Other people show pictures of their kids. I go on about my three ‘workhorse’ gigging guitars…
Summer has ended, and with it wedding season. The number of gigs I’ve been playing each week is now returning to a level more compatible with two other jobs and a master’s degree. Now I have time to take stock and update you on my two new working guitars…
My previous Strat, one of the new Fender Made in Mexico Standards, featured coil-tapping on both the neck & bridge pickups. In my current function band, I found myself playing it almost exclusively in the single-coil setting. After years of having a humbucker in the bridge position, I finally fell in love with the classic single-coil Strat sound. As it turned out, the Mexican Strat’s neck didn’t feel quite right for me – a trifle too thick, certainly compared to the thinner, vintage feel of my favourite blue Strat (see ‘Gear Talk’ 1 & 2). At the same time, I’d read several reviews singing the praises of the top-end Squier models. It seemed that Squier were no longer solely the savvy choice for the beginner.
I’d been looking for two guitars which sound and feel similar enough to each other to make mid-gig changes much smoother. The weight and shape/feel of the neck needed to feel close to identical, while the sound had to match up as best as it could. I had also been hoping to use more budget-concious instruments – if the build quality was up to it – in order to retire my favourite blue Strat from regular function gigs. On paper, the squires seemed ideal, so I took the plunge and bought two varying models on a retro theme…
Squier Vintage Modified Stratocaster
The rave reviews on the deluxe, Classic Vibe and new Vintage Modified lines claimed that many guitarists might well be fooled in a blindfold test with some of Fender’s classic guitars. Likewise, build quality and parts were considered by some to surpass the recent Mexican standards. With this in mind, I purchased a brand new Squier Vintage Modified Strat, finished in a quote lovely custard yellow colour they call Vintage Blonde.
The Vintage Modified range aims to replicate a vintage guitar that’s been retro-fitted with player upgrades. Here, that means Duncan-designed pickups, a better bridge than the entry-level Squiers, a thin, tinted neck and vintage style tuners for better stability. The pickups appear to be a slightly aged off-White, adding to the retro vibe. Best of all (in my opinion), it has the large headstock that Fender started using in the last sixties/early seventies, which is the most obvious nod to the past.
I really like the sound of this guitar. And that’s not compared to Squier’s Affinity range, but the Mexican standards. The basswood body is lighter, but it doesn’t have an obvious effect on either the sound or sustain if this guitar, even compared to my Blue Mexican. Likewise the feel, not to mention the incredible playability, of this guitar far exceed its humble price tag. This has become my main axe for function work. All I needed now was a similar beast to partner it with…
Classic Vibe Simon Neil Stratocaster
I’m going to come clean here and admit I’d never heard of Simon Neil. While I had heard of his band, Biffy Clyro, I couldn’t name or even recognise a single song of theirs, nor could I adequately describe their style. However, friends more clued up on this sort of thing than I am informed me they have a mix of street cred with a younger audience and play interesting, heavy rock music. The specs on this guitar imply that Mr Neil has good, and indeed similar, taste in guitars to me. While I wouldn’t normally buy a signature model (other than a Les Paul, naturally), seeing this guitar going for £200 second hand was too good an opportunity to pass up. Heck, if I didn’t like it, I could always sell it on.
This (now discontinued) guitar is essentially a budget-friendly version of the Fender Simon Neil signature model. Based on a ’62 Strat in gorgeous Fiesta Red, it certainly looks the part. The Mark Knophler/early Hank Marvin vibe in the aesthetic was enough to override any boggling doubts about the subtle Biffy Clyro logo on the headstock. The rosewood fingerboard is slightly lighter than expected, but sounds as warm and dark as you’d expect. As with the Vintage Modufied guitar, the bridge and tuners are an upgrade from those axes at the lower end of the Squier range, and the overall build quality feels like another great job from their Chinese factory. The pickups are a custom mix of Alcino 3 and 5 magnets, which offer up a delightful blend of early and late 60’s Strat tones in one guitar. Very nice!
Having played this guitar for a couple of weeks now, I feel it’s here to stay. I’m currently setting it up so it’s gig-ready, as the action on the two guitars wasn’t quite matching up. There is a slight difference in the sound, particularly when overdriven, but it’s close enough to be complimentary. Other than that, and the obvious differences in finish, these guitars feel the same in my hands and under my fingers, which is exactly what I was looking for.
Finally, even though I never thought I’d say this, I encourage you to give Squier (and indeed other budget models) a go before spending all your money on the top-end guitar brands. Now, more than ever, you may well find the difference is that you’re paying extra for the name. All in, these two new guitars cost less than one New Mexican standard, and for what I need as a working musician, they do the job exceedingly well. Join us, and you too can live the two Squier dream onstage!
Hi all, here’s recording of my interpretation of ‘Lagrima’ by Francisco Tarrega, a popular piece in classical guitar repertoire. This was recorded at Nemix studios in Newcastle, using my Admira classical guitar. ‘Lagrima’ means ‘teardrop’ and the piece was written by Tarrega while homesick for his native Spain.
I feel this close-to recording captures an environment as intimate as Tarrega’s lodgings in London as he wrote this. You can hear my fingers in contact with the strings here. Personally, I quite like this. It makes an interesting contrast to how the classical guitar is heard in a concert context. However, I’d argue that the instrument is not naturally suited to the large auditorium, and a more intimate setting better highlights it’s harmonic qualities – but what do you guys think?
If this video above does not play, you can access the YouTube video here.
Been a while since my last post (several life-changing events recently – all positive!) but thought I’d post a new video from Switch.
For those new to my blog, Switch are my main function band at the moment. I’ve been their guitar player since the beginning of 2015, and we’ve performed at all manner of function & event in that time.
This medley was recorded last winter, but only recently uploaded by the band. It features three funk & soul songs, all of which are staples of the wedding/function band scene:
- Signed, Sealed, Delivered (Stevie Wonder)
- Never Too Much (Luther Vandross)
- Ain’t Nobody (Chaka Khan)
This medley showcases Switch’s full six-piece lineup of female vocals, bass, drums, keys, guitars & male backing vox (me), plus alto sax & female backing vox.
For my part in this recording, the guitar used was my Fender Modern Player Stratocaster (short scale model), DI’d direct into the studio desk. Recording took place at Nemix Studios in Newcastle upon Tyne, England. I must admit that I don’t know which ‘re-amp’ patches were used for my guitar tones, other than I requested a Fender Blackface/Deluxe style amp for the clean sound. Sorry there isn’t any more detail….
As always, let me know what you think. In case the video above does not play, you can access it on YouTube here.
ATTENTION GUITAR FRIENDS!
This is a call for submissions!
One aim of my blog is to offer guitar & music-related advice and for the next few posts, I’d like to pass the power in dictating the topic of discussion to YOU. So tell me: what is the is the biggest issue you face in learning the guitar?
I’m happy to examine any relevant queries which have been bugging you. They could be technical (finger tapping, getting the right tone out of an amp), or more vague (who do you feel the best guitarists to listen to when learning Afro-Cuban jazz, etc). You might want to ask about bass guitar, ukulele or band performance/management in general. Feel free!
You can message me here, leave a comment in this post, or drop me a DM/tweet via my Twitter account: @tim_guitarist.
I look forward to hearing from you & talking your queries over the next few weeks!
Thinking of learning guitar? Or know someone who is? Here’s the ideal Christmas present for the guitar student in your life (and, crucially, are based in the North East of England)…
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Message me on my Facebook page for details & to discuss.
My previous blog mentioned a recent recording date with function band Switch. We recorded about three or four tracks for the band’s website, two of which we filmed videos for.
The first video, for ‘Mercy’, you can watch here.
Our cover of ‘Seven Nation Army’ was the second video we recorded that day. As you can tell from the video, we had a bit of fun with this one. It still has quite a few nice shots of my Gold Epiphone Les Paul though…
Guitar wise, this is the LP from the video, using the neck pickup, coil-tapped. The slide is solid brass & it’s going through one of the studio’s Marshall amps (not the Orange stack you see in the video, though that does sound pretty cool).