#1 Stratocaster

I picked up the guitar in my early teens. The first guitar I got was an acoustic nylon string that I borrowed from a friend. A year or so later, I got my first electric. A 1976 Ibanez Artist 2676 Les Paul and I also got a Marshall 5210 50 solid state combo.

This was really a dream setup for me at the time and I spent hours every day learning Kiss, Sabbath, Zeppelin, Whitesnake and tons of classic rock stuff. That’s really my musical background and music that still influence me today.

Bjorn Riis #1 Stratocaster
On stage at the Airbag Disconnected album release show at John Dee, Oslo, Norway June 10th 2016. Photo by Anne-Marie Forker.

My first Stratocaster was a mid 70s Japanese Asama, which was a really nice copy, with mid 50s specs and one of the best necks I’ve played. I was a teenager at the time and obviously didn’t have the money for a US Gibson or Fender but these Japanese copies were, and still are, extremely good and I still go after these when I’m looking for something new.

I don’t have a large guitar collection. There’s a few Strats, Les Pauls and a couple of others and I guess my main goal is to at least have something for every occasion, whether it’s a fat sounding Les Paul or twangy Telecaster. There was a point where I played Strats exclusively but I tend to rely on P90s and humbuckers more and more.

I’ve never been interested in brands or origin. I’m always looking for guitars that sound and plays well acoustically. Hardware and pickups can always be replaced and customised and for me, that’s part of the fun.

I have a Stratocaster that I bought new in 1996 at a shop in Oslo, Norway, where I live. It’s a Fender Japan MIJ 50s Collectable, the forerunner to the now Mexican made Classic series. Like many of the Japanese series, the guitar was a hybrid, with a ’54 reissue soft V-shaped maple neck, ’62 contoured basswood body and 50s era pickups.

Current specs are
Fender MIJ Japan ’62 reissue basswood body
Fender CIJ Japan ’65 reissue oval C-shaped neck with rosewood 7.25” fingerboard and binding
D Allen Voodoo 69 neck and middle pickups and S Duncan SSL5 bridge pickup
5-way pickup switch
Gotho tuners
Callaham Vintage S tremolo system with 5 1/4” arm
250k volume and tone pots
Custom 1-ply black pickguard
Original plastic nut replaced with bone nut
Inside cavity of the body covered with copper foil for better shielding and ground

Back in 2010 I swapped the original ’54 reissue maple neck with a Japanese Fender CIJ ’65 reissue from another Stratocaster that I’d just bought. It’s a oval C, with a beautiful binding very similar to the Eric Johnson signature.

I’ve also experimented with different pickup sets and combinations over the years, including full sets of Fender Texas Specials, Fender Custom Shop 54, Fender Custom Shop 69s and EMG DG20 before settling on D Allen Voodoo 69s in the neck and middle positions and a Seymour Duncan SSL5 in the bridge.

Stratocaster pickups
The guitar feature D Allen Voodoo 69 neck and middle pickups and a Seymour Duncan SSL5 bridge pickup. The neck and middle are set to better match the higher output SSL5.
Stratocaster neck
The Fender CIJ ’65 reissue rosewood neck with binding.

The ’69 can often sound a tad too bright but they fit this guitar incredibly well. I’ve set them just a hair closer to the strings than “normal” to have a better balance with the SSL-5, which has a considerably higher output. The combination makes the guitar incredibly versatile and with the right pedals, it can sound pretty heavy too.

I also replaced the stock tremolo system with Callaham Vintage S, including a shortened arm, for better operation and more sustain, and upgraded most of the hardware and electronics. The inside cavity of the guitar is covered with copper foil for better shielding and ground. Combined with high quality cables the guitar is surprisingly silent.

I like the basswood body. To my ears it just sound more punchy and snappy compared to ash and alder. I know there’s always the debate on whether wood has any influence on the tone or not and maybe it’s just a feel but I always come back to basswood for these qualities.

Stratocaster bridge
Callaham Vintage S tremolo system. I’ve set the plate flat or flush with the body, with the two outer screws on each side all the way down and the two screws in the middle loosened half a turn.
Stratocaster springs
The springs have a more even tension when placed in a triangle. The claw screws are adjusted to match the plate screws for a smooth tremolo action.

The guitar is obviously inspired by David Gilmour’s Black Strat. It started out that way but now it’s become so much more.

It’s always hard to explain why a certain guitar or instrument becomes a favourite. I got this Stratocaster at a time where I started to develop a style that I would say is me. I can still remember that transition and I recognise much of the playing when I go back an listen to those early recordings.

The guitar has been featured on every Airbag and solo album, including songs like Steal My Soul, Homesick, Redemtion, Disconnected and Where Are You Now.

It’s been with me all the way and I do feel that we’ve evolved together. I know every nuance of the guitar and I know what I need to do to reach its potential or sweetspots. I’m sure many guitarists has at least one guitar that they have a special connection with. It’s probably a process and something that develops with time too.

I don’t think I would have become the guitarist I am today without it. Had I gone for a Les Paul or Telecaster or something quite different, my style and technique would have been different too. When ever I play this Stratocaster I feel that I express myself much more personally. That doesn’t mean the guitar always is my first choice but when I do need it, it feels just right.

80 Replies to “#1 Stratocaster”

  1. ASWOME AS ALWAYS!!! I have a American standard strat, I m looking to replace the neck to a vintage style, but I’m lefty and the only necks vintage style I can find are the Japanese one.
    Any thougths about about it? since I never play with a Japanese neck

    1. Thanks! I’ve always been very fond of the Japanese Fenders. I’m no expert on the different years of production and whether or not there are significant differences in quality but I’ve never been disapointed. I also recommend checking out custom necks like Warmoth.

  2. Bjorn,

    Great new website and awesome Strat! With this newer site, are you still planning on keeping Gilmourish.com up and running?

    Thanks!

  3. Good updates on both sections!! Do you often replace your frets on your guitars? I’ve my CIJ 50 strat (vintage frets) for one year and i already see some wear marks…
    Can’t wait for your little album and the next Airbag’s one! ;-)
    Cheers!

    1. Thanks for the support! I haven’t done the frets on this one but on a couple of the other Strats that I have. A little wear is OK but if they get worn too much you’ll get buzz and intonation issues.

  4. Hi Bjorn,
    Out of curiosity, what do you happen to prefer these days, C or V necks? Thin or thick? I remember you said not liking the DG signature strat neck cause it was C but it looks like most of your guitars have a C neck today.
    Kind regards,
    Matthias

    1. I guess I prefer different kinds of C shapes. It’s just easier to play them. What I didn’t like about the DG Strat was mainy the laquer and how thick and greasy it was. The profile of the neck is fine.

  5. Bjorn,

    I just ordered your CD and I will look forward to hearing it. Your site has been extremely vital in my tone. The Pink Floyd tribute that I started here in Dallas will have it’s first show this Saturday, as we are the headliner for an all day music festival. Thank you for all you do on the Gilmourish site, as well as your music. Your Album as well as Airbag stay in constant rotation of my music. I think I have my wife talked in to flying across the pond to see you guys sometime in the near future!

    Thanks,
    Chad from Dallas

  6. SSL-5 OUT OF PHASE WITH FENDER 69’s.
    Hey Bjorn. Hope you’re well. I had setup my guitar with Fender 69’s in neck & middle and a Duncan SSL-5 in the bridge with the 7 pickup switch option, but for the life of me, it just didn’t sound good. The SSL-5 sounded so thin and shrill and I was totally confused by the hype. I decided to add the bridge to the middle tone to cut some highs but it still was a bad sound. I had nearly given up on the strat all together until last night, I decided to give my 57 reissue a good long setup. Did bridge, tremolo, intonation, saddles and I went to do the pickup height and started thinking maybe my pickups are out of phase. I pulled out the instructions for the SSL-5 and on the back where it had a wiring diagram for tapped pickups, it said to reverse wire my SSL-5 with black to selector and white to ground if using in conjunction with Fender pickups. Not knowing if that was just if you were tapping them, I decided to give it a go and after setting up pickup height, I plugged her in. What a world of difference. It was totally out of phase before. All 7 positions sounded perfectly balanced and SSL-5 sounded much better on its own. The tone knob reacted differently (in a good way) as well. Is this just a known fact to do that? Did you wire yours this way? I do say though, the SSL-5 sounds 100 times better but it seems to put out slightly less volume than the 69’s. That doesn’t seem to be correct as far as I know. Am I missing some detail here?

    1. Hi Dan, yes you need to reverse the wiring if you combine them with the CS69s :) The SSL5s has more output, so if you experience the oposite, then you might want to check the balance of your pickups. Keep in mind too, that while the CS69s has a very scooped tone, with a bright bell-like top, the SSL5s has lots of mid range and compression, which, on some amps, can sound darker but they do have more output.

  7. Hi Bjørn! I don’t have much knowledge about guitars, never played one for real to be honest… but I love listening to music more than anything else in my life and when I discovered your music (in chronological order) I was lost for words. I still am. What you do is a dream come true for any prog fan and a hope builder for the future.

    Now I just bought another copy of Identity as a Christmas gift for my Dad and listening to it now, I must say one thing: I have no idea which guitar or effects you used on the final track, but Sounds That I Hear is the only song that can reduce me to tears, no matter the mood and the time of day. So sorry for not being technical here, I just wanted to let you know that your play touches my soul and reaches far beyond sheer listening pleasure.

    Thanks for your prog Lullabies, thumbs up for Airbag #4 and hope to see you again soon!

    Love from Poland,
    Kuba

    P.S. Love that photo from Progresja, Warsaw at the top of the page – I was there!

  8. Hi Bjorn, I have been really into the All rights removed album and really like the tones on all of your solo’s on it. Did you use the Emg Dg20 pick ups for all the tracks, if not what other guitars did you use. I love the Overdrive/Distortion tones and your clean solo tones too. Love to know what you used.

    1. Hi Bernie! Thanks for your kind words :) I don’t remember much of the details but I did use the EMGs a lot on that album. There is some vintage single coils there are well – both Strat and Tele – and I think most of the rhythm stuff were done on a Les Paul with PAF humbuckers. I’d say that 90% of the lead tones and some rhythm stuff were done with the EMGs. The solos on the title track, Never Coming Home and Homesick, were recorded with my Reeves Custom 50 and a split to a Leslie 760.

      1. Thanks bjorn i am also into the identity. Album did you use passive pickups and your strat on that album i love that clear transparency and charactor you seem to get with single coils

        1. A bit of both. I think I used a Les Paul with PAFs on Colours, No Escape and probably Feeling Less as well. The rest of the songs were mostly done on a Tele, with a Strat on some of the solos.

  9. Hi Bjorn!

    thanks for sharing all this things with us, love to read your web pages!

    In part motivated by you, I just bought from ebay a st57 reissue japanase fender (from 1987), in order to start my gilmour black strat project. By my surprise the neck has a std-57 mark, but the body has a std-54!!

    do you know if this is normal for japaneses? they just didnt care about be consequent? does the std-54 body fits a gilmour sound i like?

    thank you very much, I have learned a lot with both your pages,
    best regards
    Daniel

    1. Thanks for your kind words, Daniel! I’m no expert on Japanese Fenders, although I have a couple my self. Most of their stuff is really good and the 80s stuff in particular. I assume your’s is a Collectable and they did swap parts around. Some of the guitars were sold as a specific year reissue, while others where sold as a specific decade reissue, like the current Mexican Classic Series. I suspect yours is the latter. The idea, like with the Classic Series, is to provide a guitar with the most popular features from that decade.

  10. Hi Bjorn,
    I was so lucky to be in Indonesia last month, and I contacted Mohammed Iqbal of Radix. At the end I succeeded in buying a Radix de Luxe, exactly the same you have ( with the original Tesla pickups) It’s a Indonesian guitar, I bought it in Indonesia, so the price was absolutely ridiculous ( 220 EUR). First impression is that the guitar is a real beauty to see. It’s too early to say something about the sound.
    For me a fantastic souvenir, and I hope also a fantastic guitar.
    b.t.w. I’ve seen several great Radix LP models, maybe for a next visit :)

  11. hi bjorn,
    I have a strat with a alder body and a maple neck, 2 single coils and 1 humbucker, what single coils and humbucker would you use together to play pink Floyd tones, most interested in what you say,
    thanks, bluesfloyd.

    1. Hi! Sorry for my late reply. I would perhaps go for some mid output single coils, like the Texas Specials or TexMex. They go well with humbuckers. You may want to look into either a Duncan Phat Cat P90 or a Gibson PAF for the bridge. Of course, there are many boutique versions of these.

  12. Hi Bjorn, firstly let me congratulate you on not only Airbag’s incredible music, but your own sounds…..I have been so inspired …… I play just for fun, I enjoy playing along with pretty much the same bands as you used to….I own a Les Paul Studio I call Huw after the great late Huw Lloyd Langton of Hawkwind fame…..however in two weeks time I am taking delivery of some new gear, Boss GT100, Blackstar HT5R and a fantastic black Fender American Classic HSS strat……oh I am going to have fun jamming along…..I would if you are cool about it, like to name my new guitar Bjorn……..yeah I know sounds silly…but I like the idea…..and you have as I said inspired me totally…….good luck with future ventures…. cheers….K

    1. Hi Karl! Thanks a lot for your kind words! Glad to hear that my music is inspiring. It means a lot to me :) Say hello to Bjorn for me and take care :)

  13. Hi Bjørn,

    Just wanted to say that I enjoyed every second of your gig last saturday in Helmond. I heard your album for the first time in a record store when I bought The Enless River and the salesman said that according to him your album was much better! And I really agree! After hearing Lullabies I was also interested in the Airbag material and I really love all 3 albums. So I really can’t wait seeing you again on stage or buying a new Airbag cd or a new solo album. Keep carrying on with making great music!!

  14. Hey Bjorn, got some questions about your Epi Les Paul if you don’t mind :) Is the bridge a stock Locktone Tune-o-matic bridge? If so have you considered changing it? I might change mine for a Callaham ABR-1 or Gotoh Tonepros, still a little undecided. Also what pots did you put in your LP? I’m determined to get better ones as I use my volume/tone knobs for almost all my sounds, I’m also changing the modern wiring to 50s wiring so I don’t loose treble when I turn down the volume knob. I’m also about to replace my plastic nut for a bone one. Can’t wait for the end result. Hope all is well!

    1. Both the tuning keys and bridge are stock. I’ve had some Epiphones before where the keys in particular were really bad but this one seems to hold up. The pots are replaced but I didn’t do that myself so I don’t remember what brand or value. I think my tech just replaced the stock ones with similar of better quality and they also did a 50s mod.

  15. Hi Bjorn! I have little query for you. As much as I love my Les Paul, I’m really wanting a Strat. I don’t want to fork out large amounts of cash for one, so I’m looking at the Squier range. My question is, if I was to get a cheap Squier Strat project guitar and upgrade the electronics, Pickups, Tremolo etc would it sound close enough to a Mexican Strat or perhaps even a American? Just asking because I want to know what I’m getting myself into haha. Cheers mate :)

    1. Hi David! Obviously, the Squier guitars are cheaper for a reason. They’re made in Asia, which means lowers labour costs but the wood selection, lacquer and hardware is also of a slightly less quality. That being said, Squier has come a long way and the Classic Vibe series are really cool. It’s a great guitar out of the box but if you replace the bridge and pickups for something better you’ll have a great guitar.

  16. Hi Bjorn.
    Does the Callaham Vintage S tremolo system make a big diference? Do you really get a noticeable increased sustain with it? Or, why do you use it on all your strats?
    Thanks for your guitar pasion.
    David form Spain.

    1. The bigger block resonates more, which means that the guitar will sound fatter or fuller. It also adds to the sustain. The saddles and the string slots are also better designed, allowing minimal friction on the strings, which enhances both the sustain and keeps the guitar better in tune. I think it’s definitely worth it. – Bjorn]

      1. Thanks Bjorn for your reply.

        I have a Fender Stratocaster American Vintage 57. It has a big block on the bridge. Also, i don’t use the tremolo arm, and i have the bridge ajusted flat to the body (I don’t have problems keeping in tune). I wonder if just a saddles change for the Callaham ones, would enhance the sustain, keeping the original plate and block.

        What do you think?

        Also i wanted to ask you if you buyed the regular nicked saddles or the distressed ones.

        Thanks for all.

        David.

        1. Mine are the plain nickel ones. Not sure if you’d benefit from chaining the block but for me at least, changing the bridge plate AND the saddles, made a huge difference tuning wise. It also depends on your tuning keys and the neck saddle.

  17. Hi Bjorn! Hope all is well :) I’m really enjoying my Les Paul > Wah > Tuner > Marshall setup at the moment. Works very well for playing Led Zeppelin, Gun’s n’ Roses, Gary Moore, Peter Green, Joe Bonamassa etc.

    For Gilmour tones I’ve been using the coil tap on my LP. I’ve found that it sounds the most like a strat with the pickups in the middle position with both pickups coil tapped. It really works great, I only need to add a bit more volume on my amp as they are slighter quieter compared to humbucker mode.

    I don’t really play that much Gilmour anymore but, I’ve been super into the LP Marshall combo and creating different tones with my Les Paul’s volume and tone knobs. Since you are also a big fan of the classic Marshall sound may I ask what your favourite LP Marshall tone is? I love some of Slash’s tones of early Gun’s n’ Roses stuff and Peter Greens tone on Black Magic Woman. That tone is just something you can’t emulate with Strats and effects, so raw and powerful. That’s just my opinion of course, I’m only 18 so I still have much to learn :) As the old saying goes ” It’s not the arrow, it’s the Indian that shot it ” I look forward to hearing new music from you, digging the solo album tones!

    1. Hi Angus! Looks like you got a timeless setup :) There’s something about that combo that never seems to fail. Just like a Strat or Tele into a Bassman or Twin. Some of my fav Marshall tones are Bernie Marsden in 70’s Whitesnake, Brian Robertson with Lizzy, John Sykes with Whitesnake and Blue Murder, Zakk Wylde especially on No More Tears and with Pride and Glory, Billy Gibbons on Tres Hombres… I guess what’s common for all of these is that although they sound very different to each other, they all have a strong sense of tone.

  18. I just wanted to throw my two cents in here, having had many strats, but fir some reason could never get away from Gibson’s for gigging. In a reply about Gilmour tones, and Strats, DG usex many guitars for recording that many Gilmourish readers would be surprised to know, including Les Pauls, and P-90, as well as PAF’s and their varients. IMO, and I think Bjorn will agree, there’s nothing quite like the sound of a really great p90 style pickup,( enter small pitch here), I even have a Lindy Fralin specialty set of p90 style pickups,( he calls them steel pole Tele pickups) in my Thinline, semi hollow body Tele, and while they are truly p90s, I can still get a Tele twang, but a definie growl is also possible with the higher output, of 8.5 in the neck, and 10k in the bridge. I also have found great Gilmour tones from my 50th Anniversary Pete Townshend signature SG Special, that has the best sounding p90’s I’ve heard in a stock Gibson since the ’70s! There is definitely lots of room for more that Fenders in the Pink Floyd songbook!!
    Peace, Keith :)

  19. That’s an awesome picture of you with the Epi Les Paul Bjorn! I’m surprised you use one, as you always say Strats with single coil pickups are the go for most Gilmour tones. Would your tones be that different if you were using the same pedals and amp but just switched from a strat to a Les Paul? I’m currently building my pedalboard and I’ve been using the Buyers Gear Guide on Gilmourish. However, my main axe is a Epi Les Paul Tribute Plus with Gibson Classic 57 pickups (I don’t own a strat). I was wondering do you still use the same pedals for your Gilmour tones when using the Les Paul as you would with your Strats? Just asking because I don’t want to buy a Muff or Overdrive or something that you’ve highly praised only to find out that it only works with Strats and not Les Pauls. Cheers mate :)

      1. Cool stuff! My Epi Les Paul has coil tap so I can get reasonably close to single sounds, do you think I could get in the ballpark of Gilmour’s tones? My amp is a Marshall DSL40C, even though it’s not a Hiwatt/Fender the clean channel is actually pretty good in Marshall’s standards. The cleans are fairly dark and works surprisingly well with my Big Muff w/Tone Wicker, though I think I’m going to sell it and get either a Vick Audio Ram’s Head or Jimi Hendrix Fuzz. I’ve seen you do demos using a Marshall amp before I think, they can’t be that bad for Gilmour tones then!

        I also have the Way Huge Aqua Puss, I’m not sure if you’ve tried it but damn it sounds great, highly recommended! Only 300 delay time but I’m not that concerned about that. I’m also going to purchase the Mooer Blues Mood as a booster since it has received such high praise from you.

        I hope all is well and I look forward to hearing more music from you in the future!

        1. Hi David! Thanks for your kind words! I’m not that familiar with the newer Marshalls. In general I think they sound a bit too modern but if you’re pleased with it then there’s no reason to replace it. The coil tapping on your LP should definitely get you close to classic Strat Tones… depending on how hot they are. The old PAFs or 57s and P90s will also do the trick. My old Marshall, which I regret selling, was a 5210 JCM800 solid state from the early 80s. It had a decent clean channel and one of the best sounding distortions I’ve heard.

          1. Yeah the LP has 57s and it works great! I’ve heard great things about those Marshall 5210’s, Marshall don’t make em like they used to. Does that mean you prefer Marshall tones over Gilmour tones? ;)

            1. I like both I guess. Obviously I’m very fond of David’s sounds, with the Hiwatt and all but I grew up on, and are still listening to, bands that are associated with the classic Marshall tone so I always come back to that and probably use it more in my Airbag and solo sounds that David’s tones.

  20. Hi Bjorn! I’m pleasantly surprised that you use an Epiphone Les Paul for some of your tones! My main guitar is an Epiphone Les Paul Tribute Plus which I bought before I knew anything about Gilmour style tones. I was hoping you could share some tips on getting nice Gilmourish tones out of my Les Paul? Like what pedals work well with it etc. I’m really intrigued on the tones you get out off your Epiphone!Thank you so much :)

    1. Hi Angus! I use the LP and humbuckers a lot for recording and mostly with the pedals I’d use with single coils. It depends on what tones you want. I tend to get a bit more into the rock and Marshall stuff when I strap on a LP and for both the Airbag albums and my solo album I used the Boss DS1 (AnalogMan) a lot. Other mid rangy pedals like the RAT, OCD, Buffalo Evolution also works great with LPs… at least for the tones I’m looking for. Personally I prefer the low output classic pickups like the PAFs or 59s.

  21. Hi Bjørn, I`ve now been listening to your album for about a week and I think it`s great! As a (sloppy) guitar player myself must say that I am impressed by your tone, wow! Think you nailed it all right. Well, well, it was worth waiting for …the signed vinyl. Well done, be proud and keep gilmourizing!

  22. Got my signed copy of the cd this week. You did a fantastic job Bjorn. Start touring and don’t forget to come to Holland .love to see you live in action.

    1. There is a slight delay on the vinyl. Expected date of delivery is November 17th. Retailers will have stock shortly after that.

  23. Joshua, I suggest CTS 250K pots with a quality .047 capacitor. A new switchcraft jack, and Fender, or other quality five position selector switch are equally important. If you want a truly vintage, early Gilmour set up, it should be wired so the tones are for neck and Middle Pups, with no tone control on the bridge. Also, the guitars DG used until around late ’71 used a .1 uf capacitor. It darkens the tone a little, rolling off the highs much quicker on the tone pots, but adds a bit of bass, and mids. This works well with really treblelyvl amps like my Reeves. This is what Fender used between the early 60’s, until late ’68. Everything under the pickguard will change your tone, including the wire. I suggest the cloth covered vintage style wire, all of the above components can be purchased at Stew-Mac.com, (Stewarad McDonald), at great prices, and even; f you don’t want the do the work, you’ll save money if you purchace the components through Stew-Mac yourself. Others may know the best quality caps, many prefer paper and oil, while my luthier prefers metal cans. Hope that helps, if I screwed up anywhere, please correct me Bjorn :)

    Peace, Keith

  24. Hey, I was wondering what Pots and switches you use to replace in your strats. I want to upgrade mine but im not sure what pots, caps, ect. to get for an upgrade.

  25. Just ordered Lullabies….Own an Epiphone Joe Bonamasse Les Paul and several Gibson LP guitars. The Epiphone is outstanding. Great sound and feel. Nice to see you don’t care about brand or manufacturer. My main guitar is a cheap Farida sa16 mp (Model ES 335). Great sound and playability. You don’t need to spend a lot of money to get the right tones. Can’t wait to hear Lullabies….

    1. Thanks for the support! I’ve been using Epi’s for a while now and love them. Always perform a little upgrade and can’t really see the need to buy a Gibson. Cheers!

  26. I was just thinking about it, and if you YouTube search Lindy Fralin, and find one of his videos, yiu can then check out his channel, and hear most of his pups. You may also see some of his phenominal blues, and Rockabilly playing on any clips marked The Bop Cats, his band of over 30 years. He is quite an accomplished guitarist, and plays Hendrix as well as anyone I’ve ever heard!!!
    Peace, KC

  27. I really shouldn’t keep pushing you so hard on the Fralins, and now the V2, and promise you that you will get the Fralins as soon as I find time to get over to his shop. And I finally read through a bunch of recording stuff, and watched the tutorial video I purchased for my Tascam. I learned a lot about the few routing issues I was stuggling with, and only need to watch the section on using outboard effects, and preamps so I can get the best out of the machine, so a clip is definitely coming very soon, and since all my guitars, except the 50th Anniversary Townshend SG have Fralins, you’ll hear both, as I plan on using the Thinline with the P-90s, that look like stock Tele pups for the clip. Once I aend you the clip, I’ll shut up about them, but I really believe you’ll love both the pickups, and the muff as much as I do!
    Peace, KC ,

  28. You should try those steel pole ( p-90’s) that will pop right into that tele. I know you haven’t had much experience with Lindy’s pups, but you will get those Blues Specials, once you try a good set of Fralins, you’ll find, his Real PAFs, are as good as they get, wound on Gibson machines from the 50’s, and ONLY Lindy winds all of his Fender models by hand. But as for the tele shaped p-90 style pups, even Lindy ordered a thinline body, and c- shaped rosewood neck after hearing what they did to my Tele, and everyone in the shop had to take a turn playing it. With a neck at 8.5, and bridge of 10, they can scream, but with a turn of the volume pot, it calms right down to that great Tele vintage tone. I won’t stop until you realize that Lindy knows more about Fender, and just about any pickup than almost anyone on the planet. Ask Seymour about Lindy!
    KC

    1. Keith, the Porter 9T’s are some of my favorite pu’s ever. Tele shaped, P-90 construction. They drop straight into a Tele and sound fantastic. Individual screw pole height adjustment like you said. They go from aggressive to clean great with volume knob adjustment.

  29. Hi Bjorn,

    It’s shaping up to be a great site!

    Like yourself I never felt ‘right’ with a Les Paul (though I must admit I only tried copies), last year I bought a Gretsch Pro Jet (in black of course lol), very nice guitar, unique tone from the low output Filtertron pup’s and a lot cheaper than DG’s Duo Jet!

    Best wishes mate, can’t wait for Lullabies! :@)

Leave a Reply

Your email address will not be published. Required fields are marked *