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Review: Marshall Code 25 combo

I grew up on Marshalls and played them off and on for the first 20 years of my career. It was only when someone forcibly plugged me into a Blackstar that I realized that there even were other brands. Previously it had always been about Marshall, and the only other option would have been Mesa/Boogie. But after this epiphany, I actually started seeing Marshall in a new and not altogether flattering light. As soon as the wool fell from my eyes, they started to appear a bit fuddy-duddy, seemingly too preoccupied with their own excellence, too absorbed by their pedigree and traditions to attempt any sort of innovation. I did try a number of new Marshall products in 2011 and 2012: the Class 5 combo, the first three 50th anniversary 1-watt amps. All of these were fine amps that put a big smile on my face. But as a control measure, I made sure to plug into some form of Blackstar immediately afterwards, and it never failed to amaze me how much more clarity and flexibility I could get out of them for a fraction of the price of the Marshall. My image of Marshall did not improve when they started releasing headphones, hi-fi amplifiers and smartphones. But when they announced the Code range of digital modelling amplifiers, developed with my countrymen from Softube, my curiosity was piqued. It got even more intense when the first sample videos started appearing on Youtube, the buzz got going, and to me, the most important indicator was that the Code amps were impossible to get a hold of for months. I asked my regular music store if they could get one for me and they agreed. This was in April, and the amp arrived in August. During those four months, I went from “I can’t wait to try this amp” to “I gotta have it NOW” on the strength of one glowing review after another. I tried very hard to not want the Code 25. After all, I have been extremely satisfied with my Blackstar ID:30 for three years, and if it ain’t broke, etc. But then it hit me that I didn’t really need the ID:30 either, since between 2010 and 2013 I was perfectly happy with my Fender G-DEC 3 Fifteen. I suddenly recalled what some guy in the store said to me years ago about the second-hand value of digital amps: they’re like computers in that a new model comes out and then you can’t even sell the old one for coffee money. During the long wait for the Code 25, and the constant debate about whether or not to actually buy it, I realized that three years is a long time in this digital era. Last year I bought a fairly recent digital camera and was floored by the technological improvements made since my old model was released in 2005. The Blackstar was a significant improvement over the Fender. So the Marshall should run rings around the Blackstar. Right? Well, let’s have a look:

First of all, a few words in general about the Code range: three combos: 25, 50 and 100 watts, and a 100-watt head. The 25-watt combo has a 10-inch speaker, the 50-watt a 12-inch speaker and the 100-watt combo two 12-inch speakers. All amps have the same software and the same controls, the only difference between them is that the Code 25 has a smaller LCD. I like this setup because if there’s one thing that bothers me with the Blackstar ID:30, it’s the lack of a midrange control. One thing that definitely sold me on the Code range was the aggressive pricing. The Code 25 is almost half the price of the ID:30 when I expected the reverse to be true. Diving into the actual digital contents, you select between a full range of Marshall preamps, and what I can only imagine are simulations of Fender, Vox and Mesa. There are four different power-tube selections and a number of speaker simulations, everything from a 1 x 12 to a full 4 x 12. If you have a smartphone, you can download the Marshall Gateway app and have full control over the amp via Bluetooth, which is kind of nifty. Another great selling point, something I missed sorely from the Fender G-DEC 3, was the ability to insert effects before the preamp. For some reason, I prefer dialing back the gain a little for my lead tone and boosting it back up with a clean boost or overdrive pedal, and I like having a bit of compression on my clean tone before it hits virtual tape. This Marshall lets me do both without having to plug in my pedalboard! The effects block consists of the usual fare: chorus, flanger, phaser, tremolo, delays, reverbs, a pretty cheesy pitch-shifter. About the only real surprise is the Uni-Vibe setting on the phaser, which is actually pretty good! I’m not going to go on and on about the effects, because 1) I haven’t spent that much time figuring them out, possibly related to the fact that 2) I didn’t buy this amp for the effects but for the British overdrive tones.

There are quite a few sweet sounds among the 100 factory presets. I am not wild about factory presets in general, since they tend to be a bit exaggerated, which is understandable, since the manufacturer obviously wants to show off the entire range of the product and they can’t predict the whims of every user. But there are a few zingers in the list. Six weeks after buying the amp, I have actually yet to get around to fine-tuning the thing, because some of these sounds are so damn good. I find myself scrolling between three sounds in particular: nos. 41, 51 and 67, or, a Bluesbreaker sim, a JCM800 sim and a Silver Jubilee sim. No 13 is positively shredtastic: a JCM800 with an overdrive in front and everything on 10! It is quite likely a bit too over the top for recording, but for practicing and general couch shredding it is not far from a dream tone. About the only Marshall tone that doesn’t work is the DSL sim. I have simply no idea what they were thinking when they dialed that one in. And the American sounds are not convincing at all; my Blackstar does one hell of a better job with the blackface Twin sound. Someone commented that the Code series is a good way to try out different Marshall amps and combinations with tubes and cabs to see what works for you. I don’t know about that. Of course I’d like that to be true, but I couldn’t tell, since I simply don’t have enough stick time with any of the models that the Code is supposed to simulate. All I know is that the JCM800 model comes pretty damn close to the proverbial good British metal tone. One thing with the Code 25 that manages to be heartwarmingly charming and amazingly annoying at the same time is the master volume knob, which works just like an old tube Marshall: either too soft or too loud. The one thing that I absolutely do not like with the Code 25 is the speaker. I don’t know if this particular speaker is bad, or if there’s just something about 10-inch speakers, but it farts out if you look at it funny. Single notes can work fine, but chords and dyads on the bass strings and the thing just makes weird noises. Thankfully, the direct signal from the headphone socket sounds fine, and that was the main point behind getting the amp anyway. This is not something I intend to mike up or put behind me on a stage.

The Marshall Code 25 is not going to supplant my Blackstar ID:30, but it complements it very well, and it has given Marshall a bit of a comeback from my perspective. I might very well write a second review when I’ve logged some more hours on it, especially in the studio.

 
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Posted by on 2 October, 2016 in gear, review

 

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Review: Gibson Les Paul 2016 60s Tribute T

There are few things indeed that can beat walking out of a music store with a new guitar. I recently had this pleasure when I bought a new Gibson, the 2016 60s Tribute Les Paul T. For about a year, I have been in the ridiculously privileged position of owning a stable of guitars of outstanding quality, fantastic sound and with basically no annoyances or weaknesses. As the old saying goes, there’s always room for one more. But which one? For years, it’s been back and forth between my two favorite guitars. During odd-numbered weeks, I’ve been convinced that the Stratocaster is my first love and that what I really want is a maple-neck American Standard. The next week I’ve realized that I’ve been an inveterate Les Paul player for 15 years, and I’ve dreamt of owning a sunburst Standard for about 30 years. But desirable as these guitars might be, neither will enable me to do something new. Neither will give me a new sound. If I am to spend thousands of crowns on a new guitar, it’s not enough to convince my heart, I also need to convince my brain. And the older I get, the more difficult it gets to justify the huge expense of a Les Paul Standard or Custom.
As stated in a previous review, it was quite the revelation to plug in a 2015 Les Paul Special with P90 pickups. It was quite frankly the nicest clean sound I have ever heard, way more massive than the Fender single-coil sound, but at the same time a lot crisper than a humbucker. The P90 has almost an acoustic quality to it, you can really hear the vibrating metal of the string! It even sounds awesome (if noisy!) with distortion: it drives the amp pretty hard and has that extra pick attack that tells you instinctively that this is not a humbucker. My problem with the 2015 Special was that it was a 2015 model. I don’t care for the wider neck, adjustable nut or ugly logo, and the first thing I’d do were I to buy one would be to disassemble and sell off the G-Force tuning system. To my immense satisfaction, it turned out that the 2016 range included a proper Les Paul with P90:s, and when I finally got to try one, I bought it inside of ten minutes!
I still like the Les Paul Studio, but ever since they started turning upmarket (they’re currently 16000 crowns, 60% more expensive than the 50s and 60s tribute models), I’ve been increasingly iffy about purchasing one. The tribute models might just be the bargains of the entire 2016 Gibson range. For just under 10000 crowns, you will get a US-made Gibson Les Paul, with either P90 or humbucking pickups, in a small but nice selection of finishes, and with few compromises, most of which are aesthetic in nature. (And, admittedly, most of which you would get on a Studio model as well!) These guitars don’t come with hard cases but a small padded gigbag, which is not a dealbreaker for me even though it might be for you. Otherwise it’s the usual Studio fare: unbound body and neck and a not especially flamey maple top. The sides and back of the body and neck are finished in opaque black, likely to hide the fact that the bodies are glued together from several smaller pieces of mahogany. If you get the 50s version with humbuckers, be aware that you get the old-school wiring, so there is no possibility to split the coils.
Both the 50s and 60s tribute models come in three finishes: black, tobacco sunburst and honeyburst, and with the former you also get a goldtop option. I already have two black Gibsons, and I wanted the 60s tribute, so it was basically a choice between the two sunbursts. A note to the wary: Gibson’s photos of these guitars simply do not do the finishes justice! The Honeyburst appears to be way more faded and brownish than it turns out to be in real life. I was amazed when I pulled it out of the gigbag, it was so beautiful! One of the nicer details with these guitars is the satin finish. It is wonderfully smooth, especially on the neck, where it allows a bit of the natural grain to come through, for a very nice feel.
The one thing I can’t wrap my head around is the way Gibson differentiates between 50s and 60s models in this range. If someone says “50s tribute” to me, then I immediately imagine the proverbial Les Paul, a humbucker-equipped flame-top sunburst. But if you mention two models, a “60s tribute” in addition to the 50s, then I think in different terms. Then the 60s tribute is the sunburst with humbuckers and the 50s tribute the goldtop with P90 single-coils. In the 2016 range, Gibson have managed to get this almost completely the wrong way around. The 60s tribute has the P90:s and the 50s tribute the humbuckers and goldtop. It’s a shame, since I really, really wanted a 1956-style P90-equipped goldtop. But I shouldn’t complain, since the honeyburst is so much nicer than I had imagined! And the more I think about it, the more I enjoy the thought of owning a 57-style goldtop with humbuckers.
This “review” makes one serious omission which I’m now going to address. The Gibson 2016 range actually consists of two distinct subranges: Traditional and High Performance. The former is basically the way you would expect things from Gibson: standard tuners, standard bone nut, standard neck width and the old-fashioned neck joint. The latter continues the modernization efforts started with the controversial 2015 range: robot tuners, a wider neck and an adjustable nut (this time in titanium!). New for 2016 is the improved-access neck joint. My music store only stocks the Traditional guitars, so I cannot make any statements about the HP range. However, I can imagine that I would enjoy the shaved-down neck heel.
 
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Posted by on 29 May, 2016 in gear, review, Uncategorized

 

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Review: Gibson 2015 models

I am obviously very, very late to the Gibson-2015 party, since from what I’ve gathered, Gibson has already been flying in their 2016 models under the radar, at least over in North America. I have to admit that I’m horrible at this whole blogging thing. I mean, what the hell, this is my first post this year!! So here it is, more than six months overdue.

Life as a Gibson fan has not been especially pleasant in the past few years. I liked the 2014 models a lot: the Les Paul Futura was especially impressive with its humbucker/P90 combination, the nicely implemented boost and the cool colors. The Studio Pro was really neat, that cherry sunburst is an awesome take on the classic Gibson finish. I just didn’t care for the 120th Anniversary marker behind the 12th fret, it was jarring to the eye. I don’t know about you, but when I spent that much money on a new guitar, it must be perfect, and then I mean in every possible sense of the word. If I had known then what I know now, I would not have been so upset over a 12th-fret inlay.

The 2015 range is, in my humble opinion, bloody awful. Of course they’re pretty, with the sunbursts and the triple-A flamed maple tops, but that’s par for the course for Gibson. We’ve come to expect nothing less over the years. The first thing that struck me was that the store hadn’t put a price tag on any of the 2015 Standards. I know exactly what this means: if you have to ask, it means that you cannot afford it. So I asked, and the guy told me straight up that the philosophy for this year was to jack up the prices 25% to put Gibson closer to boutique makers such as PRS in price, if not in quality and image. One of my constant daydreams during the past 30-odd years has been to own a Les Paul Standard and a Les Paul Custom, and when he told me this, I realized that the only way I could fulfill the dream would be to go for used guitars. There is just no way I’ll shell out close to 30 Swedish grand for a guitar and I don’t care how good it looks or how well it plays. It has to beat my 25-year-old Les Paul Studio at everything hands down, and it turns out that few guitars do.

Then we come to the issues with the actual guitar. Looks are important. I’ll come clean and say it. And the new guitars are ugly as hell. I don’t care for the new logo, not one tiny bit. I respect the hell out of Les Paul the man, but I don’t need his shaky autograph on the headstock of my ridiculously expensive new guitar. I want the “Les Paul Model” logo! The new adjustable brass nut is okay. I appreciate the utility of it, since it gives me a whole lot more flexibility in adjusting the action, for instance if I want to set the guitar up for slide guitar. And then, the tuners. Those tuners. They tie into the price discussion mentioned above, because I would not only have to budget for a Les Paul Standard, a DiMarzio Cliplock strap and a set of Elixir 10-46 Nanowebs. I would also have to plink down 1000+ crowns for a set of replacement tuners! I have tried the Min-ETune/G-Force robot tuners. They were fun – once! I was amused by the novelty of pressing a button, strumming the strings, and watching how the guitar tuned itself. And after that first time, I wanted to go back to what I always do: play a bit, strum a chord and then fine-tune the strings that have gone sour. Only then did I realize that I had to turn the tuning peg about five times to bring the string up a quarter-note. And the tuners for the wound strings are the wrong way around, like the guitar was restrung by an amateur! Not to mention the mechanical resistance you feel when trying to tune manually. I also got the feeling that these tuners were decidedly less reliable, since I was forced to retune every two minutes.

There are a few features of the new Gibsons that I do very much enjoy. One is the push/pull volume controls for coil-tapping the humbuckers. I have even considered installing coil-taps on the two Gibsons that I own, so getting it set up that way from the factory is very nice. I have nothing against a built-in boost per se, but this is one thing that is implementation-dependent. I have always shied away from active electronics since I always imagine that the battery will wear out when I least want it to. A clean boost or mid-boost has to be set up so that you can still use the vanilla guitar when you run out of juice. Then it has to be unobtrusive. Last year’s Futura model did it nicely: the boost was controlled via a push/pull pot, so you couldn’t tell even up close that the guitar was hot-rodded. This year’s “Classic” model replaced one of the tone controls with a toggle switch, which is at best extremely ugly. What’s “classic” about that model, I wonder.

I am not alone in all of this. But the grim satisfaction didn’t take hold until I heard that Gibson was forced to dump the prices just to get rid of the 2015 models. Guitar Center ordered whole batches of special-production guitars sans all the 2015 “innovations”. And from what I’ve understood, Gibson have rushed out the 2016 models, and notice if you will that none of them sport the nonsense that Gibson tried to force on us with the 2015 range. I am intensely pleased that the market has spoken and uttered a very firm NO, and that the manufacturer has listened! The only sad part in all of this is that we have a bunch of dealers worldwide that are sitting on hundreds of thousands’ worth of stock that is going to be fairly tough to get rid of. I feel their pain. But for Gibson, the only thing I can muster is schadenfreude. Then, having said that, 2016 might just be the year I buy a new Gibson!

 
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Posted by on 19 September, 2015 in gear, review

 

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Review: Taylor 150e

I don’t use 12-string guitar much, but when my old Yamaha seemed to finally give up the ghost, I found that I sorely missed having one. 98% of my acoustic needs are covered by a regular steel-string, with the remainder equally divided between nylon and 12-string. Actually, the old Yamaha spent much of its life converted into a six-string. I removed the octave strings in early 1989 if I recall correctly, and didn’t add any back on until the summer of 2003. When I did, it hit me what I had been missing. But unfortunately, I have only recently been made aware of how a dry climate can punish a wooden instrument, and when I finally started treating the guitar the way it deserved, it was too late. The neck and top had warped, the truss rod had got stuck, the intonation was way off above the second fret, and the tech in the music store basically declared it DOA.

Enter the Taylor 150e. I was already familiar with the Taylor 100 series through the selection process that led to the purchase of my 214 six-string. I found the 100 series inferior to the 200 in most respects, but I figured that with twice the amount of strings, it would be apples vs. oranges anyway. When I found out what it cost, I was immediately intrigued. And when I finally tried one in the store, I was so impressed that it took only 10 minutes to decide to buy it. I didn’t even put it down!

The 150e is a dreadnought 12-string guitar with a built-in pickup and preamp (the -e suffix). It is made in Mexico and is obviously intended as a budget instrument, which is also evinced by the 6000-crown price tag. I have yet to find anything budget about the guitar, however. This is mostly because of my approach to guitars in general and acoustic guitars in particular. I can appreciate the finer aesthetic details of guitar-making, I can respect the workmanship, but I am perfectly all right admiring it from afar. I do not need it on my own instruments, and therefore it is something I do not necessarily wish to pay for. I have absolutely nothing against unadorned, meat-and-potatoes instruments, so long as they sound good. That’s why I prefer the Les Paul Studio, and that’s why I don’t regard the Taylor 150e as having cut any corners. After all, I spend most of the time playing the thing, and therefore I don’t need elaborate binding or decorative fingerboard inlays or anything like that. I appreciate that they scaled back on the visuals to keep costs down, and at any rate, from my eyes, the guitar is just as beautiful to look at.

I’d say that the 150e is 12000 crowns’ worth of guitar in a 6000-crown package. It completely redefines my expectations from a 12-string guitar. I was able to sit around and play it for hours on end without experiencing the slightest bit of left-hand cramp. Barre chords work fine even high up on the neck, intonation is just about perfect, and the neck is wide enough that my meaty fingers have no problem whatsoever with finding the correct strings. It can handle everything that one could conceivably expect it to play, and does so at a bargain price. There was not the slightest hesitation before buying it, and I have not regretted the purchase in the least. Now I have a real 12-string! Incidentally, I showed it to my dad, and he almost didn’t want to give it back. In fact, he ran out the next day and bought his own! Yes, it is that good.

 
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Posted by on 14 December, 2014 in gear, review

 

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Review: The Gibson SG

My Gibson SG is a black 2005 Standard that I bought used in 2012. It was in pretty bad shape when I got it: the intonation appeared to have been set according to rough description rather than listening to actual pitches, the fretboard was caked with grime and the body all dusty. It required such little effort to talk it down from the listed price that it occurs to me that maybe I should have gone for 500 crowns more. Well, for some people, the haggling is the thing, whereas for me, I prefer looking at it as getting a good deal, and I really did.

The really annoying thing was only evident after a week or so, namely that this was the second Gibson in a row where the backs of the tuners were coming off. On my Les Paul, I had to get a new set of tuners. This time, some superglue seems to have sufficed. But what are they doing in Nashville? Or is it the dry Swedish winter that does the guitars in?

As far as I know, the SG originated in an attempt to rejuvenate the Les Paul model and/or take up direct competition with the Fender Stratocaster. In the latter case, I think that it is quite disappointing that it has never occurred to Gibson to pimp their SG:s in more interesting colors. It seems like you can always get them in black and some form of brown. Sometimes a splash of white. Maybe I’ve seen a blue one. But wouldn’t it be cool with red or green metallic?

But okay, let’s put away the negative waves for a moment and instead concentrate on the positive ones. For there are many! I like to think of the SG as the younger ballet-dancing cousin of the Les Paul. The family resemblance is right there, it has most of the attitude of the Les Paul but in a thinner, nimbler package that is a hell of a lot easier to throw around on stage. The ergonomics are simply fantastic. Not Stratocaster-class, but pretty darned close. All the controls are right next to the picking hand and there is even a top-mounted jack socket. About the only thing that knocks it down from full marks is that the neck pickup tone control is a bit too close to the jack socket, but that’s it. It is a light body that is a delight to strap on, almost to the point where it gets neck-heavy, but never uncomfortable. Still, it is surprisingly resonant: mine just booms right across the room even when it’s not even close to being plugged in. Some of this might be the neck, which is thick and almost club-like. It is a considerable adjustment from my other guitars, but I haven’t played enough SG:s to tell whether it is a design feature or something unique to my guitar or the 2005 Standard.

However, the main selling point of the SG for me is the unparalleled access to all frets across all strings. Seriously, they could easily have extended the 22-fret fretboard to 24 without compromising access in any way. (They actually did on the 50th anniversary model!) I had to reprogram my muscle memory when I got my SG, because I had got used to jamming my hand into the cutaways of my three other electrics and then reaching a bit for the 22nd fret. On the SG, I can easily reach it without even being close to the cutaway. This guitar is built for shred, and has the sound for it as well. You get the same drive and crunch as with a Les Paul. The difference is that the tone just isn’t as fat, and doesn’t have the hour-long sustain. But I can live without that. The neck humbucker has an almost single coil-like transparency that contrasts nicely with the force of the bridge pickup. It is also very nice to have the standard Gibson wiring where you can set the volume and tone of the two pickups separately. Clean and crunch, or lead and woman tone.

The only really sad part is that I bought this guitar more than two years ago, and I have yet to use it on stage.

 
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Posted by on 12 November, 2014 in gear, review

 

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Review: Ernie Ball Polypro strap

Many years ago, one of the music stores in town used to have a rack full of Ernie Ball Polypro straps in every color. Above the rack was a picture of Eric Clapton with his trademark Stratocaster and a Polypro. The caption read: “If it’s good enough for Eric, it’s good enough for you. 59 crowns including tax.” I would tend to agree. On a more philosophical note, it is simple and unadorned enough that it doesn’t distract from the guitar, instead it recedes into the background and keeps your instrument and what your hands are doing with it in the foreground. On a more practical note, it is a guitar strap, period. It does what it should do and does so at a bargain-basement price.

I used Polypros for a couple of years, mostly because they were long enough back when DiMarzio’s straps weren’t. It doesn’t have so much to do with trying to look cool as the simple fact that I am 200 cm (6’7″) tall and straps are made for guitar players of average height. I loved the feel and the simplicity of the design. I still enjoy the straps greatly, but since I got back to the ClipLocks, my Polypros live with my acoustic guitars. For me personally, that just works better. There is nothing wrong the Polypro per se, it was just that I got tired about worrying about them in a live setting. I used those little twisty strap locks, but they started popping off during shows and I had to go hunt for them during the breaks. (I kept forgetting to bring spares.) On a Fender, you get a bit of extra security because of the way the strap wraps around the top horn. On a Les Paul, the tension pulls away from the strap lug, which is a recipe for… unexpected things.

 
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Posted by on 9 November, 2014 in gear, review

 

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Review: DiMarzio ClipLock strap

The tie has always been the standard, classic gift for guys. For guitar players, the equivalent has to be the shoulder strap. It is funny in a way that I am about as uninterested in straps as I am in ties. The difference is that in the latter case, it is something that I do for the hell of it, tolerate a few hours of discomfort to look good at the annual company Christmas party. And in the former, it’s because I know what I like and what works and nothing else has ever worked equally well. So for you people out there, if you want to get me a birthday or Christmas gift, get me something other than a strap, because if it isn’t a DiMarzio ClipLock, I simply will not use it.

I’ve used DiMarzio Cliplock straps almost exclusively since the beginning of the 90s: one white but mostly black. I only stopped using them for a few years because my old one wasn’t long enough to put my Les Paul into a comfortable enough position, and went straight back as soon as DiMarzio started making them longer. In my experience, they take the strap completely out of the equation. You may still worry about breaking strings, frying a tube, having a wild and wooly party-goer bump into your mike stand, giving you a fat lip in the process. But you never have to worry about the strap coming off in the middle of a song. It’s just there, all the time, so you can concentrate on other things. I also particularly like the feel of the seatbelt-type nylon. It is slippery enough that the strap doesn’t get stuck on your shoulder, but not to the degree that it slides all over the place.

I have four complete assemblies, one for each of my electric guitars. I do know that DiMarzio supplies the end pieces separately, so you can save a few bucks by buying one complete assembly and one end piece set for every other guitar, and then switching the strap between the guitars. It wasn’t a huge expense, so I didn’t bother with that solution. I basically have to have four different lengths anyway to keep all my guitars at the same height. The straps live on the guitars constantly, even at home, which has the added advantage that the little end piece doesn’t flop around when I sit down on the couch to practice or record.

The one and only problem I’ve encountered with the Cliplock is affixing it to the guitar in the first place. The screws seem to be a little bigger than the standard strap button screws, which is all and well, but they’re also longer. On one or two of my guitars, the DiMarzio screw hit the bottom of the pre-drilled hole in the guitar, so I had to unscrew the darned thing and add a washer or two between the strap end and the guitar body before retrying.

 
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Posted by on 8 November, 2014 in gear, review

 

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