It's no secret that I like Epiphone guitars. I also like Gibsons. And Fenders. And a good Gretsch. Gosh, I just really like guitars. I also like modding and even fixing them sometimes.
That said, if I were to pick my top 5 guitars from my woodpile, they would probably be these, and in this order.
Four of those guitars have been modded in some way. The Strat is the only one that is bone stock. I kept saying I was going to swap out the pickups in it, but every time I decide it's time to do so, I pick it up and play it, and like the way it sounds. So it has managed to remain untouched. I guess I did add a couple of springs to it to deck the trem, but I'm not sure that completely counts.
The Gibson ES-339 is mostly un-modded. The only thing I've done to it is to swap out the bridge. I didn't like the bridge that came was on it when I bought it. I'm not completely sure it was the original bridge either. So I bought one and swapped it out. It came with 57 Classics in it, and that's how I'm leaving it.
The Epiphone 339 has had the pickups swapped out and two of the knobs have been swapped. The original shipment of those that Epiphone sold were advertised to come with their Probucker pickups. When I ordered mine, and even when it came in, they were still advertising those as the pickups. However, when I got mine in and checked it, it had the Alnico Classic pickups. I found out that, after that first batch that came over, they had swapped the pickups in all the 339s, but they hadn't updated their ads or specs on the website. I was disappointed, but the ones in it didn't sound bad. Still, I always wondered what the Probuckers would sound like in it. A year ago, I ended up with an extra set of Probuckers, so I finally got to hear what the 339 sounded like with them in it.
The Epi LP originally came with Probuckers in it. A Probucker 1 in the neck and 2 in the bridge. I really liked them. In truth, I saw no reason to change them out. Played it for a year and a half or so with those in it. Then one day I got a wild hair and decided to grab a pair of Burstbuckers (a 1 and a 2) and drip them in to see what they sounded like. Honestly, I liked the Probucker 1 better that the Burstbucker in the neck, but the Burstbucker 2 sounds better than the Probucker 2 in the bridge. Because I'm lazy and didn't want to mess with it again, the Burstbuckers have stayed in the LP.
Those Probuckers out of the LP were what went into the 339.
The Epiphone 335 came with the Alnico Classic pickups. I was quite happy with those. They sounded as good as the 57 Classics that were in the Gibson 335 that I had traded off a couple years previous. I had no plans to replace them. I played it for a year with it being bone stock. Then, back in December, I unplugged my cable from it, and the jack fell back into the guitar. Then, while I was trying to fish the jack out and back into the hole, I screwed up one of the pots. So, since I didn't feel like I had the time to I decided to carry it into the my local luthier. And, since I was carrying it in for electronics work, I started making a list of what I wanted him to do to it. Basically, put in another jack and replace the push/pull pots in it. Since I was doing that, I decided to pick up a couple of 57 Classics to put in it. When I dropped it off to the luthier, I have him do all of that at the same time. Got it back, and have been super happy with the sound of it.
You'll notice that, by and large, it's the pickups that have been swapped. I know that there are a LOT of different pickups out there, and a LOT of those pickups sound really good. You may notice that all of the pickups that I have talked about are Gibson branded in some way. That's mostly because I know what they sound like because I've played them at some point in time. So I've stuck with them. I know that Lollar Imperials are supposed to be super good. I've also been told that the Bare Knuckle brand is super good.
By my own admission, with the humbuckers I've always picked, I have always seemed to chase that PAF sound. In the Gibson stable, the 57 Classics and the Burstbuckers are both supposed to get that sound. Of the Burstbuckers, the Burstbucker 1 and 2 would be closer to that vintage 50s LP kind of sound. In the Epiphone world, it has been my understanding that the Alnico Classics are the Epi version of the 57 Classics and the Probuckers are the Epi version of Burstbuckers. I once read that, from a PAF perspective, the Burst/Probucker 1 & 2 combination would be that 50s sound. The Burst/Probucker 2 & 3 combination would be that 60s sound. And the 57/Alnico Classic combination would be that 70s sound.
So, except for the Epiphone ES-339, all of the pickups were just swapped from the Epiphone version to the Gibson version. In that 339, I just swapped from one Epiphone version to another Epiphone version. In the case of the ones being swapped from the Epi version to the Gibson version, the Gibson pickups do sound better. The Epiphone ones sound good. They're not bad. I could absolutely play them and be happy. But, since I swapped them out, I'll say that the Gibsons seem to have the edge when it comes to clarity and range. I think there's a reason that they cost twice as much, and isn't just the name on the box they came in.
Maybe some day I'll try some other pickups like the Lollars I mentioned. I hear the low-wind Imperials are just the best. In fact, I've got a buddy that said that's what he has in his 335, and his guitar sounds amazing. Course his overall tone is a step above mine too.
All that to say, if you don't like the sound of the guitar, try some new pickups. Heck. Even if you like the sound, try some new ones and see if you like them better. Or leave them the same. At least for me, half the fun is in the tinkering.
Our personal musical journeys are always filled with twists and turns. So often we start down one road and end up going in a completely different direction. I was talking to Mrs Snarf the other day about that very thing.
I played for years and only played acoustics. Then I bought my first electric. It was a low end, import Parker. I don't remember the model number. I only remember a few things about it. I never really bonded with it. It was a weird Parker because it was an SSH. And I traded it at a guitar shop in a little town several hours away to a shop keeper that just saw Parker and gave me waaaaay to much for it because he thought he had something special (he didn't). I traded it straight up on my first Strat.
Honestly, I got that Strat to impress Mrs Snarf. We weren't even dating at the time, but I thought she needed to see me with a guitar for some reason. I immediately named it after her. It also made it into our engagement pictures. Kind of cheesy if you ask me. But sometimes life is ooey and gooey like that.
Neeways, I started playing that guitar, and I really liked it. It was, in my opinion, a much better guitar than the Parker. Honestly, though, it was probably more that I just didn't know what I was doing when I bought the Parker. But the Strat left an impression on me. When it came time to buy another electric, I bought a second Strat. Heck! At one point, I had 5 Strats. Currently, I only have 4. And, for the time being, that's probably where the count will stay.
Between that first and second Strat, I actually bought a really low end Les Paul. I don't really count it, because I never bonded with it. It was a low end instrument with a LOT of the problems that you would expect from something that was at that price point. The humbuckers in it were...I'll be nice and call them muddy. They didn't sound good. I ended up swapping them out for a pair of Burstbuckers, and it sounded a LOT better, but it still played terribly. So, by and large, it stayed in the closet.
About 10 years ago now, when Epiphone first started making the ES-339, I picked one of those up. I tried to get in on that first run of them, but didn't get one ordered in time. So I put my order in and waited like 6 months for the next shipment of them to come over. Got the guitar, and it almost never went in the case. I liked the way it sounded and the way it played. It made me think I might like humbuckers better than single coils. Then I got my 1962 50th Anniversary Sheraton. Loved the sound of that one! Initially I thought it was the fact that it had humbuckers too (even though it's mini-hums in it). Then, because I have always like the aesthetic of an ES-335, I got one of those. Oddly enough, I LOVED the sound of that one, but I never bonded with it. There was something just not right about it. But I got to wondering, at that point, my 3 favorite guitars were all semi-hollows, so was it the humbuckers or the semi-hollow that I liked.
Fast forward another couple years, and I was trading the 335 off. I picked up that Epiphone Les Paul when I did, and really liked the sound of it. I figured I was just turning into an humbucker kind of guy. But I realized that I still liked the sound of the 339 better than the LP. Then a year later, I picked up the Epi 335. I totally dug the sound of it. So I started doing the A/B thing with some of my guitars, and I realized that I think I have a thing for semi-hollows with humbuckers. That sound just really does it for me.
A few months after that, I had always told myself I wanted a real live Gibson ES-339, preferably made in the area of 2010 when the Custom Shop was making all of them. I had been trolling for a particular color. Found what I thought was a screamin' deal on one on the other side of the Metroplex. So I got it. And it has been my main guitar since. When Mrs Snarf and I were having the conversation the other day, I had realized that the second guitar hanging on the wall since I got the 339 has been either the LP or the 335. And mostly been the 335.
I've kind of done a 180. I started the electric guitar journey with single coils in a solid body. For several years, I thought they were the only pickups that were any good. If you played anything with humbuckers, then you were just letting your tone suffer. Now I pull a Strat out on occasion, but I primarily grab a semi-hollow with humbuckers in it, and I sometimes think that single coils sound kind of anemic. Unless they're P-90s, but those are a whole other animal.
Funny how that happens sometimes.
Last week I talked about my two Strats. Well, two of my Strats. The two Strats that I have that I play anyways. I think I have four. Maybe five. The Hwy One, the ADE, the Monterey Strat from 2017, and the Splattercaster. I think that's all of them.
Since I mentioned them last time, I thought I'd talk about the Hwy One and the ADE.
The Highway One is a 2009 according to the serial number. Mrs Snarf bought it for me in really early 2010. I had started working my way through Griff Hamlin's Blues Guitar Unleashed course, and, to motivate myself, I decided that I would buy myself a MIA Strat once I got done with it. Had it already picked out and everything. My wife walked in one day, let me know that she had gotten a pretty good bonus at work, and told me to buy the Strat that I had been looking at. So I ordered it well before I finished the course.
Don't quote me on this, but I think the Hwy One series was built from early 2000s through 2010. In 2010 or 2011, I believe they were replaced by the American Performer series. As I recall, they changed a few things in the series long about 2006. I think they changed the pickups, but the thing I remember most is that they added the Rust Bucket tone control. I don't remember what exactly it does, but I think I remember the ads saying something about cuts the highs without adding more lows.
Mine's a 3 color sunburst with an ebony fretboard. Whatever pickups are in the Hwy One series (I never found out) with the middle being reverse wound, reverse polarity. A 1970s headstock. A modern C-shape neck. That Rust Bucket tone control I mentioned earlier. I've heard over the years that the electronics are all American and I've heard that they were the same electronics as they put into the MIM Strats.
I've always liked the the finish on it. It's a satin finish, and since it's a sunburst, you can really see the wood grain through it. Also, since it's satin, the more you play it, the more the areas of wear shine.
I've never quite figured out the Rust Bucket part of the tone control. It does what a tone control is supposed to do. However, I've always like that the first tone control runs the tone on the neck pickup, and the second tone control runs the bridge pickup. There is no tone control on the middle pickup that seldom gets used.
It has what I would consider a modern Strat sound. The pickups seem a little hotter than regular single coils. At least hotter than the usual stock pickup on a Strat. Playing through the positions, it definitely sounds like a Strat.
The other is a 2013 American Design Experience. That's the equivalent of a current Mod Shop guitar. Before the Mod Shop, where you can order whatever pretty much whatever guitar you want online, Fender had the American Design Experience. It was the predecessor of the Mod Shop. And before they had the online American Design Experience, they had the one where I got my guitar. When I got mine, you actually had to go to the factory out in Corona. It's probably the closest thing I'll ever own to a real Fender Custom Shop.
Now, when you got to Corona, there was the little visitor center that had a gift shop and museum-ish area. Then, off to the side, there was this small room over on the side where you could go and spec out a guitar. They had bodies, necks, pickups, bridges, and all the other hardware around the room and on the walls, and you could pick out what you wanted in a guitar. If it was in the room, then it was an option on your guitar. If it wasn't in the room, then it wasn't something you could pick.
Over in one corner was a rack that had probably 20 Strat bodies and 20 Tele bodies and maybe 10 or 15 bass bodies. I had wanted a surf green one, but they didn't have any in the rack, and the guy reminded me that if it wasn't in the room then it wasn't an option. I ended up picking a body color that I hadn't seen before. It wasn't really that special other than the fact that I had (and still haven't) seen that color anywhere. The one I picked is a satin orange color. I went over and played with the rack of necks and ended up with a fairly standard one-piece maple neck.
Then I went over to the hardware and picked a set of vintage tuners and one of the modern bridges. Got to the pickups, and the guy showed me the list on the wall. There were the standard pickups plus the Noiseless and Custom Shop 50s and a couple of other Custom Shop varieties. The ones that I wanted were the CS 69s, and they weren't on the list. So I mentioned that to the guy, and he said that they had pulled them off the list because they were in short supply at the time. But then he let me know that he'd be sure that my guitar got a set of 69s in it.
From there, everything went into a box with my name on it that went into the corner of the room with some other boxes that had names on them. Two months later, it arrived on my doorstep. By the time all was said and done, it was a nice balance between a Standard and a Deluxe. The total cost of it was also right dead in between the two. And it was also twice as much as the Hwy One.
I believe that my opinion is being objective when I say that they're both super nice guitars. Out of the box (and even today) the fit and finish on both of them are great. They both play great, but, as I mentioned in the previous post, the Hwy One plays a little better. Not sure what it is about it, but it does. They both sound like a Strat, but those CS 69s in the ADE Strat just sound soooo nice. For the money, they're both great guitars. Bang for the buck, you can't beat the Hwy One. Total cost, the ADE is a super nice guitar as well.
I bought that ES-339 back in April (I think), and it's about all I've played since then. I kept a 335 out hanging on the wall for a bit that I would pick up occasionally. About a month ago, I put the 335 up and pulled out a Telecaster, and it's the guitar that I've picked up about once a week when I wasn't playing the 339. I've been reminded how much I like some single coil pickups.
Now the Telecaster has always had a couple of issues. I bought it a little over a year ago. Back in the great gear purge of 2020, I traded a 50s Road Worn Tele because I never played it. Like never. It was one of the original Road Worns. Or at least one of the first couple of years they were making those (I think). It wasn't a color that I really liked (blonde), but the neck on it was the best strat/tele neck that I had ever touched. It was for that reason I bought it. And pretty quickly realized I wasn't a Tele kind of guy. When I traded it, I think it had sat in the closet pretty much untouched for at least the 3 years we had lived in this house.
Then I started seeing that purple Tele from Anderton's over in the UK, and really liked the look of it. Like really liked the purple look of it. Then I saw that GC was selling a Road Worn version of it. It had been out a year or two, and I could already see that they were becoming more scarce. So, when I saw Musicians Friend put them on sale in the summer of 2021, I pulled the trigger and am pretty sure that I got one of the last new ones. When I ordered it, MF had them on sale, but they were listed on both the MF and GC website. I ordered mine, got the ship notification, and the next day the listing on both sites showed them as no longer available.
So back to the couple of issues. Had I played this one at the local GC (I ordered it from MF, but it came from a GC across the country), I probably would've passed on it. It had hung on the wall long enough that the hanger had burned the neck up by the nut. The neck didn't feel anywhere near as good as the one on the previous Road Worn, and the skunk stripe wasn't sanded real smooth. But the biggest thing is that the fret ends were terrible. I don't think it had a case of fret sprout. I think it was that whoever cut the frets just did a bad job or maybe had a dull set of cutters. But, I figured that everybody needed a Tele, I had traded away one that wasn't bad for one that wasn't as good, but I really like the purple, so I ought to keep it since it doesn't look like I can get another one for the price I paid. So I kept it and figured I'd do something about the frets at some point.
That was the long way around the bush to say that, after playing it a few times this month, I finally pulled out my tools to try and smooth out the fret ends. And, since i had my stuff out and was taking up all the space on the kitchen island, I pulled out a couple of Strats since I haven't one of them out in at least a year.
After I got them out and cleaned them up and changed the strings, I decided that I was going to do something I had never done before. I decided to A/B them for a few minutes. Not that it really matters, but they're both MIA, but one cost twice what the other cost. They're both great guitars! The fit and finish on them both has always been outstanding. Even never having played them back to back like this (I always seemed to have one or the other out, but never both at the same time) I knew that I liked the way one felt and played better than the other. So it was time to check out if I still thought the same thing about them.
One is a Highway One. Mrs Snarf bought it for me at the beginning of 2010. It's the one that I've always preferred the feel of. It just sits in the hands right and the action is pretty much just like I like it. It sounds like a Strat should. It's a bone stock 2009 model. Although I've talked about it for years. I've never changed anything on it but the strings.
The other is a Fender American Design Experience from 2013. It is from before they put that option online. When I got mine you had to go to the factory, and, in that little room off to the side of the gift shop, you would pick out your body, neck, and all the rest of the specs that you wanted that they had available. Unlike what they started doing when they started doing it online, you had your choice of what was in the room at the time. If they didn't have it in the room, you couldn't choose it. The day I spec-ed mine out, there were maybe 20 Strat bodies and maybe 10 necks.
There are several differences in the ADE and the Hwy One, but one of the biggest is that it has Custom Shop '69 pickups in it. Those weren't actually on the list to choose from (although other CS pickups were), but when I asked about them, the builder that was in the room that day noted that's what I wanted and said those were in short supply at the time so they took them off the list, but he'd be sure mine got them. With that, he put all the components from around the room that I had picked out into a box, put my name on it, and set on the side of the room with a couple of other boxes with names on them. About 2 months later, the guitar showed up on my doorstep. The cost of it was somewhere between an American Standard and an American Deluxe, and is probably the closest thing I'll ever had to buying a Fender Custom Shop.
That was another bush to take you around, so back to playing them back to back.
Spent about 30 minutes just playing the same riffs and licks and chords through the same amp set the exact same way. I was actually a little surprised at the results.
I didn't expect that I would so quickly be reminded that I really prefer the feel of the Hwy One. It still just feels right to me. Something about it that I'm not sure I can describe. Theoretically, the two guitars should be really similar feeling since I set them up myself and aim for the same thing on every Strat and Tele I have. I follow the same process, and I try to get them all to feel the same way. Maybe it's the cut of the neck or something. I don't really know. But that Hwy One just feels better than the ADE. If I was just going off sound, I would go with the Hwy One every day.
I think the sound of the two was what really surprised me though. There is no question that the Hwy One sounds like a Strat. It very much does. But I think I made the comment when I first started playing the ADE that I finally understood what they meant when they said a good Strat sounds glassy. Those ADE pickups just sound sooooo good to my ear. The Hwy One has its own unique Strat sound, but the ADE sounds like a Strat should sound. The Hwy One plays better than the ADE, but, when I try to be objective, I think the ADE almost runs circles around the Hwy One when it comes to sound.
So, after working on the Tele last night and getting those fret ends down so they don't cut you, I've almost decided to put the Tele back in the closet and leave out one of the Strats instead. The question now is which one. It'll probably be the ADE since it sounds so nice.
I like guitars. For the first 15 or so years of my guitar playing life, I only had 2 guitars. Well, 3, but really only played 2 of them. They were both acoustics. A steel string and a classical. I also had a travel guitar for part of that time, but that was kind of a novelty, and it didn't get played very often at all.
Then I bought my first electric. I had it for a couple of years. Bought it off eBay from a guy across town. Never really bonded with it, but usually kept it sitting out on the stand instead of the others just because I thought it looked cool. Shortly after I bought it, I took myself to the local GC, and I bought myself an amp. Knew even less about amps than I did electric guitars, and I ended up with an amp that has since been relegated to the workbench in the garage so that I have something that I can test a guitar on when I'm working on it just to be sure that all the electronics are working.
I thought the electric guitar and amp sitting next to each other in the living room looked really cool. You know how it is. Bachelor chic. Single guy decor. When I joined the ranks of the matrimonially inclined, I was pretty quickly told that they were no longer welcome sitting out in the living room.
I was content with the guitars I had. They covered everything I needed them to do. And, in fact, when I played out, I only ever used one specific guitar...the Martin...because it had a pickup in it, and I could plug it in or mic it, and it just was (and still is) a workhorse of a guitar. That was also back when finances were beyond tight. There was seldom anything extra, and when there was, it generally went to stuff that I actually needed and not guitars or gear. I had also not really discovered the world of gear at that point.
Somewhere in the middle of all that, I had spotted the electric guitar at a little guitar shop in East Texas that I wanted instead of the one that I had. I wasn't yet seeing the girl that I ended up marrying, but I had driven over to East Texas a couple of times to visit her with some friends. So I decided one weekend when I was visiting her to take my electric to that little shop and see what kind of deal I could swing for the one that I had seen hanging on their wall. Because the shop didn't do their due diligence, they thought the guitar I was trading was a much nicer guitar than it was (it was the very bottom end, import Parker that they thought was the bottom end MIA version...a difference on the used market of about $600 at the time). So when the guy came out and made a production of telling me that they were going to give me a super deal and trade me straight up for the guitar on the wall (which, at what they should've been paying me was going to be about 50% off the price of the one I wanted), I figured I was going to take the money and run.
I figured that, when I walked in with the guitar, I had told him the model number, and it was right there on the headstock too, so it was his own fault if he didn't know what it was. Then again, date of manufacture on the one I wanted was about 18 months before, so maybe it had been hanging on their wall for too long, and they just figured they'd get rid of it and try their luck with something else. Maybe they thought they were the ones getting the steal of a deal.
I still think the store guy thought he had the nicer Parker, though, because they had a used one sitting over as soon as you walked in the door like a trophy. It had the usual Parker price tag on it, and he kept talking about how it was going to be nice to have 2 Parkers in the store at once. Problem was, the one I was trading would only sell for about 30% of the price they had on the other one. Like I said, take the money, or rather the guitar that I wanted, and run. Depending on your perspective, I didn't pay anything for the guitar I left with. It was a straight up trade.
It was what has come to be known on the market as a Fender Splattercaster. A MIM Standard Strat with a splatter paint job.
Fast forward a few years. I had a better paying job. I was married. She also had a job. Finances were a little more free. I had not only realized that different electrics sounded different (there was a time that I thought they all sounded the same - I was an extreme acoustic snob), but I had discovered all the periphery gear that gets sold around guitars. So I slowly started acquiring pedals and amps and even more (and nicer) guitars.
Every guitar that I bought, I bought for a purpose. I had always really liked the look of a 335, so for our first Christmas together, my new wife found a 335-clone on a bargain closeout price, and bought it for me. Then I got a really good bonus at work so I picked up a Les Paul because, since my primary electric was a Strat, it seemed to be the opposite electric. That's when things started to free up a bit and GAS started to kick into high gear.
Since then I've managed to get representation of all the major body types of electrics (at least the ones that I like - except an SG, and someday I still need to find the perfect one of those). I've also got more amps than some studios I've seen, a closet full of pedals, and lots of other associated gear. In truth, when we moved into our current house, one of the major considerations was the music room and the fact that it really, really needed a walk-in closet so all the guitars would fit.
Out of all the gear I've got, I've gotten it all to play. Basically anyways. I've got one guitar that I bought recently for the sole reason that I like the look of it. One of these days, I'm going to hang it on the wall as an art piece. But that doesn't meant that it will never be played.
I've got some nice gear that someday may actually be worth more than I paid for it. It may not be. I'm thinking specifically of a couple of anniversary edition guitars that I've got. They'll never finance my retirement (they're not babied - I play them), but someday I might at least be able to get my money back on them. There are a couple of pedals I have because they're unique that I bought with the thought in the back of my mind that maybe someday I'd get a return on them because of the fact that they're unique and they (at least as of now) haven't really been mass marketed. One of them, I could already do that to. Watching Reverb, mine's in good condition, and it looks like I could get about 50% more from it than I paid. But I like the pedal, don't really want to part with it at the moment, and it gets played. So, when I do decide to get rid of it, it's going to look used. So it may end up being worthless. But, when the rubber meets the road, I buy gear to play it. Gear is never an investment.
I feel like I should repeat that. Gear is NEVER an investment.
That said, I occasionally pull out the guitar and amp blue books and hit reverb (or where ever) so that I can see how much it would cost to replace my gear if anything happened to it. It's an insurance thing. Oddly enough, tonight in doing that audit, it appears that most of my gear has either held steady at used prices I paid or depreciated as expected when bought new. Except for one guitar. The one that I didn't pay anything for. The one that I could never get rid of because I bought it to try and impress a girl that I wasn't yet dating. The one that, since all of my guitars are named, happens to be named after that girl...who a few weeks later bought a stuffed animal and named it after me because I had told her the new guitar's name. BTW, she eventually married me.
Looking at what they seem to sell for when they hit the market, since I wasn't out of pocket for the guitar, if I factor in what the guitar I traded would have fairly sold for, that Splattercaster has doubled in value since I bought it. Of course I'd have to go dig the original pickguard and back plate out of the box in the closet and put them back on, but it just kind of made me laugh. As far as collectibility, it's just a MIM Standard Strat with an odd paint job. If you listen to the cork-sniffers, it's a run of the mill MIM so it can only be worthless, good for nothing, and will never amount to anything. I wonder if they could tell me what guitar they have that has doubled in value. I bet they can't.
Funny how that works out sometimes.
The Strat that has been my main go-to for nearly 10 years is my Hwy 1 Strat in 3-color burst. You know how you always seem to grab the same guitar or two in the end? This is one of those for me.
I got it back in 2010. Prior to that time, I had played primarily acoustic, and didn't play it all that well (I only had 1 electric at that time). I was really good at cowboy chords, and could play some bluegrass-y, sort of country-ish leads, but that was it. I had decided a couple of years before that I wanted to learn to play the blues. I had picked up a couple of book/cd combos, and worked my way through them, but was having trouble finding my way outside of their canned solos for some reason.
The end of 2009, I found myself laid off from work. While I was sitting at the house looking for work one day, I came across an internet teacher that seemed pretty good. So I bought his course (more on this in another post later). He was actually making sense to me, and I was progressing through his coursework. I had decided that, once I finished the course, I was going to reward myself for sticking with it and buy myself a nice Stratocaster. It was several months later, and I was about half way through the course (and actually back to work by this time), and had already showed Mrs Snarf the guitar I had picked out. She walked in from work one day, nice little bonus in hand, and announced to me that I needed to go ahead and order the guitar that I had picked out. So I did.
Since then, no matter what other guitars I may pick up for a while, they always end up back in the closet, and the Hwy 1 stays out on the stand. I've talked off and on about upgrading her a bit, swapping the pups for a good set of Zexcoils or putting some locking tuners on her. Somehow, though, she always makes me happy just like she is, and has remained bone stock. And, yes, she's a her, and her name is Cali because she's the first MIA Strat I got.
When I got her, she was the entry level MIA Strat Fender made. Rumor has it that she's half MIM, but, I actually asked someone at Fender once, and they assured me that she was made in the factory in Corona. Not that it matters...I'm of the opinion that if it plays easily and sounds good, it can be made where ever it came from and I'll be happy with it. Regardless, just like any guitar, after I got her, I gave her a good setup, and she played as well as any guitar I have picked up.
As a Hwy One, it has the Greasebucket tone control. I can't say that I'm unhappy with it. According what Fender used to advertise, it rolls off the highs without adding any lows. Ummmm...a tone control pot can't add any lows. It reduces the highs which accentuates the lows. But it doesn't add them. To my ear, it just cuts some of the lows with the highs. That's not necessarily a bad thing. It sounds good to me. I have heard of people that got Hwy Ones and immediately changed that circuit. I'm not sure why.
The pups are a bit hotter than any other Strat that I've got. Again, not a bad thing. It just gives it a different voice. And a nice one at that. In one of my other Strats, I've got a set of CS 69s dropped in that I really like. I never really understood "that glassy Strat sound" until I heard those. The pups in the Hwy One aren't super glassy. Don't get me wrong; they still sound like a Strat, but they've actually got more growl and drive a lot quicker than the 69s. Iv'e also been told that I'm a but odd because I seldom use the neck pickup which some of my buddies tell me is the only way that God intended a Strat to be played. I prefer a bit more of that Robert Cray-ish treble, and almost always have it in position 2 for that bridge/middle sound. That's the one that makes me happy. I've also got it set with 5 springs to keep the bridge flush on the body.
It's nothing short of a great guitar, and a total player. Mine has more bumps and bruises on it than my other electrics, but that's because it's the one that I play more than any single other electric. When I got this one it was because I wanted a MIA Strat, and this was the cheapest on the block by about $350. In retrospect, imho, these guitars were total sleepers. Or maybe I just got an outstanding example of one.
Snarf is a wannabe musician who currently resides in the great state of Texas. His wife is his favorite. He believes chocolate milk made from milk that is anything less than whole milk is basically water and deserves to be dumped down the sink so nobody has to suffer through it. He hates having to shop for clothes. But he has a thing for really cool bags, and, consequently, has more gig bags than guitars and a closet full of messenger bags and backpacks. He still misses his dog who was taken by cancer years ago. Check out his Reverb shop and see if he has any gear he's trying to get rid of.