(second block, fourth letter of the prisoners' quadratic tap code...)

image
...am here to tap through the walls.



Fri Jan, 06 2006

Throwing Instant Heat

(hah)

I've had to leave these discussions at Samizdata in order to bear down on a pressing AutoCAD project, the first looks at which I just shot off to my brother Bryan, who's down in Puerto Rico, at work. So, I calls him up to let him know that there are drawings inbound. He's about half-dizzy from sleep deprivation, and chatty. He gloats over the weather. ("Just shut the fuck up," I engage, cheerily.)

Then he starts telling me about how this show has been weighing on his mind in a million details, but how it's just falling together on the fly under his fingertips in the dark as he's progamming and cueing lights for this corporate event. Just one of those things: sometimes, circumstances conspire with all the right personalities looking at one's work, and one can do no wrong, even if one isn't exactly certain what the next move is and it's coming fast. Out of thin air, he pulled a cue involving IMAG projection and one solitary speaker with the whole rest of the room in full black, to thundering applause from the clients, who really had no idea how loosely he'd been improvising.

That's a wonderful sensation: throwing strikes like that, in such a subjective game.

I told him, "Be cool. Never talk about a no-hitter." Sent him back to work.

Which is where I'm going, now.

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AxeBites

Various guitars I see floating by, mostly Gibson and mostly eBay.


Early Norlin ES-335 -- 1970, in Walnut ("ES-335TDW"). This is a period-piece look and feel, and arguably the sound as well but that's to cut things very finely. A "classic" 335 would be the original of 1958 in the Sunburst or Natural finish, or the Cherry Red of 1959; the Walnut of 1970 (second year of that finish offering) is not really a "classic" 335. In the history of the Gibson aesthetic, this is analogous to, say, vertically-striped polyester bell-bottoms or Bahama Blue shag carpeting. None of this is to say that they're not cool guitars, and this is a nice one. Excellent photographs.

Chrome hardware, featuring the trapeze tailpiece (like my L-47 and I've always liked it) and ABR-1 bridge with period-typical nylon saddles. Bound rosewood fretboard, with small block markers, and then the crown inlay at the machine head. These would be the T-top Humbuckers. Vintage Nazis would moan that the upper bouts are pointy (the body templates were wearing-out in the factory) and the fourteen-degree machine head with the volute signals a sometimes not-fun era of the line, but these things really do rock or moan or whatever you want a 335-type semi-hollow to do. ...which, of course, is because it really is a 335.


In the months since I've let AxeBites languish all to bleedin' hell, Gibson's Robot Guitar technology has sifted out to other models than the original Les Paul application. I don't know how it's going: I still haven't even seen one of these self-tuners. I don't see piles of them burning on the sides of the highway, nor reverent hangings in display cases over bars, so who knows? This 2008 Robot SG is ready to rock in the Metallic Red. Nickel hardware; it's the stoptail wired for data to send to the tuners, with dual Humbuckers. It's a bound rosewood fretboard, but I really like the single-bound machine head with the crown inlay. That's a real cool old-school look, right there, to set off that crazy-ass color. {nod}