I'm the original owner of early Larrivee Bakersfield. It is a great telecaster. Extremely well made, beautiful rosewood 1 3/4" round full neck, a lam/veneer fingerboard vs slab. I got one of the first rosewood board models Larrivee made. The guitar came with the traditional tele pickup set. I bought an additional Bakelite pickguard from Larrivee that was routed for a mini-hum. The guitar currently has a Lollar minihumbucker in the neck and a Lolllar BS Tele in the bridge. The those two pickups in this guitar sound almost identical except for the differences due to pickup location. I should also mention I replaced the 3 barrel Callaham bridge for a six saddle Gotoh.
PS: Attempted to correct rotation of picture and instead uploaded both and can't seem to delete the lower one.
When I had Laurent Brondel build me a wider than standard Tele about 4 years ago, he used a 1-11/16” (42.9 mm) nut width instead of the standard 1-5/8” (41.3 mm). For string spacing we used 2-1/8” (54.0 mm) instead of the standard 2-1/16” (52.4 mm) as well. The later was the widest supported by available Tele hardware. What we also did was to use a deeper “D” shaped neck profile which I really liked. These subtle changes in geometry made a big difference for me.
I'm digging the Laravee Bakersfield and Laurent Brondel Teles, but currently happy with my Fender Richie Kotzen Tele with its 1.650" (42 mm) nut.
I added a concentric tone control (these do not come with a tone pot) over the volume pot and couldn't be happier with the results. Great jazz, rock, RnB tones and no hand cramping in the first position.
I am no authority but I have played a LOT of Telecaster guitars over the past 55 years. Vintage Fenders had A, B, C, and D necks that many guitarists think refer to the neck carve. The letters refer to the nut width. A is 1.5 ". I have only played A neck Jazz Basses. Most vintage Telecasters are B and C necks. Never seen a D. C is about 1.65" and is good for a Fender.
I now play an after market neck that is an inch deep and about 1 75" at the nut. Excellent but Fender doesn't carve this .
I always care about neck shape and size being somewhat ambidextrous,and writing with my left hand. Playing a right handed I’m sensitive to the feel, and having a large enough shape to feel...
Yeah! Apparently the Hammond, invented in 1935, was the very first synthesizer. It's just more dang skills to have to work up to work the switches throughout the tune. shreddin'
All mine are 2 and 3. They both work great. Maybe I slightly prefer 3. Drilling thru the heel cap into end grain is fine as long as you understand proper screw counterbore. The right size drill is...
I have Martin's duo course. It's great. He makes it look effortless.
We refer verbally to the course during our duo practice ( I took notes and discussed with singer ).
I've only played with an organist about twice, and long ago. Just hit me that you guys were tweaking all those switches and stops long before us guys had all the dang stomp boxes!
A functional-harmony perspective might name the note according to how it resolves: #11 resolves up, b5 resolves down.
Of course this won't apply in all situations. Case in point: jazz uses a lot...
So true about first fret. Knowing that just helps us gauge how much taper. My Lehmann is only about 1/32 thicker at 9 than the Borys. But it only tapers about 1/32 down to fret 1 and feels much much...
Piano is going very well. I'll do a piano tune in the next standards thread next week. I tried to quit Hammond but everyone got mad at me and told me not to, so I'm not. So I'm going to keep at it...
I would rather say slightly prefers, we both like them both a lot but that night with the setups we used He, I, and several listeners agreed if it was blind listening we would slightly prefer the...
This perspective (anti-enharmonic) is just based on the idea that a single pitch within the domain of a chord should not take two scale degree numerals but be determined as one or the other based on...
Peter Sprague & Leonard Patton "Can't Find My Way...
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