Feedback is not the same as distortion though.
I think this is a big part of Nova twins sound though and I hadn’t figured that out on my own!
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Amps are much more important as a tonal component to guitars than bass. Each of the different amps has its own tonal character and also its own way of overdriving and breaking up. Pedals can also model this (with capture modelers like ToneX, Kemper, and Quad Cortex) but really I kinda get why guitarists love their amps.
Amp sims and captures running in the computer do more than fine too but don’t help John, who asked for a hardware solution.
Kinda off topic and not sure where to post but here’s a weird one: Three strings Bass and three strings guitar…and multiscale.
A hybrid 6 string instrument, tuned
G C F-C F B flat
It is both a bass and a guitar, multiscale from 28" to 25". Current strings are 100-80-65 flatwounds for the bass side, and 36-26-17 for the guitar end.
from: https://www.projectguitar.com/guitar_of_the_month/august-2025-r164/#
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Weird! My take is it would replace neither guitar nor bass but would be kind of a unique thing on its own. I dig it, but not as a standalone instrument.
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That sounds like the instruments that the Presidents of the USA used to use. The guitarist and bassist played instruments strung like this.
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Very weird to go with that tuning there though. I can think of a couple small variations I would prefer. Apparently it’s an homage to Charlie Hunter; no idea who he is.
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Far too rainy this weekend to attempt paint on my Gretsch bass to baritone conversion project so I spent some time getting these two projects wrapped up. The Strat is for a friend and the Pacifica stays, for now.
I
Rolled both fretboards pretty heavily. Extensive fretwork on both. Pacifica kept the stock hardware but the strat got locking tuners and a Wilkinson bridge with a block big enough to require some routing. Strat pickguard was a loaded unit and sounds pretty good. Pacifica I wired up from spare bits. Aftermarket guard, added a Squire CV humbucker leftover from another build. Leftover lipstick pickups. Wired the 5 way to autosplit. Made for a productive rainy day weekend and learned a lot. Hopefully next weekend I can get the baritone in paint so it can cure before I ship it to the new owner.
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Have you posted the Baritone?
I like a finish with a bit of texture
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@Gloucester Hopefully some more updates this weekend.
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This is quite possibly the best review that I’ve ever watched on Youtube. This guy is incredible. 
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Lovely 
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I lost the auction for the G&L Doheny, so my search continues. I’m looking for a jazzmaster, but I’m not overwhelmed by the Fender / Squire versions (bridge sucks, trems suck, they tend to have some QC issues).
I can buy a brand new Doheny but pickings are slim and it seems to be a sellers market for them. I’m guessing because the Doheny’s are kinda niche and because sellers are taking advantage of G&L going out of business. I’m debating either choking it and buying a brand new one for $800 or going with a Reverend with p90s (not super jazzmaster-y). It’s kind of a coin flip for me atm so I would appreciate some opinions.
Doheny:
Jetstream 390:
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The reverend double agent with a bridge humbucker and neck P90 caught my eye.
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I just watched a video on the double agent W. I really dig that HS config. You should take a look at the Warhawk, you can get that in an HSS and its a really pretty guitar imo. I think after spending a few hours watching these, I kinda have my heart set on the jazzmaster (Doheny). I’m going to end up just paying more for a brand new one than I had planned on spending for a used.
https://reverb.com/item/93078047-reverend-warhawk-390-w-bigsby-and-hardshell-case
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Playing some ween, with my Epiphone ‘61 in Alpine white 
Don’t mind the costume.
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I found a lesson series on Marty music that answered a question I had been wrestling with.
I wanted to simplify the pentatonic patterns in a way that wasn’t memorising patterns all over the neck.
Essentially, I wanted a pattern based on the location of the root on each string.
His lesson- which I will link to later (it is one of the free ones) answered that question in a slightly different format.
The takeaway is that for the minor pentatonic the string with the root and the one below has 4 fret spaces, the others have three, the exception being that the E-strings are mirrors. Obviously the B is staggered.
It sounds more complicated when written down but as long as you know the notes and where your roots are it is easy to stay on track and recover if you get lost.
Things like the BB Box make more sense also.
I haven’t worked it out for the Maj Pentatonic yet
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