The transistor Princeton 65 is 65 watts with 2-Clean Inputs; Vol, Treble and Bass the Drive Input (#2 with drive button engaged) makes it dirty with Drive, Vol, Treble, Mid, Bass, REVB and there also are PRE-OUT, PWR-IN and Foot switch for add-on options.
(My original review had to be divided into sections for the purposes of this website, but It overall remains unaltered.) Introduction: I am one of the lucky few that can claim to be the owner of a Hufschmid Headless six string. I have had the pleasure of looking at, picking it up, and playing it whenever my schedule permits. Each encounter with this guitar is a new adventure, and that does not come as a surprise. I have little experience in writing reviews, but every once in a while I feel extremely compelled to share my thoughts. I have a lot to say, so bear with me on this journey, and I shall introduce you to my experience with the art that is a Hufschmid guitar, as well as the artist behind it. I am very pleased to have the opportunity and the privilege to do this write up. First, a quick thought about the concept of “product” versus “craft”: Today we live in an age of big companies, big brand names, and mass production. Factory-line products have become the norm. These days, the title “Hand Made” holds great meaning, especially to those who pay attention to such things. This applies to the music industry as well. Many guitars are cranked out of factories, put together by machines with pre-determined specifications and the company’s bottom line as a priority. For those who want more options there are the custom shops, which surely do a fine job and will give a paying customer exactly what the customer specifies (for better or worse). Some musicians, however, want something a little different. They want something unique, something that is truly ‘their’ instrument. They want something that is more than just the sum of its parts, something that may itself transcend the purpose for which it is used. For these individuals, there are the luthiers. Who are the luthiers? From my perspective, these are the artisans. These are the craftsmen who create those one-of-a-kind instruments that you won’t see in the catalogues or magazine ads (at least, not likely). These are the masters that have dedicated years to acquiring knowledge and honing their skills. They know their craft, and they know how to do it right. This is whom you are working with when you choose Patrick Hufschmid. He is the real deal. When you agree to work with Patrick and the process begins, there is a constant line of communication, which is crucial in an endeavor such as this. I received daily updates from Patrick with pictures and information about what approach he was taking. We would often spend long periods of time emailing back and forth about his process in general. Communication is an important quality that Patrick brings to the table, and it should not be taken for granted. The total process was fast and painless. There were no days of waiting and wondering, and no flaky miscommunications. Most importantly Patrick was very professional and available to answer my questions even though an ocean separated us. Before I knew it, the guitar was in my hands. No problems at all. Features: This is my first venture into the realm of headless guitars. I’ve always been intrigued, and I decided that this was my opportunity to really find out what headless was all about. I am now hooked, thanks to the Hufschmid Headless. There is nothing not to love about this instrument. The components are all expertly matched, and they work together with the precision of a Swiss timepiece. It looks stunning from every angle. See the pictures on the website if you need a visual. The reds of the Sapelli, and the browns and blacks of the Bastogne Walnut, make for something that I’ve never seen before in a guitar. There is something to be found on every inch of this instrument to remind me that this is real wood from real trees. The natural grain paints it’s own picture, and it is just beautiful. Traveling up the neck to where the head would normally be features a circular medallion in the back with Patrick’s “H” logo imprinted. The transition from seeing the guitar to actually feeling it is an even better experience. The guitar is remarkably light and thin, yet it feels exceptionally solid. It presents a wealth of different wood textures between the neck and the body. I’ve even found a subtle knot or two, which is a real treat for anyone that appreciates carpentry. I’ve played many different guitars over the years, but this one is the first that actually feels alive. The pickups are hand wound by Kent Armstrong. I was asked to create a profile, in writing, of the kind of sound that I wanted. I like lots of variety, so I couldn’t give much more than a vague ballpark and the specification that I hate muddy tone. That was enough to get the job done. The pickups sound great, and feature Patrick’s signature “H” logo with a wood texture as the background. The pickups include a three-way toggle switch, a volume knob, and a tone knob. These components also flow well with the color of the guitar and hardware. A tertiary wooden panel covers the electronics on the back, and the inside is neat and organized. There is a nice foil layer covering the bottom and sidewalls of the electronics compartment, respecting the inside of the guitar as well as the outside. The fret markers along the rosewood fret board are composed of Luminlay’s magical non-nuclear glowing compound (http://www.luminlay.com/indexen.htm). I could get into the science of it, but I would rather believe that it is made from the blood of dragons and the tears of unicorns. Regardless, it looks awesome. I should note that Patrick has some models on his website that feature square block inlays composed of his own magic “Hufglow” materials… Ok I give on the magic part. Luminlay and “Hufglow” are made possible by a strontium aluminate mixture, which are then combined in an autoclave with dragon’s blood and unicorn tears. True story. The bridge and nut are the latest and greatest from Hipshot. The string is fed through the retainer at the bottom of the bridge and is locked down at the top of the nut. The retainers also serve as the tuning heads. It’s a great system, and my compliments to Hipshot and Patrick for making it work. The body itself has a shape that you will not see anywhere else. The initial process featured a ‘strat’ like body, which Patrick then carved away after calculating the proper amount of wood needed to balance the guitar overall. One of my favorite features is that the top area of the body, on which my right arm falls, has an angled section at the corner that begins about half way along the edge and continues around and down to where the bottom strap button resides. This little detail allows for a very comfortable and non-intrusive resting spot for my forearm. The body also allows for optimum access to the 24 frets that are featured on the neck. The neck is bound to the body with four screws and ferrules to reinforce the already snug fit. Put simply, it’s not going anywhere. As a cherry on top of the dessert, Patrick included Dunlop straplocks already fitted onto the body, so my straps were ready to play right out of the box. Also included was the Allen wrench for the nut, and a flashlight designed to light up the magic fret markers (DO NOT accidentally shine this in your eyes, it hurts).
Huf Pick reviews A review of 2 new Hufschmid Picks. Introduction. a Plug for Patrick, not only is he a nice guy, but he continually strives to make better products, use non traditional and traditional materials http://hufschmidguitars.bigcartel.com/ follow the link, and check out some of the options for his picks and plectrums. i am going to review 2 picks, the NEW Acrylic Attack III made from 'cross-linked cell cast acrylic' and a HufGlow attack II made from 'HufGlow' material. Features. The Acrylic Attack III is rounded and comfy, it slowly tapers to the edges making for a very fast and very hard attack, it really sits well between finger and thumb and always feels controlled. The HufGlow Attack II is triangular, pointy with smooth tapered edges, again, due to the thickness it has a hard attack, it really is quite comfortable, surprisingly so. Sound Quality. The Attack III and the HufGlow Attack II both have a similar feeling attack, the Hufglow being the softer of the two and plays acoustic lovely without breaking strings, on Electric a more Jazzy tone from the HufGlow Attack II definately surprised me and it's bright and gives some really good articulation, easy to pull of pinch's and sweeps with ease. The Attack III really comes into it's own little area of dominance with some gain on an electric, a hard attack, really pushes a tight controlled sound, few overtones and the brightness of the HufGlow but with an added depth of warmness, nether sounds harsh against the ears, plugged in or not. if you attack the strings at slight angles you can get some lovely softer and more mellow attacks, really versatile and good sounding tone from both. Summary. In summary i will attempt to not only conclude these picks, but really the whole Hufschmid Pick collection, not all players will benefit from these picks, but they are not a gimmick, i've been playing these picks exclusively for over a year now, and ALL the picks have performed above and beyond, they last longer than any other pick on the market due to the expensive materials used, they are all made by hand by Patrick himself. The newest shaped pick being the Attack III proving yet again that Patrick is continually looking for a better material or shape to give today's demanding players that little extra edge, i'm not endorsed by Hufschmid Guitars, but i do 100% put my name behind his Picks and Guitar workmanship, you will not find better attention to detail. So, if you think the price is steep?, it is, is it worth it?, Most definately, visit Patrick's site, email him and ask which you should choose for your playing and if your local to me pop in and try them yourself! Thank you for your time. Robert Hayter
We guitarists are a strange species indeed. Much like those golfers. Don't deny it - those of us who have unconditional love for the instrument and practice at an excessively regular rate have had, at one point, a thousand different picks lying around the house. The reason? It affects tone, we say; it makes me play faster, we say; it makes me sweep better; we say. Regardless, one standard issue remains. They all last for about as long as a small delicious cheeseburger. A couple of bites in, and you find that you gotta get another one to sate that appetite. Jokes aside, this was a huge problem I encountered during all my years of playing the guitar. Any pick I got just would just bevel immensely and lose its character after a few hours of practicing or spirited gigging, and I started to wonder if that was the ill fate of all potential woodshedders out there. ...until I stumbled upon Patrick Hufschmid's website. At first, I retained my scepticism. I thought, here is another luthier who showcases such majestic works of glorified wood. I must probably wait till 2053 to be next in line or to even receive a response. Alas, I received a reply in thirty minutes...let that sink in for a moment. More quickfire e-mails were exchanged and apart from realising what an amazingly nice guy Patrick was, I found myself ordering two picks, a PHD jazz type and a PHD attack, and received them in the mail after a few weeks. Damned airport customs. The first thing I realised was how big these picks were, 3mm thick and way larger than any typical plectrum. Now, being used to 0.88 to 1.40mm picks, it took a while for me to get used to the thickness, which also led me to think that it would be less mobile than its smaller counterparts. But that's when I started playing, and any doubts of potential clunkiness ended there. It was a fast pick. Though being that gargantuan 3mm, it has bevelled edges that taper into a sharp point, making for a very gratifying 'release' off the string. Players who are accustomed to playing picks such as the Dunlop Ultex Sharp, Tortex Sharps, or even the Jazz IIIs will feel right at home here. Crossing strings felt easier and due to the pick's material and thickness, it didn't 'give' to the strings, ensuring that no excess motion is required when going into faster passages and runs. Riffing was also smooth and it accommodated alternate and economy/sweep picking equally well. Every picked note sings articulately and depending on your grip, pinch harmonics may come off scream-ier. Typical accolades aside, the attributes that sold me into these picks were the durability and toughness of the material used. Patrick himself said that it takes almost an hour to craft a single pick, and you can see why. I was pushing the pick hard - playing through countless runs with a metronome, riffing with vigour, and not withstanding jamming to my favourite tunes from my favourite bands. After all that, I expected for the pick to at least 'scratch' on the bevels from playing so much on the wound strings. But no, nothing, there weren't any signs of wear at all. The pick would always retain its character and precision. Ultimately, this means that the 16th note sextuplet run at 170bpm you pulled off today can also feel the same way in a week, something you'd need to burn through 5 more picks otherwise to ensure the same consistent feel. This also justifies the price of the pick as the other review here has already stated, being a daunting 16 euros (around $21) a piece. Think about it though, a single PHD pick will more than likely outlast the 20 or so generic picks you buy with that same amount of money, and in that sense it provides a fantastic return for value. One thing that I have to say though is that this pick may not be suitable for all types of players and playing styles. The more experienced players will know what I'm talking about, as I'm referring to those acoustic guys and girls out there who tend to utilise a lot of strumming in their playing. As aforementioned, this pick does not offer a lot of 'give' and flexibility being as thick as it is, and therefore is not recommended for that hearty strum across all 6 strings of an acoustic guitar less you wish to have strings ricocheting off the guitar body like steel whips. This is UNLESS you absolutely know what touch to apply and/or if it's the desired sound you're after. I say this as more of a disclaimer for the discerning beginner than the seasoned singer-songwriter or shredder, and it may even be common sense for some of you, but I'm just putting it out there for those who do not have much experience with how picks react with certain stylistic approaches on the guitar. I think I've said all I can about this pick, and I find myself wondering again - corporate greed and profitability aside - why can't all picks be made like this? This is the definitive guitar pick, the one pick that I will compare all others to from now on with respect to their clarity, ease of motion, and durability. As I write this review, I'm already contacting Patrick again to purchase more of his picks and to discuss a potential investment in one of his beautiful guitars (watch this space for a potential review on that). Now if you'll excuse me, I'll be back to playing more gratuitous licks with my new pick. Definitely better than a delicious cheeseburger.
My Jackson PS6T Kelly is transparent red, made in Japan, bolt on 24 fret neck with dots, a Jackson licenced Floyd Rose, EMG 81/85 set. IMO the Performer series Kelly's are better than the Professional series Kelly's. These guitars had great quality control in manufacturing. Much better than the new JS series. The finish is beautiful, the Jackson tremolo is one of the better licenced FR out there only second to a gotoh. One volume knob and a 3 position switch is all I need, no tone knob. The switch gets tempermental now and again but flicking the switch again in a frenzy is a quick fix. The neck stays straight and feels great, the action can be set very low and harmonics, hammer ons, tapping, etc. is easily achieved.
Hufschmid H6 Left Handed Tele style! -Salvaged Bastogne Walnut Top -Premium and 'Rift-Sawn' one piece Sapelli Mahogany neck -Premium and 'Rift-Sawn' one piece Sapelli Mahogany body -Indian Rosewood fingerboard, 25.5'' scale, 24 frets, 12'' radius -Custom built Kent Armstrong 12 poles by Kent Armstrong himself -Luminlay photo-luminescent side dots -Hipshot tuning machines and bridge -West African Ebony control buttons -Excusive Techtron HPV® nut -Tru-Oil finish 15 coats
Made in South Korea, standard two humbucker v/v t/t setup, bridge is similar to a Gibson's, manufacturer unknown, same with the tuners and tailpiece. All solid and dependable, though.
Made in Indonesia. Very low quality spruce top.
The clean channel is just ok, but the gain is pretty bad, in my opinion. (I have an amp that I paid $50 for that has a better lead channel.) This isn't the best, and that's probably why it was quickly discontinued. The clean channel is workable, and it's got reverb. I guess you could fix the distortion with a pedal. I'll go back to either all tubes or all solid state. All tubes has been way better for me, but I have had a couple of solid state amps that are great for bedroom practice. This isn't one of them, unfortunately.
The Paul Reed Smith Custom 22 Ten-Top is one of PRS's flagship guitars from the 1990's. It features a mahogany body with a carved figured maple top, twenty-two frets, a twenty five inch scale, and Mahogany neck with a Rosewood fretboard. Made in the USA, and solid everywhere. It features the HFS pickup in the neck/treble position, and the Vintage Bass pickup in the bridge/bass position. It has a 5-way blade switch and a tone and volume knob.
The Fender American Special Tele is today's iteration of a classic guitar. It's a sturdy, made in America tone machine! It has an alder body which helps give it a very clear tone and a maple neck for that signature Tele twang. It has a Texas Special single coil Neck pickup and a Texas Special single coil Tele bridge pickup for that icy Telecaster bite. It's 25 and a half inch scale and 22 jumbo sized frets make it a quick and comfortable play with a good slick action.
The Epiphone Dot Studio is a clone of the classic Gibson ES-335 Semi-Hollowbody electric guitar. It has a mahogany top, back, sides, and a set in place neck. The neck is maple with a rosewood fretboard. It has two Vintage Alnico V plus pickups and a 3 way selector switch with a tone knob, and a volume knob. I believe they are made in the USA, though I could be wrong. It has 22 jumbo sized frets and a 12" fingerboard radius. The guitar is light and fast and very smooth to play, and really great looking. The finish is great and I love the brown woody look.
American made electric guitar. Flat Les Paul kind of body (natural mahogany, three pieces), bolt-on maple neck (three pieces), maple fretboard, arrow-like headstock (as with the Flying V), black. Two pickups: neck-pu is a humbucker, bridge-pu has the size of a single-coil (slanted position, like the bridge-pu of a tele- or stratocaster), but could be a humbucker also. The pu's are embedded in transparant epoxy, I like that. It is a Bill Lawrence design. One volume control and one tone control. In between these controls is a blend control (introduced in this year of production), instead of a toggle switch. Harmonica -bridge (made in Germany), stop tail.
CHARACTERISTICS What are the effects, or types of effects available? LOOP, samples, loops, samples, loops!!
The Martin 000-16GT is a 6 stringer guitar that has solid mahogany on the back and on the side of it. This acoustic is one of those ones that get better with time. They say the longer this wood sits the better it will get so it will be interesting to see how this guitar looks and sounds year from now. With it being a Martin, I will not be surprised that it will age beautifully because most of their higher end guitars do.
The Martin DX1RAE is a dreadnought acoustic and electric guitar. It has rosewood back and sides with a morado fingerboard and electronics right onboard. I purchased this guitar years ago with a Martin case to protect it. The finish on this guitar is very nice and the head plate is perfect with that Indian rosewood printed logo. The neck shape on this guitar is a low oval shape and it will come down to personal preference if someone will like it or not.
The Epiphone DR-100 (Ebony) is a 6 string guitar that has a spruce top and it is mahogany on the sides and back. The fret board is rosewood and the neck is mahogany as well. You can actually purchase this guitar in Natural, Vintage Burst and Mahogany at the same exact price so it comes down to personal preference as far as the color goes.
If you are searching for something that is affordable and very nice to take around to travel with even if you are not a gigging musician than the Taylor GS Mini is the way to go. This guitar is small and durable; it has a beautiful finish and feel to it. I have been using this guitar since November and I can tell it is very well made. This guitar is smaller and portable but it is not the type of guitar you would get for kids. It is an adult guitar and made for the road.
The Taylor Baby Mahogany has an ebony bridge with 19 frets on it. The finish on this guitar is very beautiful and rich. I have used this guitar for a long time but I do sort of classify it as a “beginner’s guitar” but not because of the quality. The quality with this guitar is amazing! One thing I guarantee you will need with this guitar is a hard case because if you do not have one you are setting yourself up for failure!
The Martin D-18 is one of the most iconic guitars around. Renowned for it's simplicity and beautiful tone, it's a highly popular guitar for all sorts of musicians. It features a dreadnought design, made to project it's power and volume, an ebony fretboard, sitka spruce top and a mahogany back and side pieces. The combination of woods gives it the perfect balance between bright and dark, and that balance is truly beautiful. The D-18 can go from a quiet acoustic whisper to a booming powerful acoustic guitar. It's craftsmanship and build quality are impeccable, and this guitar deserves all the praise it gets.
The Schecter Guitar Research C-7 Hellraiser is a seven string, 26 1/2" scale electric guitar. It features a 3-piece Mahogany neck, Rosewood fingerboard, Mahogany body with a quilted Maple top, 24 jumbo frets, gothic cross style inlays, EMG Active 707-TW pickups, a Floyd Rose Original Tremolo and abalone binding. The tuners are nice Grovers, and all the hardware is black chrome. The controls are 2 volume pots with push and pull coil-splitting capabilities, a tone knob and a 3-way directional toggle switch. The construction is absolutely top-notch, everything is done perfectly. The fit and finish is beautiful, the abalone bindings are done right and look great. The deep, dark red finish is awesome and heavy.
Simple controls 100 watts clear sound
The Martin SP Lifespan strings are the more expensive version of their regular SP strings. The SP+ strings are claimed to last longer and hold their tone longer than the cheaper strings. The strings are made of a blend of phosphor bronze and come with Martin's Cleartone treatment that is supposed to make the strings last longer. My experience is that the extra cost of the strings does improve performance, although each guitar player will have to decide for themselves whether the extra cost is worth the improved performance. I have used both the SP and SP+ strings on my Martin DM (a mid-level guitar). I did not notice a major difference in the tone between the two different types of strings when they are initially put on the guitar. I never play hard enough to break strings, so it is hard for me to compare if the SP Lifespan strings are more 'durable' over a long time than the regular SP strings. In my recollection, the SP+ strings may have held their tone longer than the SP strings. I typically think that the SP strings start sounding dull after about 4-5 hours of playing. I would say that the SP+ strings probably held their tone for about twice the length of time. My main suggestion for anyone that wants their strings to last longer is to clean them after you play. The biggest thing that sucks the tone out of a set of strings is having the dirt and grime build up on the strings. When this happens the strings can vibrate appropriately. Finger oil will eventually build up on any type of string, regardless if it is SP or SP+. Buying 'coated' strings can help this problem. But if you are willing to spend the extra money to buy expensive strings rather than the cheap strings, you should also spend the extra time to clean your strings.
I have played the guitar for over 15 years. I have always been dedicated to keep fresh strings on my guitars (acoustic and electric) because I could hear that it makes a big difference in tone. Plus, who likes to play on strings with dirt and grime all over them? I have always been skeptical of paying the extra money for a $10 set of strings compared to a $5 set of strings. I figured, as long as I kept them fresh, that is what matters most. I had played Martin SP lights, and Ernie Ball slinky strings as long as I have have playing the guitar. Recently I tried out a set of Elixir strings on my acoustic guitar. I thought they sounded pretty good, and played really well. Then I switched back to the Martin SPs. It sounded like my guitar had lost all its tone. I was so surprised that the Martin SPs sounded dark and dull even with a brand new set of strings on the guitar. It was a shocking experience, and I couldn't believe that I had just been playing the Martin strings for so long and never tried anything else. Unfortunately for my wallet, I am going to switch to Elixirs. It is too bad they cost twice as much money, but the difference in tone was too much not to make the switch. I suppose I will just try not to switch my strings as often. But I will definitely put a new set on any time I am doing to recording, it makes a huge difference. Many times you can find retailers that carry these strings in "multi-set" packs so that you can buy two and get one free, or buy 10 sets at a discounted price. Assuming that you love the strings, and wouldn't want to try a different brand, buying in bulk is a good way to save a few extra bucks on these 'luxury' strings.
I have been using the Martin SP Lights on my guitar since I purchased it in 2002. I have a mid-level Martin Guitar, the DM. I am not a professional, expert guitarist. However, I have been playing for ~15 years. I do a lot of recording, and I try to be as intentional and detailed about the tone of my guitar as possible. I change the strings on my guitar once a month. I probably play the guitar 3-5 hours per week. For the longest time I was loyal to the SP lights. I could definitely tell a difference when I put a new set of strings on after a month. They always sounded cleaner and had longer resonance/sustain. I think this is mostly due to the build up of dirt and grime that can occur on guitar strings. More often than not, I clean the strings by wiping them down after I play. Nonetheless, I would change them whenever I was going to do a new recording. Recently I tried out Elixir strings. After playing Martin SP's for so many years I was loyal to the SP's and have always thought that spending the extra money on strings wasn't worth it as long as I kept fresh strings on the guitar. I really like the sound of the Elixirs, and I thought they added a little something extra than my regular fresh set of SP's. I went to a local music store to pick up another set of Elixirs, but they only had Martin SP's in stock. I purchased the SP's and put them on the guitar. Honestly, I was a little disappointed with the SP's. I thought that the fresh set didn't sound as detailed and bright as the Elixirs. The tone on the SPs was definitely darker (which some people will probably like, if that is your style of music). But for me, I think in the future I am actually going to switch to the Elixirs.
we control and use the preamp with a G System, power it with a EL34 marshall 100/100. and run it into a customized stereo 4x12 marshall cab. I mount the 100/100 in a separate rack because I sometimes just carry the preamp out to use with other set-ups. without writing a book, my background is 25 years of playing in working bands, and having said that, I was always hard core plexi and really love the sound of superlead stacks. My old school rig was 2 JMP 1/2 stacks. I later went with a wet/dry combination, in other words I send all the effects to one wet/amp and keep the other amp dry. when I went to the wet/dry configuration, we sometimes used a modified JCM-800 head on one of the cabs. anyways long story short, a good friend passed away and he wanted me to have his Rack rig. It literally sat in a corner of the warehouse for 3 years until another guitar player took the covers off the racks to see what was inside and went on and on about how awesome they are and who all uses them still to this day, so we hooked it all up and ran it stereo into 2 4x12 cabs with vintage 30's... literally we all went nuts over this thing... I think anyone who likes marshalls would like the JMP-1 we have had all kinds of preamps over here, and ever since we started using this one, it's really sparked some creativity.
I recently had my guitar professionally set up and asked for the new (ish) Ernie Ball Cobalt strings. I have been playing the standard Ernie Ball regular slinky strings for over 10 years. I have typically played .10s, however I had a specific project that I have been working on where I was tuning my guitar to standard D instead of standard E. Therefore, I wanted to step up to .11s instead of .10s. I have about twenty sets of the Ernie Ball .10s at home, so I wasn't interested in trying out the Cobalt strings until I used up all these strings first. However, because of this new project, I decided I would try them out for the time being. My initial impression was that they sound the same as a fresh set of the standard Ernie Ball strings. I didn't hear that the 'Cobalt' and extra $$$ was making any different. This was a little disappointing because I would have hoped that the strings would sound better in general when you first put them on fresh. The second test was whether they hold their tone for longer. I have been playing them for about a week, and it is hard to tell if they have really been able to hold their tone longer. The one thing that I do notice, is that they are easier to clean than the standard Ernie Ball strings. Any dirt or grime from my fingers that gets left on the strings comes off pretty easily. This definitely helps the tone last longer in the strings, because it helps the strings vibrate more smoothly. I try to clean my strings after every time I play. Anyone that plays guitar knows, after a while, it doesn't matter how much you try to clean your strings, the dirts not coming off and it is just easier to put a new set on. I am hoping that these strings last a little bit longer to make the extra $$$ worth it. Otherwise I will probably just stick with the cheaper strings.
I have been playing Ernie Ball regular slinky strings for more than 10 years. I typically change the strings on my electric guitar once a month, or even more often if I am recording. Probably the biggest tip I can give someone that is either new to playing the guitar, or is looking for a simple way to improve the tone of their guitar - change the strings. I know too many people that never change their strings until something breaks. This is the easiest way to insure that your guitar sounds dull and lifeless until the next time your strings break. The Ernie Ball slinky strings are the cheapest way to keep your guitar sounding good. Every time you put a new set on your guitar will sound much better than when it old strings with dirt and grime all over them. The main thing is that all the dirt and grime changes the physics of how your strings vibrate. When the strings can't vibrate properly, you are going to lose tone. Therefore, change your strings and clean them whenever you play. The only downside of these strings is that they don't hold their tone for very long. As soon as you put them on, they sound great. However, after about 5-10 hours of play time, they really start to sound dull. I guess you get what you pay for. There are more expensive strings that hold their tone for longer. Pretty much if you pay more money then you won't have to change the strings as often. With these strings, they are super cheap. I typically buy them in packs of 10 sets. But then you have to change the strings over and over again. This is a little bit of a hassle. I have recently tried out the new Ernie Ball Cobalt strings. I honestly don't think they sound better than the Regular Slinky strings, but I am hoping they hold their tone for longer. All this to say, the regular slinky strings sound great. As long as you are willing to change your strings often, then these are the way to go.
This is a tube amp with some great features. First off the overall sound is stunning, cleans are smooth and not brittle. The various control features make it easy to dial up what ever your looking for. Two gain controls and a volume give lots of options for playing loud and gritty to clean and sparkly at either high or low volumes. Superb reverb with options in the intensity and depth. The EQ controls give all the best Fenderesq sounds I can possibly hope for. Blackface, deluxe it does it all. A 6V6 duo of power tubes at a 20 watts give it that nice warm feel. The switchable treble circuit add still more dimension to the sound. A perfect club amp or playing around the house.
All tube handwired 20 watt 6V6 head with treble, mid, bass tone stack and a presence control, two inputs hi and low. Simple straight forward layout. Separate 4, 8, 16 ohm speaker outputs. Exactly what is needed.