Eelco Sierendrecht

The SC-450s were made in Japan by Matsumoku from 1976 to 1979. The SC-450 has a three piece maple body with a scroll on the upper horn and a German carve around the body. The set neck is also three-piece maple with an ebony fingerboard, dot inlays and brass nut. Scale length is 25.5 inches, and the fingerboard width is 1-11/14 inches at the nut. The 24 fret neck joins the body at the 21st fret. Hardware is chrome plated including a fully adjustable tune-o-matic bridge and stop tail-piece. Pickups are two exposed or covered coil humbuckers (depending on pickup options), controlled by a three position toggle switch and single volume/tone controls. There is also a coil tap switch. Finish options were walnut stain or natural. Mine is walnut with exposed humbuckers, as in the picture. I am currently having this guitar modded to include an out-of-phase mini toggle.

First electric guitar I ever bought. I have changed the wiring (to 50's style), the pods and the pickups (now Gibson Burstbuckers 1 + 2, with 1 having it's magnet flipped for out of phase sound). I have set the tone and volume knobs to a default position and flip from an Clapton's Woman Tone inspired Rhythm position to an Peter Green like out of phase middle position and an raw and edgy Treble mode. The first mod I made to this guitar was turning the rhythm/treble toggle 270 degrees (I kept accidentally switching from rhythm to treble mode on my upstroke). Although the need for this mod is no longer there I have since gotten so used to it that I would apply this mod to any other Les Paul.

I have been looking for just the right wah for years now.I started with the original Vox v847, loved the tone but not the tonesuck... moved on the a Buda Wah, which lacked the lower frequencies I was after. Then the CryBaby Mini, it's small frootprint wasn't ideal but at its Lower setting it came closer to the sound I was after (but not quite, beside it drained the battery even when the pedal wasn't engaged). So here's my fourth wah the new Voc v847-C and I love it! The only thing "wrong" with it is that it does not have a LED indicator light to show when the pedal is engaged. I have had that build in and now it's the 5 star pedal I was after, without this mod I would rate it 4 1/2 star

I have never played over a real converted movie projector amp so I won't try and compare it to that sound. What it does for me is give me a unique, raw, overdrive tone that reminds me of Neil Young. It is organic and authentic and works well with other gain pedals (I use an ODR1 as a boost into it and can run both with my Brown Acid fuzz)

Released as a limited edition pedal by the MXR custom shop this pedal had all the magic of the original ColorDrive but with volume control that allows you to fine tune your sound. No "blend" knob to dial in your clean sound, but who would want to when your fuzz sounds like this

Jim Dunlop introduced a limited edition of the Way Huge Echo-Puss Analog Delay, which was designed by Way Huge founder and delay expert Jeorge Tripps. The pedal was designed for players who want an organic analog delay pedal that lets fine-tune their delay sound with a simple user interface. It serves up 600ms of delay with a pair of gravelly voiced bucket-brigade chips. A fully tweakable LFO modulation circuit allows you to add a liquid texture to the sound of the repeats. This edition is graced with custom artwork from artist Alan Forbes and is limited to 500 pieces. And I am glad to own one of these!

Prior to using the Artificial Blonde I used the Big Tone Music Brewery Maggie, that got me the lush stereo vibrato of a Magnatone but when changing amps or guitars it was hard to adjust the input/output levels (there are trim pots in the pedal but those are hard to get to and to fine tune). The Artificial Blonde gives me that same lovely warble but adds a volume control knob and a secondary bank to set a second vibrato setting. Having two presets at the push of a button has proven to be an unexpected bonus that opens up a whole new world of possibilities.

My signal chain is split after the drive pedals, one path goes straight into the amp, the other goes on to delay and vibrato (stereo out) via a DI box to the PA for a wet-dry-wet rig with the wet sound coming from the PA. This buffered splitter was just what I needed to pull this off

I was drawn to this mic because of its looks but that is just the icing on the cake. Sontronics claim of a warm natural sounding mic that needs no EQing is true!

I have tried many picks over the years, different thicknesses, different materials. The only constant was the shape (more or less). Over time I discovered that I really likes a thick pick with rounded corner. This Dunlop JazzTone pick is ideal for when I'm not fingerpicking

I got this acoustic fretless bass because it sounded great and was just what I was looking for (instead of guitar) in one song. The tuners had to be replaced within months, but with Gotoh tuners in place it's all I wanted, although I must admit an Epiphone Rumblekat would have been a better buy, so who knows I might switch it out someday...

This amp was great! At low-mid volume it was a practice amp at home, mid-high it would serve for jam sessions and small venues (w. mic). Sounded well with both electric and acoustic guitars, had a great sounding reverb and took all pedals

My first real amp was this Lab Series, obtained from my friend and guitar teacher Erik it was too big and loud to use at home (there I used a pignose) so I took it with me to squater venue Bar&Boos where it became part of the backline and I got to play it every jam session

Not quite the range and sweep I was looking for, but it did sound so nice when you had it in just the right position

First pedal I ever bought, and it's still on my board...

I have always loved this fuzz and once I started work on my Cthulhu suite I knew just which pedal to get. Unfortunately it didn't work as well with my Vox amp as with the Orange I had before, so I swapped it out for the MXR Brown Acid fuzz. But still the 2003 reissue is a classic in it's own right, all the mojo of the original minus the volume drop

I had been looking for an envelope filter type pedal with a good down sweep mode for a while when I came across the Spatial Delivery. The Sample & Hold mode clenched the deal for me. It worked fine with my Les Paul (even in its Out of Phase middle positition) and with my Scroll, both in humbucker and in split coil mode. However when I acquired p90 equipped hollow body it did not play nice, I really had to dial up the volume to get any effects out of the Down Sweep mode. Since this is now my main exe I had to led the pedal go. Another thing that let is down was the slight static hiss it created in all modes when activated and the Q which was a little too bright for my liking.

The mono in stereo out function of this pedal has made it a versatile device that I have only grown to appreciate over the years

If you are looking for true stereo vibrato, look no further! I had used the Mashall VT-1 VibtraTrem for decades and loved its stereo vibrato. I had thought of replacing it with a dedicated vibrato for year but could not find one that topped its sound, until the new BTMB Maggie was released.

The Flint is a modern classic and its reverb settings are superb, the tremolo however leaves something to be desired mostly because all three tremolo settings are not true stereo but the harmonic tremelo doesn't measure up to a dedicated pedal such as the Jam Pedals Harmonious Monk. The only reason I didn't get that pedal is because it is mono only but since the Flints tremolo is more of a wet-dry effect than a true panned stereo effect the comparison seems valid... Strymon has now released a V2 version of this pedal but I don't think these issues were dealt with. For V3 I would like true stereo tremolo and an option to pan the high and low harmonies of the harmonic tremolo. But until then this pedal is staying on my board!

Used the .10 for years, I especially liked the trading cads that came with these sets of strings in the 90'S. In 2016 I switched to .11 when we started work on our Cthulhu soundtracks. Then I decided I would really like a wound third string and stopped using these.