridges of his guitars without thinking about this feature, later in the 60s he inserted the mechanical palm muting on Jaguars and JMs but they never worked even for the music of the time.

tell that to The Chantays and Dick Dale

 

[TheElvis]

here is another thing :
Why are almost all controls integrated in the pickguard, but you still cannot take it completley off without (de)soldering. I think the jackplate should have been integrated in the pickguard then there is only the groundwire to the bridge left, which can be solved with a connector.

 

[Mincer]

here is another thing :
Why are almost all controls integrated in the pickguard, but you still cannot take it completley off without (de)soldering. I think the jackplate should have been integrated in the pickguard then there is only the groundwire to the bridge left, which can be solved with a connector.

You can actually combine the ground wire and the jack wires with a molex connector. Music Man does this, and I do it on my builds, too. As far as the jack on the pickguard, Fender tried that on Strats in 1983. It lasted 1 year.