@Squid wrote:

WARNING! I’m not exactly sure what happened, but I know when it happened and it was when I clicked on that link above. Instantly got a pop-up message with a voice recording telling me I had a virus. I had to use task manager to get out of it. I don’t think that link is safe. I just ran a scan and no problems on my end so it’s probably a scam.

With that said, and not having read the article, I can say that my Yamaha THR-C modeling amp is exactly awesome with regards to clarity and sound quality. It’s only 10 W, so doesn’t get very loud, but it is without a doubt one fine practice amp! I wish they’d copy the excellence and put it a 20 W package!

I had been considering a Yamaha THR-C modeling amp but I came across the Blackstar ID Core amps and decided to go with it. Been very pleased with it now for about 6 weeks and it has proven to be one of the most useful piece of gear that I’ve bought. Other amps like the Mustang & Vypyr have much more features but when I had a Mustang iii, I found myself spending more time editing the amp than actually practicing. It was great for single coil guitars but never could get the tone for humbuckers that I wanted.
For practice, it sounds great and with 2 – 10 watt amps, it can get louder than you might expect. As with any modeling amp, the strength of it comes from the editing software and Blackstar’s Insider software is very good and simple to use. Single coil & HBs sound good and it doesn’t take long to find a good tone for either
Interesting that at times, I hear tonal qualities that sound like tube compression

Blackstar’s claim of Super Wide Stereo is not an exaggeration at all and is part of the amp’s overall appeal. Notes seem to be coming from all around the amp instead of directly from the box. It actually messes with my Siberian Husky, I’ve seen her looking at different areas around the amp for the source of the sound. LOL

I’d like to hear from anyone who owns one of the new Fender Champion practice amps. I was considering one of them as well as the Yamaha. The demo videos of the Fender makes it look very useful as well

BTW, I checked the link for the article and I didn’t have any problems. I don’t think that Guitar World magazine would have issues with malware on its website.

@6stringer wrote:

Keith, glad to hear you like your new amp. This one may be a bit bigger than yours, but I think yours is the same, right?

Yeah that is the Blackstar ID Core but I can tell which of the 3 models that is.

They make a 2 x 5 watt, 2 x 10 watt and a 2 – 20 watt models. I have the 2 – 10 watt and its surprising loud and good enough for practice or jamming with a friend

@Squid wrote:

Keith,
Yes I tried that link again and it did not whisk me away to “scammerland” (But it sure seemed to be the link the first time).

Hey, I just go this email from Epiphone. They’re re-introducing the “Blueshawk” which naturally made me think instantly of you.

http://www.epiphone.com/News/Features/2015/Epiphone-Blueshawk-Deluxe.aspx
(I’m not sure why the link didn’t paste hot, but it is correct)

The player on the video does some nice, clean picking, some funk, some jazz and some slide work. But he never adds much dirt to see what those pup’s can do! That Varitone function looks intriguing for possibly handling feedback on the semi-hollow? (I think that’s what it does)

Hey Squid

Think of the Varitone as 5 additional resistor/capacitor tone circuits that can be used in addition to the circuit that is included with the tone pot.
With the Varitone, the Blueshawk can go from a P90 guitar to imitating a Tele to the point that it would be hard to tell the difference in a blindfold test. It will give you Strat-like tones as well almost getting into the 335 tone zone

The sound chamber is so small as compared a 335 or a full sized jazz box that feedback isn’t a problem.

The new Epi model is made with a mahogany body and a maple cap. The original was made with a poplar body and a maple cap.
It would be interesting to hear an original and one of the new Epi models to see if the wood make any difference in the sound. I’m sure that the original Gibson made with poplar is lighter than the new one make with mahogany.

@Squid wrote:

Thanks for the explanation. I was not aware of this feature as I’ve never seen it on a guitar. I feel pretty certain that you own one?

My first guitar was an Epi Nighthawk RI. I loved that guitar, but the neck developed some serious cracks right next to the nut and I sent it back for repairs. Gibson isn’t about to work on a cheap import, and offered to replace w/ a CIC model or give me a refund so I got away from it.
But then I discovered the “Stratocaster” and wasn’t heartbroken for too long!

I bought my Blueshawk in 2000, I think that was the 2nd year of production. I was living in Ohio at the time and no one had them so I contacted Centre City Music in San Diego who, at the time, was one of Gibson’s biggest dealers at them time. I had to wait about a week, my guitar was shipped from the Gibson factory to San Diego and then to Ohio. I still have the Gibson box that it was shipped in.
Unfortunately, Center City didn’t sell as many as Guitar Center and Saul lost his dealership. Shame, he is a good guy and really great to deal with.

The BB King Lucille guitar has the Varitone and its either a ES345 or ES355 that has it as well

I like the Blueshawk but like you, I came across ‘my’ guitar after I bought my Blueshawk, which is a G&L S500. Leo Fender introduced that model in 1982; this model and the Comanche have treble & bass controls instead the tone control like a Strat. This type of control makes a huge difference in the tonality of those 2 guitars. You wouldn’t think that it would but if you try one, you will be surprised what the fine tuning of the treble and bass controls provides.
Also the S500 is the model that Leo debuted his design of what Fender calls 7 way switching allowing the use of all 3 pickups at the same time or the neck/bridge like a Tele.

Yeah, I’m sold on G&L. Leo Fender came home from work one day in 1991 and told his wife that he had given everything that he could to the music world. He felt that G&L represented all of the refinements of his initial designs. Leo passed away that nite. Interesting, his office at the G&L factory hasn’t been touched other than cleaning since he passed. His employees wanted it left just Leo had left in 1991, intending to come back the next day.

G&L is now being controlled by BBE Sound. Leo felt that BBE’s management would run the company according to his directions.
Look at BBEs stomp boxes and watch the videos – those are built with 1% precision resistors and military spec components

@Squid wrote:

Sweet looking Git! Now I have gas again. I’ll have to hold it in until the wife gets over my last gas-attack!

Do you know what is the advantage (or at least difference) in the Z-shaped p’ups from the Comanche?

The Z coil pickups were designed by Leo and surprise surprise – they are humbuckers instead of Leo’s typical single coil. Leo designed them to have larger pole pieces and he realized that when a string was bent, the string wouldn’t be over pole pieces, His solution was to design them in the Z formation to correct that issue.
And, G&L only makes these for right hand model guitars

From http://www.glguitars.com/instruments/USA/guitars/comanche/index.asp
The G&L Comanche® is Leo’s final word on the traditional double-cutaway bolt-on axe. Fact is, the first thing you’ll notice about the Comanche is the distinctive shape of the Magnetic Field Design™ Z-Coil™ pickups designed by Leo Fender† himself. These pickups deliver a bright and sparkly top end while offering a robust bottom end, all without any 60-cycle hum.

You’ll find plenty of power in the Z-coil pickups, but what’s surprising is how glassy and detailed they become as you roll back the volume and bass controls, the latter a part of the Comanche’s PTB™ (Passive Treble and Bass) system. What’s more, the Comanche includes a mini-toggle expander switch to allow neck+bridge or all three pickups together. In a pinch, the neck+bridge combo does a convincing faux ASAT® Special. Talk about versatile!

http://www.ggjaguar.com/com6sig.htm
A version of the Comanche, the Comanche VI, was available in 1990. The pickups were wired in parallel instead the typical series of the Comanche V. The VI also had 6 mini switches that were 3 way switches. Haven’t found info on this but it would seem that the polepieces could be switched from parallel to series. Thats a bit too much