3,457 posts
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Post by LeoThunder on Mar 1, 2020 18:54:22 GMT
Does anyone here like Partcasters? These unbranded things with no name and no expected re-sale value that some people make for themselves. Except some do try to sell them and I did buy one two years ago. It became one of my favourite guitars, because it was a Strat', and I like them, but also because I liked the look of it, which was why I bought it… and maybe also because of it's unbranded status. I call it the Wild Strat'. Anyway, I don't ever want to sell it and I like it so much that when the same maker put another one a little like it on ebay… well yes, I bought it. Here they are: The new one is ash instead of mahogany, has a two-point floating bridge and a P90. The fingerboard is pau ferro. I love the look, obviously, they are siblings of sorts. I don't need them, I just like them. Do you guys have any Partcasters lying around?
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thunderbird
Harley Benton Expert
Less purchase, more practice
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Post by thunderbird on Mar 1, 2020 21:14:38 GMT
Does anyone here like Partcasters? Do you guys have any Partcasters lying around? I do.
Super light (<2.5kg), soft and cheap:
MiJ neck and body, not so cheap:
This is currently dismantled and in the process of being refinished: MiJ neck on a MiA loaded Fender Elite body:
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3,457 posts
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Post by LeoThunder on Mar 1, 2020 22:29:58 GMT
The nice thing about partscasters is that you can twist them the way you want them. I would certainly do something similar with the volume control as you have on yours LeoThunder . Maybe not move it quite as low as the middle tone control but certainly down a bit. It's something I like about the Pacifica too. I never noticed it was moved on mine. Of course it is but I pick over the neck pick-up, so the position of the controls seems to be of little importance. Maybe this will be annoying if the bar gets in the way? I'll see but I don't think so. I get used to these things easily.
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3,457 posts
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Post by LeoThunder on Mar 2, 2020 4:32:32 GMT
I was only playing a part on a strat the other day and realising that I really wanted to lock my little finger and ring finger just where that volume knob is. Then I was palm muting a part and the same issue occurred. Switching to the Pacifica was much improved. Loads of space and yet volume swells are manageable too. Picking over the middle pick-up? Where does that come from? I know I pick over the neck pick-up to right over the end of the neck itself for tone reasons. That's where it sounds better to me. I never played an acoustic but it looks like they are built for that too. The sound hole is right over the middle and neck pick-ups of a Strat', yet the scratchplate is designed to accomodate resting fingers almost up to the bridge. I like to compare these things to the first guitar I played becaused it shaped habits. I see people palm mute by resting their hand over the bridge. They complain about screws coming out there. I guess it makes sense but my palm is over the bridge pick-up, never touching the bridge. Maybe that's why I can't mute properly? Or is it just because I never cared to work on it? I always assumed the latter.
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3,457 posts
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Post by LeoThunder on Mar 2, 2020 4:58:54 GMT
Back on topic. Partcasters don't sell. I was the only bidder, just as two years ago. A Squier Classic Vibe, on the other hand, will draw over 30 bids and sell higher. Even an old Ibanez copy will do that. NoName is a complete gamble, of course.
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DefJef
THBC Moderator
Due to musical differences I've decided I can't work with myself any more.
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Post by DefJef on Mar 2, 2020 10:41:36 GMT
I wonder if it comes from playing the acoustic? Anyone who has ( dodger?) will know there are more tones tones to be found between the tuners and the bridge than there are plectrum thicknesses. But surely it's not limited to just acoustic players? If it is some players are missing some tricks. Of course that acoustic scratchplate size and position varies from guitar to guitar - my Hummingbird gives me a lot of choices! Other players will use a floating hand and never rest it on the surface of an acoustic as they don't want to impair the soundboard's response, particularly on a classical which has much more delicate bracing than a dreadnought or flamenco model. Then again once you are palm muting on top of the saddles there is no need to rest your fingers on ANY scratchplate as your hand is turned sideways and resting on the top of the saddles or just a shade in front. This is particularly where I noticed the Strat's volume control gets in the way.
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3,457 posts
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Post by LeoThunder on Mar 2, 2020 10:58:11 GMT
Other players will use a floating hand and never rest it on the surface of an acoustic as they don't want to impair the soundboard's response, particularly on a classical which has much more delicate bracing than a dreadnought or flamenco model. That's right. No scratchplates on classical guitars. I guess that's because they're drums Another determining factor is the resting point of the forearm on the edge of the body. I think it might be more important than tone actually. I find myself playing closer to the neck because it's more comfortable in sitting position. Once on a strap and standing, the hand falls more naturally on the bridge of a Strat'.
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1,110 posts
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Post by dodger on Mar 2, 2020 13:00:25 GMT
DefJef I tend to strum just to the right of the soundhole as I look down but move about as you well know the sound will be brighter if you move towards the bridge (a la Noel Gallagher) and more full as you move towards the tuning pegs. I also tend to use my pinky resting on the soundboard (top) if playing anything more intricate. My strumming is a bit of a highbred between a strum and a flatpick too as I try to make it interesting all while hammering on and off with my left hand. Very messy but a good bluffer's approximation of rhythm and something else. Mostly "cowboy" chords too as it's infinitely easier to sing while playing these for me!
Edit: just saw my avitar when I posted and not sure if I'm picking or strumming in it!
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1,110 posts
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Post by dodger on Mar 3, 2020 14:30:08 GMT
DefJef I don't think about it too much I think my hand tends to stay mostly where it is in my avitar - I rarely pull it back towards the bridge as the sound is too bright and thin. Tried a .60 pick on Scurvy's recommendation on Saturday at a gig and am not sure about it. Sounds good unplugged but think I prefer the .73 plugged in...anyway that is a different thread
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3,457 posts
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Post by LeoThunder on Mar 4, 2020 19:47:00 GMT
The thing arrived today. I call it the Wild Strat' II. I've been busy playing it, fixing it, playing it again, adjusting it… I won't make a full review of it because it's of no interest to anyone but I'll jot a few things down. It's bloody heavy. Swamp ash. Yes, the stories are true, the thing is SOLID!4Kg is a lot for a Strat'. The other one, mahogany, is 3.1 Kg and it makes a very noticeable difference when picking it up. It also makes a difference when sitting with it. It feels more static, anchored. I know it's not moving anywhere unless I want it to. I guess it's a purely psychological thing but it's there. I can concentrate on playing, no need to worry about holding the thing. Maybe this is something people like about heavy instruments. The wood is nice. The back too. Oh, it's a one piece body. Isn't this meant to be something special? It really is, I checked again. One piece, and the figurations are gorgeous. Well, it wasn't cheap, so it better be… No backplate. The guy who made it went for a "light relic" look with missing parts so he left that out. I hate relic jobs but I couldn't see it apart from the dirt on the back of the neck, so I ignored it. I ordered a black backplate for 1.81€ on ebay. It will be here in 4 to 6 weeks, then I'll have to find screws. The neck was all sticky, from the fake dirt. I sanded it down. Now it's relic'ed relic. I don't care, I don't see it and it feels nice now. Did I ruin the re-sale value? There's fake dirt on the front of the headstock too. Maybe I should paint it, black. Better than a rainbow. I like matching headstocks and there's a black pickguard. The fingerboard is pau ferro. Nice. It looks a lot like rosewood with shades, variations, just brownish instead of redish. It fits with the body. Lovely. I'm happy. Boring dots, yes. Well… maybe I'll think about this. Locking tuners. Fine. Never wanted them but ok. The 2-point vibrato feels good, stable, smooth… better than the "vintage" 6 point of my ST-62's. Less friction? Maybe. It was set floating but not enough. When I released it to get a minor third on the G string, the claw screws came off. Too short. Who did that? I found longer ones and replaced them. Now it pulls up a minor third, as it should. Don't buy a Partcaster, people do funny things… Just joking, it's a simple fix. Pick-ups. I like that P90 at the neck. I never had one. The stories are true again. It IS something, clear and bassy and strong. It sounds like nothing else I have. I spent some time adjusting its height together with that of the humbucker in the bridge. The humbucker can be split, so I'm trying to make both combinations work. Not done yet but I really like what I can get out of this. It's a Strat' but not a Strat'. Great, I already have regular Strat's. This is something else. It's like HP42's signature model, by the way, only in Strat' form with lovely wood. And a floating bridge. Better than the Oopsie. Enough talking, I'm gonna play it again… This thing's unique. No one else has one. It's a Partcaster. Now I have two of them.
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Post by blindwilly3fingers on Mar 4, 2020 22:14:17 GMT
It's a P94 copy not a true P90 it's humbucker sized. A Gison design apparently?
Not quite the same tonally as a proper Soapbar P90 but nice all the same.
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