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Featuring the DMCA-Free Rock of KCWM & Cold the Winter

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  • New and Sold Guitars Guitars

2009 PRS SC245 Ted McCarty

The PRS SC245 McCarty Soapbar is probably the “nicest” guitar I own. The color is called “Amber Burst” and might actually my favorite finish of all of the guitars I’ve owned.

The SC in the model name stands for “singlecut” and the 245 indicates the guitar’s scale length of 24.5″, both of which are normally found in the Gibson Les Paul type guitars and not the typical PRS scale length of 25″.

The headstock also shares the headstock of the PRS Santana line and features a flame maple finish as well. The bird inlays of the neck are mother of pearl, and the pickups in my model are soapbar shaped P-90s, which are hotter than a normal single coil pickup but do not eliminate the 60-cycle hum like humbuckers do. Mine also features a “10-top” which is how PRS describes the more prominently figured flame maple top.

The '09 PRS
It Hung Upon the Wall
Back the Very Next Day
The Intervening Years
Unfortunate Damage
The Future
The '09 PRS

Back in 2009 or early 2010, I was more or less still at the start of my journey into the larger world of buying nicer guitars than your lower-mid level Fender strats or Epiphone Les Pauls.

I think I’d bought and traded a nice Fender American Standard from a guy off of The Gear Page because it smelled like smoke (which I was able to finally get rid of) and it would one of many strats I’ve owned and been unhappy with.

My wife had been involved in an automobile accident and broken her wrist. As she was not at-fault we sued the insurance for damages.

Eventually, we were awarded a decent sum of money (something we should have been smarter with). She told me, “Go to Guitar Center and buy any guitar you want, within some reason”. I had the opportunity to buy basically any guitar I wanted outright.

It Hung Upon the Wall
 

I remember seeing this really cool looking PRS, similar to the picture in the previous tab, in the nearby Guitar Center for some time before I had the means to consider buying it. It hung at the very top of the used wall, well away from the grubby hands of teenagers and bedroom players to simply just grab and play.

I’d wanted a proper PRS for years. I’d bought an SE Santana and SE Soapbar before, but ended up selling them both, but it never quite scratched the PRS itch. Looking back, that Soapbar model, which was a singlecut as well, was a REALLY nice guitar for the $300 I paid for it.

I asked a sales rep to play it and they got the rolling ladder to get it down for me. They actually suggested I play in the small room where all of the REALLY nice (aka expensive) guitars were. There was an Egnater Tweaker 15 combo amp in there and as that was closest to what I had at home (a Fender Deluxe Reverb Reissue), I choose it. Interestingly, this guitar and my experience with that amp led me to buy the head and cap version of the Tweaker and hold onto it for almost 14 years.

Yeah. That guitar was magical. I loved the singlecut shape (I’d later discover that I’m more of a Les Paul and Telecaster guy), the pickups were so clear and articulate, and rolling off the volume cleaned up the natural break up I was getting out of the Tweaker.

I wrote two songs then and there in that room, though they are songs that remain unfinished to this day. Sometimes, a certain piece of gear just lends itself to writing new music and this guitar definitely did that. I think I played that guitar for two hours before packing up and going home.

Somehow, I was able to exercise restraint and not immediately purchase it. That was smart on my part. I told the sales rep that I’d be back the next day and that I needed to sleep on it. Most of the time, I assume that most sales reps would think, “Yeah, OK, sure…tire kicker” but I’d spent enough time at this GC, and spent money, that they knew me well enough to know I’d keep my word.

 

Back the Very Next Day

True to my word, I was back the next day. Now, while I give myself credit for at least sleeping on it, what I should have done was check out some of the Gibson Les Pauls in the same price range. I might not have been able to afford a Les Paul Standard, but I’m sure there would have been some nice offerings available. However, I did not do that. I was enamored with that guitar.

I went back into the room and played more. I honed the two songs I’d written and finished arranging them. At one point, a kid who was, at most, 15 came in and listened to me play. At one point, he asked me “What song is that? Can you teach it to me?” and I told him it was something I’d written. He thought that was the coolest thing.

I didn’t teach him how to play it.

Yeah, for some reason, I was paranoid that he’d steal it and make it his own song. Stupid me. Here I was, some bedroom player that some kid thought was cool and wanted to learn. I should have been humbled, I should have encouraged him by teaching him the song, but I was a selfish jerk about it. “I’m still working it out” was my response. Blech.

I played that thing for another solid two hours and took it up to buy it.

The Intervening Years

This PRS SC245 McCarty was easily the most expensive guitar that I’d owned, and that remains the case to this very day. While I paid the same retail price for my Gibson Les Paul Classic and PRS McCarty 594, I bought this one used for that price.

The P-90 pickups would prove to be this guitars downfall, as they were incredibly noisy and made recording the type of music I tend to write a bit tricky. P-90s might lend themselves to better sounding overdriven tones, they are still quite susceptible to noise. Eventually, I’d obtain a PRS Singlecut with humbuckers and this guitar would sit in its case in the closet for five or six years.

At some point, I pulled it out and, while the strings were definitely old, the guitar played as well as if not better than every other guitar I owned. I’d had Big John set it up when I first bought it and, all of those years later, even after two moves and six years, the setup was still solid.

I used it to record the rhythm guitar for “So Far” on the Cold the Winter EP. The end section with the tremolo from my Princeton Reverb still sound really good to my ears. It handled the overdrive in that song really well. I kept the drive low because it fit the song, but also because of how noisy those pickups were.

Unfortunate Damage

Unfortunately, the SC245 has received some significant damage over the years. I’ve been the cause of some dings and dents here and there, which happens to the best of us, but some of the damage was not my direct doing.

Part of the gold lettering in the Paul Reed Smith signature was broken off. This damage has been in place for years and I believe it’s from a friend mishandling the guitar.

The back of the guitar has some pitting from a Pro line A-frame guitar stand. The foam that protects the guitar from these sharp bits of frame was worn and moved to the side allowing the sharp bits to dig into the guitar. This went on for months before I noticed, but the damage was done.

I also left the guitar out in a stand where our daughter, as a toddler, was able to get at it. There are a couple of dings that broke away and show the raw wood underneath.

I checked into a refinish, and perhaps a different color burst (like a blueburst), but that would run $500-$900, money I simply do not have to spend on something that is aesthetic. I’d definitely lose money if I sold the guitar because of this damage, but fortunately life hasn’t come to that point yet.

Maybe one day this one will get restored to its proper aesthetic appearance.

The Future

Earlier in 2022, I took the guitar back to Big John to see what he could do about the noise. He took the guitar apart and was surprised that there was no shielding paint in the cavity. He put in some copper tape, worked his usual magic, and now the guitar is pretty quiet for a P-90. Yeah, it still buzzes with a lot of drive, but so do my humbucker guitars because this house’s wiring is garbage.

I’ve used it more on the newer songs that will make up Volume Four and it will continue to be used on upcoming recordings, especially if I can fade the parts out before the buzzing kicks in.

In spite of a setup that took place well over 10 years ago, this guitar still feels better in my hand than any other guitar. There’s something to be said for the level of detail that went into the construction of this guitar. Sure, heftier prices are often the cost of aesthetic choices, and I have no doubt that those factors play into what this guitar cost new.

That being said for a guitar to sit for years in a case and play amazingly well without anything being done after taking it out shows just how much of a difference a company’s QC and a good set up can make.

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Five or six years ago, I bought a Gibson Les Paul Five or six years ago, I bought a Gibson Les Paul Classic in green oceanburst. After a setup from @bigjohnsguitars it played how I’ve always wanted a Les Paul to play. 

After the honeymoon phase was over, and after recording some tracks, I wasn’t happy with the sound. It was very dark and muddy. John helped me install some new pickups, but the problem persisted. 

I eventually met and talked to the guy who runs @wtonesupply and we talked pickups. I dropped my Les Paul off and he got to work winding me some of his pickups. 

We made the trip out to Allen (which is why we ate at Portillos) to pick it up last night and I finally got a good chance to put some time into playing it. 

Problem solved. 

Our original plan deviated a bit once he had the guitar  but the choices he made has proven to be the remedy it needed. Plus, the covers he used look slick! 

With a trade finding a new home for the guitar that displaced this one as my go-to Les Paul, it’s nice to have this back in its rightful place. I can’t wait to record a song or two with it real soon. 

Finding good folks that do even better work has been something I’m very thankful for. Those individuals and the many conversations I’ve had and work they’ve done for me is something I hope every musician can experience.
It’s a @bugdayband kind of day. You should make It’s a @bugdayband kind of day. You should make it a Bug Day kind of day too. Because #guitar #altrock is good for the soul.
Remixing the first 7 songs from Volumes One and Tw Remixing the first 7 songs from Volumes One and Two is coming along. 

Some songs sound better after the first attempt, some require a tweak or two, and others require whole new parts be recorded. 

I still need to re-record “Octivation”, “Lost It All In Factory”, and “Let’s Get Behind Them” for different reasons. 

I’ve learned a lot between the beginning of this whole process and now, and you can hear the difference in the originals vs. the remix. 

Want access to listen to the remixes? DM me and let’s talk about it. I’d love to talk about the process and hear your feedback.
During the 9/13 @pearljam show, we were treated to During the 9/13 @pearljam show, we were treated to Eddie Vedder dressed up as a mirrorball and a story behind the jacket and helmet for “Wishlist”. I recorded very little during the show, but him spinning around was too good to pass up. I tried to catch it on the big screen but only caught a moment of it.
I worked out two separate trades on Sunday that in I worked out two separate trades on Sunday that involved a #strat as part of the deal. Funny thing is that the #stratocaster is not my favorite type of guitar to play, but both were interesting. This doubled the number of strats I have.

1) The red #Fender is made up of parts from Fender guitars, but I do not believe that any parts are from the same guitar. 

• The body is refinished matte red with some roadworn-ish type relicing, which is just gold underneath...maybe the original color?

• Fender Vintage Noiseless pickups with a Clapton mid-boost mod. It sounds really good. 

• Neck is from a 2013 MIM Floyd Rose Fender. It's a really nice, comfortable neck. 

• Thick solid steel block. It has excellent sustain

If I keep this one, it will get some Fender Locking Tuners

2) The black one is a #Squier Affinity Strat, but it's not a normal Affinity. It's a 1997 model, the first year they offered the Affinity line and it's a full-sized, hardwood (likely Alder) body with a 22-fret rosewood neck. It's a pretty nice neck, especially for a Squier. 

It's hefty for a strat too...it's not light like so many of the Squier Affinity line. Having that full-sized body adds some weight. 

The pickups leave a bit to be desired, which is par for the course with the Affinity line, but this guitar would make a great modding platform for someone interested in doing so. 

Heck, if that red one hadn't come through and I didn't already have two other nice strats (both Squiers, interestingly), I'd likely look to make some modifications.

----

In the end, I will take time to consider whether I like the red partscaster or my Squier Classic Vibe '60s strat more. Whichever one wins gets the Vintage Noiseless. Clapton mod, and stainless steel block (as long as it fits the Squier). 

I have some decisions to make.
New upgrade for KCWM music purposes. Next recordin New upgrade for KCWM music purposes. Next recordings will feature this 2004 Dr. Z Maz 18 Jr. 

#NAD #newampday #drz #maz18 #guitar #guitaramps
Back in '95, my grandmother bought my first real e Back in '95, my grandmother bought my first real electric guitar from a pawn shop in the small town I grew up in. I think we paid $85 for it with a hard case. 

I played that guitar a lot, its pictured with me in the Jazz Band photo from my junior year (covered in a ton of stickers...so classy), and I recorded songs with it. 

When the electronics started to die, I wasn't as knowledgeable in what could be repaired and I junked it. I sold the parts and moved on. It wasn't until years later that I realized what I'd given up and I've often priced them, but never pulled the trigger. 

Yesterday (7/19/23), this popped up on Facebook Marketplace from a local shop. At first, I thought it was interesting and didn't intend on buying it, but after giving it some thought, I went and did just that. 

This was a bit of a nostalgic purchase. If I named my guitars, this one would be called Dot or Syb (short for Sybil), after my grandmother.

This Squier Contemporary Strat (27-6800) was made from '84 - '87 in Japan. From the info I've gathered online, it's a 24.75" scale instead of the normal 25.5" Fender Scale. The pickups each have an on/off switch so you can turn all three on at the same time, and the humbucker has an on/off/coil-tap switch. The tuners are Fender-branded Gotoh. 

It has some definite wear and tear, but I don't care. 

You'll definitely be hearing this on some upcoming songs, as I intend for it to split time with the tele I use for lead parts, as I did with the modified Squier '51 it's replacing did. 

Anyone in the DFW area looking for a cool modified Squier '51? 

#guitar #fender #squier #stratocaster #strat #fenderjapan #mij #ssh #rock #kcwmmusic #dmcafreemusic #dmcafreerock #nostalgia
I need to clean up my desk a bit more but I just r I need to clean up my desk a bit more but I just replaced my two 1440p monitors with this 34” ultra wide. I’m able to see every track on the mixer of Studio One 5 and so much of Superior Drummer 3. It’s so awesome.
Ignore the number of takes it took me to get secti Ignore the number of takes it took me to get sections of power chords done, but that KOT in the track names represents a @munnymanpedals Knock Out Tone I recently acquired. Paired it with my (maybe) 70s Session Les Paul copy for a great tone for a rhythm track. The track without it is a dry signal to my Mesa Express 5:25. 

I just uploaded a new song for release and the one pictured should be coming in the next two weeks. That will make 3 of the 14 songs I hope to write and release for 2023.

You can give the new track a listen at https://on.soundcloud.com/WYiEr and hear that KOT in the left channel during the choruses, bridge, and ending.

#munnymanpedals #rock #dmcafreemusic #guitar #guitarpedals #supporlocal #dfwpedalmakers #homerecording
Here’s a close up of the pickups in my 1992 Fend Here’s a close up of the pickups in my 1992 Fender Telecaster. 

I used to have a set of GFS Power Rock pickups, but I felt like the output started to wane on the neck pickup. 

I’ve been fascinated with mini humbuckers after talking about putting them in my PRS SC245 Ted McCarty. After learning that the p90s in that guitar are Seymour Duncan’s, I opted to install a Seymour Duncan Antiquity II in this one. 

It’s a good mix of more oomph than a single but not quite the same as a full-sized humbucker. 

The bridge pickup remains a GFS Power Rock, and the one I use for most of my lead work. GFS pickups may be hit or miss, but these have been a home run from day one. 

Lastly we have the Fishman VT Powerbridge. This piezo pickup adds such a great tonal option into the mix. I often roll the volume of that pickup down to half to mix in a bit of brightness to the mini hum. I’ve used this to supplement my acoustic guitar on tracks.
You can see the discoloration between the 1st and You can see the discoloration between the 1st and 7th frets where I most often play this guitar. It’s the one I’ve owned the longest. @bigjohnsguitars set up and refrettedthis #telecaster in 2010. It’s required a tweak or two here and there, but it’s been the slightest of tweaks. The neck, body, and Fishman VT Power Bridge are original, and everything else has been modified. 

It’s my number one and what I do most of my writing on.
I’ve been sharing these videos on TikTok, and I’ve been guilty of getting stuck on the name that’s on the headstock. I now have a handful of “cheap” guitars that I feel are competitive with their more expensive counterparts, especially with a good setup by @bigjohnsguitars 

I sold a 1995 USA Fender Strat and kept this Squier Classic Vibe ‘60s Strat. We put some Texas Specials in it and John wired it up with a 6-way switch. I used this in the left channel of my most recent single, “To Those Who’ve Said Goodbye”, the song that you hear in the background. 

I took a minute to talk about this guitar but could easily talk more about how it plays, how it felt right out of the box, the changes I’ve made and others I want to make, and plenty else. 

#guitar #fender #stratocaster #strat #guitarsofinstagram #kcwm #dmcafreemusic #cheapguitars #squier #squierguitars #bigjohnsguitars
New single, artwork by @cotiecat. Hoping it will b New single, artwork by @cotiecat. Hoping it will be live on Spotify, YouTube, etc by mid-week. 

In light of the recent passings of our resident matriarch, Frau, and Cotie’s Kuwabara crossing the rainbow bridge, i thought it fitting to honor them both, and Chiclet as well. This song is dedicated to their memory, as well as anyone else who’s lost a pet at any point in time. 

This is the first single of 2023 and I hope to release 5-6 more that I’ll collect in the form of an EP in addition to remixing, rearranging, and rereleasing my previous 3 albums and 4 singles into two 14-song albums. 

I have to find balance between music and D&D. That’s my current goal for this year…creative balance.
Started posting videos about my instruments, amps, Started posting videos about my instruments, amps, and pedals I use to record music. I started off with my 1992 Fender Telecaster that’s my go to when it comes to lead parts for almost every song I’ve ever recorded. Hard to say everything I want to about this guitar in a 1 minute video. #guitar #guitarsofinstagram #fender #tele #telecaster #seymourduncan #gfs
Stripped some ghouls, skeletons, and cultists usin Stripped some ghouls, skeletons, and cultists using LA Totally Awesome and redoing them for uniformity using a rough slapchop paint job. 

I love putting color on the tabletop for my #dnd sessions, and have a soft spot for some cultists. 

There are some unpainted buddies there, one of which is my kid’s mini. Focus here is for some minion-esque baddies to sponge up some action economy. 

My players still steamroll my encounters.
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