peasinafookinpod420's Reviews

For a squire, massive bang for your buck!!

It was my first electric guitar, a gift from my mom when I was 11. I've modified and beat mine to hell, but that's only made me love mine more. When I got it, it was stock sonic blue, white pickguard and n plastics, and all stock electronics. I replaced the bridge early on with the most legit looking Mustang bridge I could find on Amazon, as, per the notoriety, the stock Jazzmaster bridge was shit (not the tremolo, the actual bridge with the saddles). I've only had to replace it once since, about a month ago, so real bang for your buck there. Probably about three years into owning mine, the lead circuit pooped out on me for mysterious reasons, probably from being brought on so many road trips and stuff. I have re-done the lead circuit several times, but with the original pickups and pots it just didn't like to cooperate. So, this past July, I re-did all the electronics, and replaced the neck pickup, as the bridge pickup had already been replaced with a Duncan Designed Jazzmaster pickup before I got it. Note: The neck pickup may have been one as well, but the logo had been warn off likely before I got it but definitely before I got the chance to see it and know what it was. Anyway, it's now got the original bridge pickup in there, a Fender CuNiFe Wide Range Jazzmaster pickup in the neck, and re-done, though still mostly stock wiring. I say "mostly" because the tone knob is a push-pull that puts the middle position out of phase, and I chose the tone knob because I'm always riding my volume knob with my pinky. She's still evolving, I'm still putting new stickers on her, but I love her in all her variations. She's my ride or die, I'm never letting go of her.

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Fucking sweet

Really nice, vintage-feeling guitar, and an absolutely eye catcher! The Kent Armstrong paf-styles are really nice and you really feel and hear the hollowness, especially when throwing the signal through a vintage amp . Forbus guitars are extremely rare in terms of availability, as I've only ever seen one (this one) on Reverb and have only heard of a handful of others in existence. They were made by John Forbus, a luthier out of Tennessee that sold his hand-built guitars exclusively through a now defunct retailer in Nashville, and he seems to have been only making them in the early 2000s. Each one seems to have been a little different, but mine is made entirely from cocobolo (including the fretboard), has a 24.75" scale length, and it's got a fat baseball neck, like a 50s LP Jr. The hardware is quite modern compared to my other guitars, including locking tuners, which is a really neat feature to have a guitar like this. It does make restringing a little more difficult, but it's worth the amazing turnaround. It's really dark and growly, and it really likes being tuned down. I cannot speak for other Forbus guitars, but I imagine, minus the qualities that come from its hollow body, much of what I described can be applied to other instruments of his.

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Excellent and highly versatile!

Context: I am a multi-instrumentalist who specializes in heavy shoegaze-y psychedelic music

I originally purchased this guitar solely because I am a huge fan of King Gizzard & the Lizard Wizard, and, out of their microtonal guitars, this is the only one I could easily find without having to custom build (Flying Banana) or breaking the bank (Cookie's Rickenbacker). Little did I know how much I'd love it!

The features of this guitar are simple but unique - the body is chambered, which cuts down its weight, and the 4 way switch, when all the way up/in first position, puts the neck and bridge pickup together in series. I don't really know what that means, I'm going to be real, but it's a really unique fourth option that I very much enjoy.

What shines about this guitar are the pickups. The Lace Aluminitone pickups are just absolutely fantastic - they're completely noiseless and, more than any other pickup, they sound like they really sense the acoustics of the guitar and how the strings resonate through the wood. Clean tones are sparkling and beautifully tight in the low end, and distorted tones are absolutely fantastic and super easy to sculpt to your liking.

This guitar also handles low tunings really, really well, with its 25" scale length.

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Incredible!

Context: I'm a multi-instrumentalist who usually is playing psychedelic shoegaze-y music with a twinge of grunge

I got this guitar as a birthday gift during the height of the pandemic and I absolutely love it. Ever since I started playing guitar I've wanted a Gretsch with a Bigsby, and the unique look of this guitar as far as Gretsch's are concerned, with the cat eye f holes and the three pickups, is just absolutely stunning! The green paint job shimmers beautifully in the light.

The wiring of this thing, while seemingly complicated, is the most sensible three-pickup configuration I've seen. The back 3 knobs out of the 4 on the lower bout of the guitar control the volume of the 3 pickups, with the front being a master tone. The knob on the upper horn is a master volume. The first/upper switch of the two switches between neck, neck & bridge, & bridge pickups, while the second switch controls wether or not its just the middle pickup (up), middle combined with whatever the 2nd switch is doing (middle), or if the middle pickup is off/ignored (down). The amount of tonal variation in this guitar is incredible! The pickups in this baby are great, too, and they're able to do everything from gentle jazz to screaming Neil Young & Crazy Horse feedback goodness to even metal.

The bigsby is great and stays in tune fairly well, though stringing it is a nightmare, but that is the case for all bigsby's.

It is a large guitar, but no larger than a 335. This point is only relevant if you are, like me, 5'5 or shorter. It is also on the heavier side, so getting a wider strap might be a good idea.

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The beloved Strat of my Strat-hating self

Type of musician: I play guitar in one of my bands as well as for solo stuff/random collabs with friends if its needed

Ok, so I'm not a strat guy, like, at all. I'm really not a big fan of Strats and I don't honestly know why. I bought this because I needed that strat neck pickup sound for a song I was working on for a friend and neither of had a guitar that could do it. It was $200 dollars off Facebook marketplace. A full setup and some custom modifications later and I am absolutely in love. The neck is perfect, I don't know what it is about it but I absolutely love it, and the middle pickup is just like so sexy sounding (I am biased as I love the middle pickup sound in general, but this one is so good). I replaced the neck and bridge pickups with Seymour Duncans and left the original middle pickup in there.

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Amazing bass!

Found this bass on reverb for like $350, bought it just because of vibes. Knew nothing about it other than what the listing said.

I normally play short scale basses (my two other main basses are 30" and 27" scales respectively), so that was definitely a change that took some getting used to. But the sound out of these pickups are incredible, and are especially comfortable with lower tunings and distortions.

The other listings on Reverb are not that expensive and 100% worth purchasing if you're interested in a longer scale bass.

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Excellent warm, raw sound for your banjo

These banjo strings don't have the classic bright, twangy sound that you think of a banjo, but they have something better - the character and class of true Appalachian folk and mountain men. Originally, like with guitar, strings were made from animal gut for the Banjo, and this is much closer to that sound. Even with fingerpicks, sounds warm and woody. Especially fitting for gourd banjos.

Lovely workhorse

Lovely workhorse guitar, I've got the green one. It's really quite great, and simple so its easy to modify. Weighs surprisingly less than Gibsons of the same style.

My modifications have been diff pickups & TOWNER bigsby b6 kit

Warmoth is awesome!

I love Warmoth, particularly because I love modified and tinkering with my guitars. I built a Strat style from them first, with the 24.75" conversion scale neck and some weird electronics (minihumbuckers in neck and bridge, hot rails in middle, alembic blaster output jack).

Plays great, would 100% recommend.

Fantastic clone of centaur - works great on bass too!

Bought this because it appeared on the JHS show in a shoot-out against a several-thousand dollar centaur. I was in need of a new pedal for my board, specifically a lighter gain pedal, as all my other pedals are heavier distortion and the one overdrive pedal I had at the time, a behringer bass overdrive that I've since gotten rid of because it sounds like junk IMO, well, sounded like junk.

Bought this thing on amazon for like $90 bucks, not even that probably. Arrived next morning, plug it in, put all knobs at noon, and it sounds great. I also tried it on bass and, with the treble knob rolled just a little before noon, it works excellently for like just a little bit of dirt and grime (you lose a little bit of low-end, though, but I make up for it by boosting the low-end on the amp's EQ).

I use it for two main functions - as a nice, standard overdrive, just on its on, and as a gain stage. In the first setting, I have everything pretty much at noon, though depending on the guitar I'm using I'll crank the gain up further. This works really well with pretty much all my non-distortion pedals (of course, it works with those too, but I often play barefoot so if I need a gain boost in that context I'll just turn the gain knob up with my toe) - particularly, using tremolo and delay, I can do a really nice spaghetti western sound on just ab all guitars.

For the second setting I mentioned, using it as a gain stage, the treble knob is lowered just below noon, output knob is around 3 o'clock maybe, gain is not cranked all the way but close to it. I keep the treble knob low as I generally use this as a boost for solos when I'm playing with my HM-2, and with the settings I like to keep that pedal at its easy to get super bright and not in a good way. I don't keep it too low though, in case I'm stacking it behind like my op amp or russian big muffs, where the extra treble boost is nice. The output is higher on this setting so it'll drive the circuit in the pedal its stacked behind further, adding more grit.

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excellent

lovely thick, heavy distortion - works really well with layering, actually.

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Incredible

Spent a terribly long time looking for one of these. I'm a semi-professional musician who writes/records/releases/produces/etc all my own music out of my bedroom studio, and I listen to a lot of music that has, at various points, involved the Monomachine - Sophie Xeon's music in particular. Found one listed on Reverb, thankfully under 2k. One of the original SFX-60 versions, quite well and beat up, but since the seller was also a professional musician he'd updated it with all the most recent firmware and the like. It is an amazingly powerful machine, especially for drum sequencing and beatmaking involving wild/strange sounds. The synth sounds themselves are lovely as well, but I haven't delved quite into those yet. It has a number of sounds in it - a drum sampler sound with all sorts of wild sounds (including the classic clang percussions heard in Sophie's music, though in a much drier state), all the standard classic waveforms plus two several types of FM engines and wavetable/folder/shaper synthesis. Also allows for a track to be used not for synthesis but for effects processing. This, combined with the ability to automate things like envelopes and filters, makes it essentially a digital daw within an incredibly compact package, which is why it's so powerful. I'm in love with this machine and I have so much still to learn from it.

I like it

Used on the Flying V parts caster, it is a great pickup near and dear to my heart.

not a real gibson but I made a parts caster

I made a parts caster replication Leslie West's Ashtray Flying V. I love it.

great guitar

Pat used it on our cover of Jack Whites "Sixteen Saltines"

great

used on "Moonlanding Boogie" by Janis. It sounds cool.

great organ

used on one of my unofficial home concerts

great guitar

used it on most recent unofficial home concerts.

Matts

Mat uses it on almost every song (exception being songs I drum on)

great acoustic

I use it from time to time on live stuff