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		WGTP
Guest
One morning in the late '70's I was awoken by my alarm clock BLARING a thermonuclear version of the old Kinks song many garage bands played called "You Really Got Me".  In a moment I knew the game had changed.  After further sonic assaults from "Running with the Devil" to "Atomic Punk" and further research, I found some astonishing things were going on.
This dude was my age, but played like an Alien, sort of like Hendrix did us 10 years earlier, but more classically oriented. I could hear many elements from current electric guitar styles that had been turbo charged and synthesized. Man, I was going to have to do some practicing. How do you come up with this stuff? (Was it the Meth?)
1. This dude was using a HUMBUCKER in a strat. (How come Fender didn't put there humbucker in the Strat?)
2. He had this new whammy bar that had all this hardware on so he could do this Hendrixesk dive bomb stuff and stay in tune. (I still question why he sites Clapton as his major influence, more BS I guess.)
3. He built his own guitar from parts that he bought. It was a hybrid. He did his own graphics on it. How cool is that.
4. He spanked the hell out of it. Harmonics, Tapping, etc.
5. They were saviors from the Disco and Country that seemed to be taking over my part of the world. Did I prefer them to the Bee Gee's and Willie Nelson? Would I be writing this if I didn't?
I say all this to explain the climate of guitar tone. Mixing the Gibson Humbucker (especially if it was a much coveted PAF) with the Fender Strat which had a Floyd Rose Whammy on it became the new guitar to have. It created a BIGGER more aggressive tone and allowed for expansion of the standardized guitar techniques of the mid '70's.
Many of the guitarists around preferred the tone of a Seymour Duncan JB in this new hybrid guitar to the DiMarzio Super Dstortion. (Especially West coast guitarist) Those were the 2 HOT guitar choices, or you could get a '59 or PAF from DM. Those were the 4 pickup choices you had for a while. There weren't 30 different places to get pickups that each had a dozen choices. This is where the stock Gibson of the day (currently known as the t-top) got trashed in the ad campaigns. It was way better than no choices.
Some of the pickups developed around these times were to "fix" the hybrid guitars because the Floyd Rose changed the tone in a way that some were not happy with, made it "thinner" sounding. You also had the spacing issue. At this point, it appears the '78 and CC were used for these purposes. Other pickups were designed to combine elements of the Hot pickups with those of the vintage ones. Initially, there were no Master Volume amps. That is how we got to where we are today...
				
			This dude was my age, but played like an Alien, sort of like Hendrix did us 10 years earlier, but more classically oriented. I could hear many elements from current electric guitar styles that had been turbo charged and synthesized. Man, I was going to have to do some practicing. How do you come up with this stuff? (Was it the Meth?)
1. This dude was using a HUMBUCKER in a strat. (How come Fender didn't put there humbucker in the Strat?)
2. He had this new whammy bar that had all this hardware on so he could do this Hendrixesk dive bomb stuff and stay in tune. (I still question why he sites Clapton as his major influence, more BS I guess.)
3. He built his own guitar from parts that he bought. It was a hybrid. He did his own graphics on it. How cool is that.
4. He spanked the hell out of it. Harmonics, Tapping, etc.
5. They were saviors from the Disco and Country that seemed to be taking over my part of the world. Did I prefer them to the Bee Gee's and Willie Nelson? Would I be writing this if I didn't?
I say all this to explain the climate of guitar tone. Mixing the Gibson Humbucker (especially if it was a much coveted PAF) with the Fender Strat which had a Floyd Rose Whammy on it became the new guitar to have. It created a BIGGER more aggressive tone and allowed for expansion of the standardized guitar techniques of the mid '70's.
Many of the guitarists around preferred the tone of a Seymour Duncan JB in this new hybrid guitar to the DiMarzio Super Dstortion. (Especially West coast guitarist) Those were the 2 HOT guitar choices, or you could get a '59 or PAF from DM. Those were the 4 pickup choices you had for a while. There weren't 30 different places to get pickups that each had a dozen choices. This is where the stock Gibson of the day (currently known as the t-top) got trashed in the ad campaigns. It was way better than no choices.
Some of the pickups developed around these times were to "fix" the hybrid guitars because the Floyd Rose changed the tone in a way that some were not happy with, made it "thinner" sounding. You also had the spacing issue. At this point, it appears the '78 and CC were used for these purposes. Other pickups were designed to combine elements of the Hot pickups with those of the vintage ones. Initially, there were no Master Volume amps. That is how we got to where we are today...