ryanbisson

I've owned my MIM tobacco burst telecaster since 2006 and I've put it through a lot; through it all I've had no issues with the playability or durability. I did replace the tuners almost instantly because I like locking tuners but the stock ones were fine. My tele is a different sounding one, it has tons of low end and is pretty mean sounding, and yes, they are stock pickups. I'd recommend a Telecaster to anyone and believe you should have one laying around just in case.

The TipSword Bison model specs are: + Flat sawn maple top + Quarter sawn maple back + 2 thin coats of transparent vintage white paint and a nitrocellulose lacquer for breathability and openness + Maple neck + 25.5” scale + 1 3/4” nut width, modern C shape + Rosewood fretboard + Medium jumbo frets + Matching transparent vintage white headstock + Thin coat satin finish on neck + TipSword Pearl P90 pickups, A5/A2 + String through body + Sperzel tuning machines

I am the 2nd owner of a 1962 fiesta red Fender Jaguar; it was my grandfather's before me and I love it. It "stopped working" around 1975 and hung with a string tied around the headstock in his uninsulated shop until 2005 when he told me, "If you can get it to work, it's yours." A can of compressed air later I was the owner of this guitar I had no clue about, I only knew that I loved the look of it. I believe guitars were made to be played and if there's a problem, fix it; I have since replaced the bridge with Mastery components, replaced the tuners but have otherwise kept it original. There is a 2' crack on the back of the guitar but has no problems and sounds incredible. These are classy guitars that will last much longer that me if they are taken care of, if you can get one, I'd recommend it!

I'm the 2nd owner of this guitar, my great grandfather being the first owner; this Harmony wants to keep being played and it sounds wonderful. If you like warm, smooth sounding pickups and a baseball bat neck, this guitar will make you smile. Coming from a company who mass produced guitars, they knew what they were doing to make them last. There has been some structural fixes; some braces needed to be re-glued and I did install a truss rod, I also replaced the original tuners as they were slipping after 63 years. I do have a rattle from the pickup that does come through when it's plugged in but turn up louder and you can out play it. Ha! I play this guitar at home often, using it for writing and recording with it. With a little love I believe this guitar will last another 70 years.

I have owned my 210e since 2007 and it has been a workhorse for me. I love the tone of this guitar mic'd up in the studio, it cuts through a mix perfectly without ever being too shrill. It is stock and beyond oiling the neck, I haven't done anything to it because I haven't needed to. At around $800, I would highly recommend this guitar.

My 2000 Squier Jazz Bass has a better feeling neck, frets and better sounding pickups than any MIM Fender coming out today. Yes, it says Squier on the headstock and for us who are "snobs", I don't want to take it out and play live with it but I'll give you one guess at which bass is my gear review/demo bass in the studio. Don't question it, you can't beat the price tag and the quality and durability of these "older" Squier's is outstanding.

I pushed back on J basses for years because I just wanted to love P basses more but I finally came to the dark side… well, actually it's a white on white bass… so. I love the clarity and punch I get from this late 2000's J bass; the rosewood fretboard gives me just enough darkness that I don't even feel like it's brittle or sharp and the neck profile is extremely comfortable. There's nothing special about mine, but I'd recommend you buy one, because.

I’ve been a Vox lover and user for years, this amp changed me… all of me. Ha Ha. No joke though, it’s incredible. If you want clean, cleans you’ll get them. If you want edge of break-up sounds, this can supply. The master volume is handy for cranking the gain and letting the tubes burn and grind. This is my go to amp, and it won’t be going anywhere anytime soon.

The 112 with the Celestion Gold is the only way to go. You’ll get full sounding, articulate tones without the harsh highs or mushy mids. Spend the extra money and get better sounds.

I love this amp. I believe gear is meant to be played, so I have replaced caps and resistors but kept what I could original. RCA USA tubes, stock Jensen speaker and some wear on the tweed but it still keeps rocking. In the studio this amp is my best friend; crank it up and enjoy a well balanced drive sound or keep it low and feed it pedals, it is able to handle it all. This is a proper sounding Fender amp that has been passed down to me through my family. I would'n't eve let it go and would encourage anyone to find one and play it.

Based on the late 50's Fender Tweed Deluxe, with all the right improvements. This amp, paired with the Jensen P12R speaker, is absolutely amazing sounding! It offers tight, full but not boomy low end, articulate and warm highs, boasts larger transformers and an overall higher quality of sound. Made by DeArmond, Martin made these amps from 1959-1962. I love this amp, it was passed down through my family from my great grandfather, to my grandfather and to me. I have done the standard cap and resistor replacements as needed to keep it going, as well as moved to a 3 prong power cable. The speaker I replaced with a higher wattage more modern sounding speaker as it allows me to stay clean until around 8 on the amps volume; the breakup is crisp and never gets saggy or muffled. The tone sweep on these amps is very wide! If you need treble, there's plenty of it but with a bright guitar you are also able to cut it back nicely.

This amp is completely overlooked and underrated in the world of Vox. They were produced for only a few years before being discontinued and I was lucky enough to purchase on at that time. Channel 1 offers everything you love about the AC30, with more head room and more tonal control. Channel 2 offers Vox's take on modern medium to high gain. This amp is a pedal monster! It will take extremely heavy effect settings in the front end with no complaints, or you have the option of the series effects loop. I swapped the EL 34 power tubes for KT77's and I could not be happier. I would encourage anyone to look into these amps more and see what you may be missing out on. You can find demos on my youtube (linked in my bio).

Look, people will argue whether a cable makes a tonal difference all day long and that’s fine but there’s more to a cable and it’s cost than the tone it delivers. I played Mogami Gold cables — 25’ — since 2006 and I had no issues with them until 2019. 13 years of practice, shows, and touring and the first and only one gave out. I hit up Sinasoid to see what they offered and was blown away by them. They let me text a few cables out and compare them to my Mogami’s and the clarity was there for me in the Sinasoid Sable, so I picked up two 18’ cables. + Sinasoid is a local company (for me) with great employees and are an open book to those who want to learn. + Lifetime cable warranty + G&H plugs << the exact ones I loved on my Mogami cables that they stopped using + the sound was clearer, simple as that + white and ice flex shielding to know the cables are mine on stage << no more stolen cables!

This is the best pedalboard I've owned. The build quality, spacing, and accessibility for swapping and arranging pedals is perfect. The 17x10 size may sound small when you think about your standard flat or angled board, but with the second tier you gain much more. I highly recommend this pedalboard for anyone who has been searching and wasting money, this is no waste.

What the title says: stop playing without a nice buffer in your signal chain! The Empress buffer will do perfectly for most players out there, if you need more they make a stereo version as well. Gain back that clarity and fullness that your pedalboard and long cable runs take away.

I keep my amp set to clean, clean so maybe I could get a little more grit out of this pedal if I went to the edge of breakup, but if you’re looking for a natural, open sounding low - medium drive than this is the one for you. Stepping on the boost feeds the drive circuit and give you just enough of a kick! I use the magenta (blues driver) and green (tube screamer) modes. I can’t stand tube screamers (green mode) but the EQ section let’s you dial in your ideal sound. It’s very powerful. I use this pedal with midi and it switches without a hiccup. I can’t say enough good things about it.

I own a 1982 green label and its wonderful. I do wish I had a little more control with the depth knob but when it’s on, it’s glorious. I keep mine in a loop switcher and find that it’s for the best, to keep any noise out of signal chain.

It’s nothing crazy: not the smoothest or most sensitive taper but it gets the job done. After 8 years or so the pot in mine has finally said enough is enough. I’ll be replacing it soon, but probably not with a other Jr.

Tuning a bass? Good luck. You will spend half the time just trying to get it to Recognize which string you’re on. Tuning a guitar? Good luck, it’s slow and the multi-string function is useless. It’s on my board for the size, but it’s be better off purchasing a Sonic Research Turbo Tuner or Peterson strobe mini.

It’s a midi box, so there’s not a lot to it but this will work with a wide range of pedals including midi switching for: Alexander, Swindler, Strymon, Jackson Audio, Selah, Chase Bliss, and more. If you need a compact midi box that is quality built and rather inexpensive, buy this. It’ll work perfectly for you.

There’s a not to this pedal, I love the size, stereo ins/outs, midi, and overall functionality. The build quality is great. The knobs are slightly too sensitive, a little bump can make everything wacky but you’ll love the ease of use.

Outside a buffered signal chain you’ll notice a significant high end and volume boost. I can’t find online if this is a buffered circuit, but it seems to be. Outside of that, it’s a great sounding pedal that does exactly what I need/want a delay to do. I’m a set it and forget it type of delay player, accept for the time. This pairs perfectly with my Quartz external tap tempo. I recommend it, if you use a loop switching system.

I’d encourage everyone to check out the pedals from Native Audio. This reverb does exactly what I want and offers 4 presets, perfect for dialing in your bands set with. I’d love to give it 5 stars but there a weird filtering that happens in the fade out when you physically turn the reverb off —it’s distracting to me. I have this pedal in a loop switcher so the decay is natural and beautiful. If Mike fixes that issue, I’ll. By the next version too — maybe it’ll have midi?!

It’s fine. I only use if for tapping BPM’s and changing sun divisions, and it does that. It stopped allowing me to save presets, so I’m just kind of stuck with it and it’s basic functions now, which is disappointing but oh well. It could do a lot when it was working.

I’ve gone through so many pedal power supplies through the years, and I’ve never had as quiet of a rig as I do with the GigRig power system. It’s not cheap and takes time and patience to set up but you’ll be happy with it — I’ve never been more satisfied to turn on my rig.

So freaking quiet, it feels great to turn my entire rig in and not have hum or buzz. This system is worth every penny, and I’d encourage anybody to set up their paddleboard with it.

So freaking quiet, it feels great to turn my entire rig in and not have hum or buzz. This particular add on is bigger than you think, only a little smaller than a 1590 B enclosure. This system is worth every penny, and I’d encourage anybody to set up their paddleboard with it.

“Everyone” knows this pedal or has heard it at some point. It works extremely well on both guitar and bass and gives you perfectly gritty driven tones, even from the cleanest of clean amps. While it’s not on my board, I always record with it at some point. It’s a great pedal to have in the toolbox.

This is the perfect reverb sound, in my opinion, and I’m sad to see that they discontinued this pedal — so I feel lucky to own it. This pedal won’t ever be sold, I use it in every studio session and even in my mixing console effects loop. It has plenty of headroom to handle drums, vocals and acoustic — giving it a really nice warm room sound. The left foot switch is a standard spring reverb, with a set decay, the knob only changes the mix/reverb amount in your signal. The ghost switch engages the feedback, “ghost” and tone. This is a cavernous reverb setting that steps up your reverb in addition to the standard spring that feeds the ghost circuit. The higher the standard spring signal/mix is the more ghostly and big the ghost side will be. It’s killer. M30 was just purchased and I’m excited to see what they do next.

If you’re looking for textures, or to make someone sea sick, grab this pedal because the wobble is outrageous. It’s a fun pedal to do quick little parts with. I’ve kept it around just for that reason, textures and filler sounds. Don’t pay over $30 for one but anything under that I’d say is well worth it.