Built for: Nate LaPointe.
Godfrey Daniels Ghostfinger Custom #001
TONE REPORT
I have had the guitar for about 2 months now. I finally have time to do a tone report.
Getting off stage after her debut set, my first words were, “the tone is just sitting there, waiting for me to grab it.” That statement remains true today. If I am looking for a particular tone, all I have to do is search around the guitar for it and 100% of the time I find it. There are 2 projects I play this guitar in most frequently, Cubensis which is a Grateful Dead tribute, and the Nate LaPointe Band, my original venture.
In Cubensis, I’m looking for quite a few tones, seeing as we cover the spectrum of Dead, JGB, and Ratdog material. I need to access Weir’s various tones from throughout the years. To get that early 70’s 335-es tone, I like using neck/bridge combination both in series while rolling off just a little treble from the tone pot. I get that nice warm 73-ish sound. For the late 70’s/80’s tone, I go for a little brighter punchier sound by selecting the middle pickup in parallel mode with the tone pot wide open. This is probably the most versatile sound I have on the guitar since it punches a bit more mid-range than the other options. I am able to cut through when needed or just strum away as an accompanist and blend in nicely. For a twangier more country tone I tend to favor middle/bridge combination both matched in either series(louder more punch) or parallel(more quack). I’ve experimented with all the combinations of series/parallel/split in this position but I always prefer them both to be the same. I can turn on a drive pedal in this pickup position and really get a bright country-ish driven tone that cuts through, especially in the upper register. Sometimes I’ll go for the Jerry tone for a solo or on nights Craig is not available. 90% of my Jerry tones I can get in that middle position in parallel mode. Funny how that is the same position I get many of my Bobby tones. I guess the biggest difference would be for the Jerry thang to roll off some lows on the amp and boost some more mids. Obviuosly, I’m also approaching the playing techniques much differently so I’m sure that plays into the tone changes coming from just one position.
For the Nate LaPointe Band, I use basically 3 different settings…1) middle in parallel, 2) neck/bridge both is series, and 3) middle and bridge in either series or parallel. I guess this comes from the 3 areas we explore most in that band…1) Dead-ish grooves and jams, 2) r&b grooves with jazz changes, and 3) country. Our sound at any given time IS our sound at any given time. In other words, I’m not looking to jump eras and genres like I do with Cubensis.
I’ve also taken the guitar on a few pop gigs and recording sessions. Again, I turn to the guitar, not the pedals or amp, for tone changes. Just the other night we played “Kiss” by Prince and I was not happy with middle/bridge in series or parallel like I originally thought would be the right sound. I switched them both to single coil, and without missing a beat, I had that sound nailed. I also used this setting on a Jackson 5 tune. For the Santana thing, I like the neck/bridge both in series with my tube screamer. I’m not sure how Santana had his stuff setup but this seemed to be a pretty accurate attempt.
As far as playing the guitar, it took a few weeks to get used to, as with any new guitar you buy. I think after a few months, a few string changes, and a setup, I have really begun to embrace the feel and touch of this instrument. The balance is comfortable, easy to hold, and very comfortable, even on a 3-hour gig or 4-hour rehearsal. Just last night at my gig there was a guy complimenting me on the guitar and he said, “looks like it plays the way a Ferrari drives.” I am definitely getting to that point, it’s not a 63 Chevy that takes a bunch of work just to shift from 1st to 2nd gear with an old worn out clutch. It’s more like a new Lexus with leather seats where you sit down and the car almost drives itself while you sit back and enjoy the Bose sound system. I don’t want to use the Ferrari analogy just because I’m not a speed player, I don’t want to go 185 mph. I’m much more interested in comfort, versatility, and beauty
In regards to what other people have said, I don’t always take them seriously. Most people don’t have a f*@#king clue what they’re talking about. But taking this guitar out in public, I get very interesting responses. It’s almost as if the guitar has a magical power by being able to filter out people’s dumb ass comments. A non-musician who has heard me play numerous guitars over the years said, “There’s a sweetness in the sound that comes out of that guitar.” The statement itself did not impress me as much as the fact that I was playing it without the effects loop through a Roland Cube solid-state amp that day. Typically we associate “sweetness” with a powerful tube amp, not a cheap 80’s solid-state amp at a low volume. I attribute this particular person’s comment to 3 things…1) the jangle-tone unity gain buffer, 2) the DiMarzio super 2 pickups, and 3) Godfrey’s uncanny ability to craft an instrument that sounds perfect. No single wood, size, design, shape, pickup, or anything can accomplish this. It’s a combination of all these variables that makes the guitar what it is. I am eagerly awaiting Godfrey’s next designs so I can see what combinations he uses and what the end results will be. I trust he’ll find the right wood paired with the right cut paired with the right pickups paired with the right player to make something just as strong and unique sounding as my instrument. Having played every guitar Godfrey has made, my honest opinion is that he will find that combination in every guitar he builds from now on. If you are ordering a custom guitar from him, don’t be afraid to ask for what you want. Communicate your needs. He will have the answer for you, even if it’s something you didn’t originally expect. I look forward to the day I can call him and say, “just build me what I need next” and trust that it will come out better than what I thought.
pics...
http://www.thegearpage.net/board/sho...ht=Ghostfinger
Godfrey Daniels Ghostfinger Custom #001
TONE REPORT
I have had the guitar for about 2 months now. I finally have time to do a tone report.
Getting off stage after her debut set, my first words were, “the tone is just sitting there, waiting for me to grab it.” That statement remains true today. If I am looking for a particular tone, all I have to do is search around the guitar for it and 100% of the time I find it. There are 2 projects I play this guitar in most frequently, Cubensis which is a Grateful Dead tribute, and the Nate LaPointe Band, my original venture.
In Cubensis, I’m looking for quite a few tones, seeing as we cover the spectrum of Dead, JGB, and Ratdog material. I need to access Weir’s various tones from throughout the years. To get that early 70’s 335-es tone, I like using neck/bridge combination both in series while rolling off just a little treble from the tone pot. I get that nice warm 73-ish sound. For the late 70’s/80’s tone, I go for a little brighter punchier sound by selecting the middle pickup in parallel mode with the tone pot wide open. This is probably the most versatile sound I have on the guitar since it punches a bit more mid-range than the other options. I am able to cut through when needed or just strum away as an accompanist and blend in nicely. For a twangier more country tone I tend to favor middle/bridge combination both matched in either series(louder more punch) or parallel(more quack). I’ve experimented with all the combinations of series/parallel/split in this position but I always prefer them both to be the same. I can turn on a drive pedal in this pickup position and really get a bright country-ish driven tone that cuts through, especially in the upper register. Sometimes I’ll go for the Jerry tone for a solo or on nights Craig is not available. 90% of my Jerry tones I can get in that middle position in parallel mode. Funny how that is the same position I get many of my Bobby tones. I guess the biggest difference would be for the Jerry thang to roll off some lows on the amp and boost some more mids. Obviuosly, I’m also approaching the playing techniques much differently so I’m sure that plays into the tone changes coming from just one position.
For the Nate LaPointe Band, I use basically 3 different settings…1) middle in parallel, 2) neck/bridge both is series, and 3) middle and bridge in either series or parallel. I guess this comes from the 3 areas we explore most in that band…1) Dead-ish grooves and jams, 2) r&b grooves with jazz changes, and 3) country. Our sound at any given time IS our sound at any given time. In other words, I’m not looking to jump eras and genres like I do with Cubensis.
I’ve also taken the guitar on a few pop gigs and recording sessions. Again, I turn to the guitar, not the pedals or amp, for tone changes. Just the other night we played “Kiss” by Prince and I was not happy with middle/bridge in series or parallel like I originally thought would be the right sound. I switched them both to single coil, and without missing a beat, I had that sound nailed. I also used this setting on a Jackson 5 tune. For the Santana thing, I like the neck/bridge both in series with my tube screamer. I’m not sure how Santana had his stuff setup but this seemed to be a pretty accurate attempt.
As far as playing the guitar, it took a few weeks to get used to, as with any new guitar you buy. I think after a few months, a few string changes, and a setup, I have really begun to embrace the feel and touch of this instrument. The balance is comfortable, easy to hold, and very comfortable, even on a 3-hour gig or 4-hour rehearsal. Just last night at my gig there was a guy complimenting me on the guitar and he said, “looks like it plays the way a Ferrari drives.” I am definitely getting to that point, it’s not a 63 Chevy that takes a bunch of work just to shift from 1st to 2nd gear with an old worn out clutch. It’s more like a new Lexus with leather seats where you sit down and the car almost drives itself while you sit back and enjoy the Bose sound system. I don’t want to use the Ferrari analogy just because I’m not a speed player, I don’t want to go 185 mph. I’m much more interested in comfort, versatility, and beauty
In regards to what other people have said, I don’t always take them seriously. Most people don’t have a f*@#king clue what they’re talking about. But taking this guitar out in public, I get very interesting responses. It’s almost as if the guitar has a magical power by being able to filter out people’s dumb ass comments. A non-musician who has heard me play numerous guitars over the years said, “There’s a sweetness in the sound that comes out of that guitar.” The statement itself did not impress me as much as the fact that I was playing it without the effects loop through a Roland Cube solid-state amp that day. Typically we associate “sweetness” with a powerful tube amp, not a cheap 80’s solid-state amp at a low volume. I attribute this particular person’s comment to 3 things…1) the jangle-tone unity gain buffer, 2) the DiMarzio super 2 pickups, and 3) Godfrey’s uncanny ability to craft an instrument that sounds perfect. No single wood, size, design, shape, pickup, or anything can accomplish this. It’s a combination of all these variables that makes the guitar what it is. I am eagerly awaiting Godfrey’s next designs so I can see what combinations he uses and what the end results will be. I trust he’ll find the right wood paired with the right cut paired with the right pickups paired with the right player to make something just as strong and unique sounding as my instrument. Having played every guitar Godfrey has made, my honest opinion is that he will find that combination in every guitar he builds from now on. If you are ordering a custom guitar from him, don’t be afraid to ask for what you want. Communicate your needs. He will have the answer for you, even if it’s something you didn’t originally expect. I look forward to the day I can call him and say, “just build me what I need next” and trust that it will come out better than what I thought.
pics...
http://www.thegearpage.net/board/sho...ht=Ghostfinger
