Grateful Dead Music Forum

A place to talk about the music of the Grateful Dead 

 #40603  by krzykat
 Thu Mar 27, 2008 5:34 am
good to know there is another lefty on here! (LOL)


 #40605  by playingdead
 Thu Mar 27, 2008 5:59 am
Thanks, you guys ... I have to say, I could never have approached the tone I get without the wealth of information on Dozin's site and from folks like you. I only started playing lead with Playin' Dead three years ago (I was the keyboard player in the bandfor two years when it was called Electric Hummus) and it was Hummus' former lead player Todd Lena who turned me on to hi Strat with the DiMarzios, while I convinced him to ditch his stock Vibrolux for a Twin and gave him a pair of my E-120s, and the race was on.

I fixed the video links in the other "amp adventure" post from our show on Friday night, and I will post some more when I get through the rest of it this weekend.

 #40607  by playingdead
 Thu Mar 27, 2008 6:12 am
BlobWeird wrote:Sounds great. Not to be a ball buster but doesnt that one horn on the body look off? It looks to fat and not carved in deep enough. Anyone else see this?
If you only knew how much I obsessed over the carve on this guitar ... LOL.

It's not exact, but I think it's close. The upper horn on the real Tiger is pretty thick. I think mine is more off where the two sides of the body meet the neck; mine touch at about the same fret, while Irwin's original has the lower side higher on the neck.


The story behind the guitar is I wanted the tone of the guitar but at a more "budget" price than a true replica, if there is such a thing in regards to price. I had Resurrection do a cocobolo top over a stripe of maple, stripe of mahogany, then a maple core with another stripe of mahogany and a flame maple back.


The neck is maple with padauk. There is also the stronger valute at the peghead, a la the Bolt guitars, for strength and, in theory, a little more sustain. I also didn't do the brass inlays; I had the neck bound in ivory because I can see the fret markers a little clearer on stage if they are black on white. The bridge and tailpiece are just standard Les Paul style; the tuners are locking Schallers. I didn't do the brass plate on the pickup selector or the jacks, either; I think the wood is so beautiful I didn't want to hide it.

The guitar is heavy ... about 12 pounds or so, more than the Les Paul Custom I used to own. I'm used to it now, though. My back up Strat with the Jerry electronics feels like a feather in comparison.

Electronics are the usual Jerry issue. The Tiger inlay is simpler, as well. Total price for the guitar was about $3600 ... or about $2200 less than the full-on Tiger replica ... enough money saved to almost buy the entire rig.

The finish is nitro, because while the Alembic replicas look like glass, they have a polyurethane finish (many, many coats) and the folks at Resurrection feel that deadens the tone a little bit.

Oh, and it came with a Coffin guitar case, which I found too creepy to keep the guitar in ... LOL. Got a nice tweed one instead.

I think the folks at Resurrection have scaled back for the time being, getting set up again and aren't building guitars at the moment. It took about a year and two months to have it delivered, and it was a long, hard wait, but it was worth it in the end. Anyone who comes to one of our gigs is more than welcome to check it out.

At some point, I will ditch the brass and gold hardware and redo the whole guitar with nickel, I think it will look really nice that way and probably wear better.

It would look like this ... thoughts?


 #40618  by GratefulPat
 Thu Mar 27, 2008 9:43 am
i agree on the nickel.. looks great either way though.. and for the record, youve played lead with playin for 3 years, or youve played guitar in general for 3 years? im assumming the band, but let me know if im wrong

 #40621  by tigerstrat
 Thu Mar 27, 2008 11:55 am
drool coming out the left side of my mouth... looks like some ultimate southpaw fun there, Vic! welcome to the board!

 #40647  by High Peaks
 Fri Mar 28, 2008 6:05 am
Welcome Vic. Great sounds!!! Look forward to talking to you on 2 boards now!!!( Gearheads)

 #40655  by strumminsix
 Fri Mar 28, 2008 7:17 am
Maybe we need a gearheads to rukind conversion:

strumminsix = Nick Bur...@ sbcglobal

 #40661  by 1960strat
 Fri Mar 28, 2008 8:52 am
1960 Strat = Fixfinance

 #41012  by jenkins
 Wed Apr 02, 2008 1:09 pm
great set up man.

I have a few q's

Are you powering that hard truckers cab with an external power amp or with the power section in the reverb head?
Why do you have all your pedals on the floor as oppsed to up on a rack with a foot controller?

That mid 70's reverb head is on a printed circuit borad, correct?

thanks for posting

 #41014  by playingdead
 Wed Apr 02, 2008 1:58 pm
Thanks. The audio on the videos I posted (linked on my sig as well) is the Twin's power section running the 2X12 cab; I'm going to try out a power amp and Trio preamp soon, though.

The pedals are on the floor because I don't really ever have to mess with the settings on anything, and it's just as easy to step on a pedal as it is a foot controller. Plus, the delay has a tap tempo on it. They are on the guitar's effects loop so it's only switched in when I am using an effect.

Others can chime in more reliably on the Twin and the circuit board ...


 #41019  by tigerstrat
 Wed Apr 02, 2008 2:42 pm
Fender didn't go to PCB construction until early-to-mid 80's afaik. A mid 70's Twin is going to be P2P.

 #41135  by mikepand
 Thu Apr 03, 2008 5:07 pm
From one "Massachusetts dead band and new to Rukind guy" to another.
welcome. Nice rig.

You are a great Jerry, good stuff. I've been trying to catch you guys for awhile but never seem to be able too, Someday.

My keyboard player used to play with your "Bob" in a band called The Kind years ago.

mike from Big Rhythm Wine
 #45196  by Uncle Melty
 Wed Jun 18, 2008 10:59 pm
Hiya Hiya Hiya kids, can you hear me?
(Bonus points to anyone who can say where that quote came from)

You people REALLY know what you're talking about. Man! Gear stuff is like alphabet soup to me. I got a question, but first I'll mention that I have a Tigeresque guitar with a modulus neck set up with heavy jazz strings and active EMG pickups, the third being a single coil at the neck. Can't play it for squat! Too damn hot of a signal, just overpowers everything I run the ol Les Paul through. But I'm an acoustic player who was drafted into a Dead and Floyd band because I knew the songs and so I didn't have to go for anything but Jerry's rhythm and Bobby sounds. Anyway, it's done in a kelly green woodgrain with a seafood motif of inlays up the neck and everything just so except for my friend who built it back in like 86 ran out of money and never bought pickup surrounds so that they just kinda sit there in the routed holes. The single coil is the one that looks worst since the hole is bigger. It doesn't have the effects send and return and has a toggle for each pickup and a single tone and volume.

So like 20 years later I decide to finally ask this question. On 80's versions of Big Railroad Blues, Jerry got this sound that was SOOOO fat. He was able to play the chords and they would fuzz a bit and sound more like they were crackling with energy than sound distorted or overdriven or fuzzed out with the multiple strings sending frequencies that emerged all unpleasant like. And his leads had that fat sound that you'll remember too.

My problem is that I can get a similar sound from one note at a time, but I have NEVER been able to get that sound with two string chords, let alone the fat chords he'd end a lead with before heading back into a verse.

I've had fuzzheads tell me it was because they were routing different frequencies to different speaker boxes in the wall of sound. I knew that, but they had stopped that by the 80's I thought. HOW is it that one can get a setup that will make a single note fat, but not leave a two or more string chord totally mudded out with the clarity of each note within the chord gone?

I'm not a bad player at all, so it's not necessarily ham fisted playing. I nail the Syd Barrett sounds easily, various Bobby sounds come easy, and Neil Young has always been easy for me. PLUS, I play mostly acoustic and so tone and string damping and nuance of attack are all things I sorta work with.

Just looking over the compliments on the killer setup in this thread made me think that HERE of all places there might be someone who knows EXACTLY what I am talking about. I refused to play electric versions of the "Cowboy" songs with the band because they weren't sounding good enough. I'm no slave to particular arrangements or anything either, I'm not out to replicate a performance like some of the outstanding bands do. I just want to be able to do the bluegrass picking and not have it sound like an electrical storm or whatever.

Thanks much for any input you can give on what gives the clear fat sounds. My amp done blew up or something so I have some work to do, but I ran into a local guy with kids and all who ALSO plays and so if we DO ever plug in I'd like to be able to do the bluegrassy and western songs as well as the other ones that I have an easier time doing tonal justice to.

Uncle Melty
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