Tune in today!
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#Repost @ardmoremusichall
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Kick off the new year with Ardmore Reprise: a live stream-a-thon fundraiser starting tonight at 6PM ET 🎶🎞 Enjoy 25+ archival performances from Voodoo Dead, Living Colour, Golden Gate Wingmen, Soulive, The Wailers, Railroad Earth, plus never-before-seen performances from Start Making Sense: Talking Heads Tribute and the AMH Family Band!
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The stream will be free on our YouTube channel, but all donations will benefit Sweet Relief Musicians Fund + our AMH staff ❤️ Link in bio to donate!
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We'll also be announcing the winners of our #RepriseRaffle 🎟🛍It's not too late to enter to win! Link in bio @ardmoremusichall ...
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Hi Steve,
Anyhing different happening under the hood of the Twin head? I have a Super Six head.
The white Strat’s most distinguishing features are pickups and string gauge.
They’re complimentary like nuts at the bar.
Three old Dano/Silvertone lipstick PU’s, wired so neck and bridge show up on the 3-way switch like a Tele: N N+B B, on a single volume control.
The middle PU has it’s own volume.
No tone control.
The neck and bridge have mounting rings because they came out of a Craftsman Bass.
Bridge is RWRP so i have hum canceling in “both”.
i like that switching arrangement on a Strat much better than the standard switch assignment.
Anyway, the lipstick’s are super-weak, low output, and the strings are normally ridiculously heavy but modern standards.
Some of the MMF era stuff was a regular set of Pyramid 12’s, which is kinda Strat proper in a vintage sense (it’s a ’60) but most of the time it was D’Addario 14 18 28w 38 49 64.
I think the big string/weak pickup combo is what makes that guitar unique to whatever extent it seems to be.
You can’t really play or sound like that with a hot pickup and a light string.