#c: bigsby

[ascalonianlightbringer]

I took Gwen into "The Fall of Falcon Company" proper, and met her sister's former commander (since promoted to captain over all Queensdale), Captain Tervelan. Also, I fought a bunch of centaurs who melted under Gwen's attacks (she's a level 80 mesmer decked out in Exotic and Ascended gear), which was fun—she's just started her elite specialization and often feels a bit underpowered.

Tervelan, meanwhile, is a weaselly asshole whom I would like to stab multiple times, but the transition scene for his location is stunning:

You can talk to his lieutenant, who predictably sneers at any PC, allowing for a personality response! I imagine Gwen's personality as a mixture of charm, sneakiness, a good heart, and a fierce temper, so her dialogue choices aren't particularly consistent. This time, I figured she'd be on edge and went for the ferocity option ("Let's step outside these walls, and I'll teach you a little respect"). He's impressed by this.

Tervelan himself goes on about how coddled Logan and Gwen are—a truly wild take on Logan, and at least as wild for Gwen, a street kid whose best friend was recently dismembered and scattered over various parts of the city. His character design and dialogue are clearly meant to be obnoxious and are.

She's a hero because she passed through the city gates, went into Queensdale, and turned the tide of battle at Shaemoor! Does "Hero of Shaemoor" mean nothing to you >_>

So the centaurs conveniently interrupt. This happens specifically because of Gwen's presence—they know about Gwen and realize she's there, but they don't recognize her until she reveals herself (hmmm). Also, a chance animation made her confidence hilariously unsubtle:

(Good luck with that, Hruud the Reaver.)

Anyway, Tervelan continues to be an asshole, first snidely telling Gwen that she can sneak off, and then when she jumps into single combat instead, shouting that he wants to see "fancy footwork." She's a mesmer, so fancy footwork is very much her style, but ... seriously, this guy.

After the fight, he's like blahblah I don't have time for a personal vendetta (so apparently he knows Gwen has a personal stake when even Logan didn't—but Deborah was a sergeant in his command, so it's not that far-fetched). Gwen convinces him to let her help out in exchange for more information, and he pretends to agree, sends her to join a unit to fight some centaurs, only for her to discover it's one(1) soldier. So Tervelan remains shady as hell.

The soldier turns out to have been Deborah's friend/protégée and says some nice things. Given my headcanon that Gwen and Deborah were actually on really bad terms back then and eventually estranged (Gwen was a bandit, Deborah a Seraph), I'm pretty sure that Gwen feels intensely guilty as he rambles on about how Deborah was a fantastic soldier, but of course Gwen would know that already...

The camp conveniently turns out to be the same camp in which the surviving members of Deborah's company were kept before being sold into slavery(!) by the centaurs. Gwen and her new soldier buddy discover the remains of a notebook from one of the members of the company, listing some of the survivors' names (including Deborah's, to Gwen's excitement) and accusing Tervelan of selling them out for some unknown reason. Surprise!

Gwen then had the option to immediately confront Tervelan or to bring Logan onboard. Given the strong rapport between the street PC and Logan, and that Gwen is a smart, sometimes calculating person, I figured she'd want back-up.

[thestylesapparatus]

1961 Gibson ES-345 TD* Bigsby - Cherry Sunburst

This Gibson is an electric semi-hollow with with a rounded "C" neck, 22 frets with split parallelogram inlays, and a crown headstock decal.

The guitar body boasts neck and bridge pickups 2 Volumes, 2 Tones, a 3-way switch, a 6-way Varitone knob which helps regulate frequences, and a B7 gold vibrato Bigsby tailpiece.

Harry first played it at Capital's Summertime Ball 2022 during Golden. He currently plays it during Stockholm Sydrome and She.

Photo of Harry via @nadishouse

Photo of guitar via Guitar Point (not an exact match as Harry's is a lighter cherry sunburtst)

* Thinline Dual pickup

[wilsoneffects-blog]

Quite the colorful rig wouldn’t you agree? Repost from @jrhparsons • Our playground for tonight! #Anggie . 1999 #FenderAmericanDeluxe #Telecaster | #FenderTelecaster #ElectricGuitar . O. C. Duff Whiteguard ‘55 in bridge and O. C. Duff Big Boy (w/ chrome-plated brass cover) in neck. As well, a five-way selector switch (1st — bridge w/o tone; 2nd — bridge w/ tone; 3rd — bridge and neck in parallel; 4th — bridge and neck in series; and 5th — neck w/ tone), a push-pull vol. (to send the bridge pickup straight to the jack), a Fender no-load tone (to bypass the tone pot in any position), a three-way mini-toggle switch to engage an Esquire “dark” and “bright” circuit (down — a 0.1uF cap engages; up — two .05uF caps and 3.3k resistor engage; middle — bypassed), a “Tom Morello”-style “kill” switch, a Charlie McVay G-Bender, and a dummy coil installed by Charles Powers from C.P.R. Guitars in Fairmont, W.Va. Also, a Hipshot GT2 Xtender Chrome 30200C, Callaham nickel-plated brass ‘50s flattop knobs, and Hipshot saddles (chrome-plated brass on the high E, B, and D strings and chrome-plated stainless steel on the A and low E strings). . 2017 #DuskyElectronics #D2O #GuitarAmplifier w/ J.J. Electronic E34L Tubes . 2020 Dusky Custom 2x12 Speaker Cab | Baltic Birch ~> Loaded w/ #CelestionSpeakers — one Blue, one Gold . #ThruTone Volume Pedal —> Gamechanger Audio BIGSBY Pedal (not shown here) —> #WilsonEffects Ten Spot II v2 Wah —> #Analogman Bi-CompROSSor, REV5 —> Analogman Boss GE-7 Equalizer (hidden under top deck) —> #suchahardman Bodhisattva Overdrive —> #JAMPedals Ripply Fall Chorus/Phaser/Vibrato —> JAM Pedals #RetroVibe mk.3 —> #MXRPhase100 (Script Logo) —> #WalrusAudio 385 Overdrive—> #SpiralElectricFX Red Channel Overdrive —> SubDecay Spring Theory Reverberator —> Boss DD-2 Digital Delay —> suchahardman Aqua Vitae Analog Delay —> Boss RC-10R Rhythm Loop Station ~> Truetone CS7 & CS12 (both hidden under top deck) . #PedalPorn | #PedalboardPorn | #AmpPorn | #GuitarPorn | #TelecasterPlayers | #TelecastersOfInstagram | #TrickMyGuitar | #WestVirginiaMusic | #WestVirgina | #Petersburg #WV https://www.instagram.com/p/CkVg3rJOrM0/?igshid=NGJjMDIxMWI=

[zijun-dong-z5370492]

1-9

Reference List

Tickoo, S. (2018). Autodesk Maya 2019: A Comprehensive Guide. Cadcim Technologies.

Bigsby, C. W. E. (2017). Dada & surrealism (Vol. 22). Taylor & Francis.

Stockwell, P. (2016). The language of surrealism. Bloomsbury Publishing.

Fijalkowski, K., & Richardson, M. (Eds.). (2016). Surrealism: key concepts. Routledge.

Elder, R. B. (2015). Dada, surrealism, and the cinematic effect. Wilfrid Laurier Univ. Press.

Murdock, K. (2023). Autodesk Maya 2024 Basics Guide. SDC Publications.

[i-love-guitars]

Fender Stratocaster owned and played by Ry Cooder Solid Body Electric Guitar, c. 1967, ser. #144953, road case.

Fender Stratocaster owned and played by Ry Cooder Model Solid Body Electric Guitar, c. 1967, made in Fullerton, California, serial # 144953, blue lacquer finish, alder body, maple neck with rosewood fingerboard, road case. "Coodercaster" has become an entire sub-genre of Stratocasters over the last couple of decades, meaning a guitar built or modified to emulate the eccentricities of Ry Cooder's personal instruments. This is THE original Coodercaster, the guitar that was the first Strat the man himself owned, modified, and subsequently played for decades. Here in Ry's own words is his history with the instrument:"Captain Beefheart got a record deal with Buddha Records and a Fender endorsement; modern youth target marketing had just been invented, you see. I was told, you go down to the Fender factory in Fullerton, and speak to so-and-so, and he'll set you up. I saw the production machines and met some workers, and then the fellow took me in a show room where they had their new things and prototypes. The guy pulled this baby blue Stratocaster off the shelf and said, 'here'. I drove home and sat there trying to figure what it might be good for, having never owned an electric solid body guitar."Soon after, I realized Beefheart and I werent going to succeed as co-workers, and went in to the record company and said so. The head of A&R, Bob Krasnow, was lying on the couch in his office and he waived his arms at me and shouted, 'You'll never work in Los Angeles again! And give me back that guitar!' I left the office and the job, such as it was, but I kept the instrument. The next thing was, I got invited to go to London and stand idly by while the Rolling Stones messed around in the studio with Jack Nitzsche, who was a friend of mine from session work. I took the Strat with me, and one evening, the ONE evening, I actually played it. The tape machine was running, if you're interested. The rest is a kind of history we needn't go back into here."Soon after, I stumbled into a record deal of my own at Warner Bros, and started up making my own personal records. The Blue Strat was, at that time, still my only electric. I used it on all the early albums. Since I used mostly open tunings, I had a repair guy take out the wang bar springs and put a wood block in there to hold down the intonation every time I changed tunings. Now, years later, I wouldn't have done that, but what did I know. "Then I started experimenting with electronics, trying for a thicker sound. P90s came and went. I had the bright idea to install an Oahu lap steel bridge pick up. It was the thing to do to help the bottle neck sound relax and it stopped the headaches."That's the short story. I still think the neck is one of the best I've ever played, and the Bigsby trailer brake really makes a sweet combination. That's an original Bigsby PU in there, and yes it's somewhat microphonic like early Bigsbys are sometimes, and it takes a little getting used to, like when you put that '53 Cad motor in the Model A, but you can learn to handle it. Or try some idea of your own."That "short story" only begins to describe the mojo of this guitar.

[racingtoaredlight]

The Bigsby

This colossal piece of shit you see here is the famous Bigsby tailpiece.  It’s one of the most iconic, infamous pieces of guitar hardware in the history of the instrument.  One I’m willing to bet you’ve heard somewhere...but not that many where’s...

Because, again, I cannot underscore how big of a piece of shit this thing is.  And yes, I willingly, knowingly bought a guitar with one of these monstrosities on there, despite it’s numerous flaws.

“Whammy bar” means a lot of different things to different folks.  Eddie Van Halen weaponized it.  Leo Fender refined it and brought it into the modern age.  When most people in the modern age think of the whammy bar, they think of dive bombs and big waggles and some cool shit.

At its most extreme, the Bigsby provides nothing more than a gentle shimmer.  A gentle shimmer that somehow knocks youre ENTIRE FUCKING GUITAR OUT OF GODDAMNED TUNE deep breathe spencer, deep breathe.

***

You’ll get an idea of what the Bigsby’s all about in the video above.  Played by an absolute master at his peak, on a guitar that had a Bigsby operating at it’s best.

***

CON #1 - Restringing

Most guitars with a trem system utilize Leo Fender’s design.  The strings are anchored by the ball end at the base of the trem.  It requires nothing more complicated than threading your string through the bridge...and that’s it, that’s the entirety of the steps required.

With a classic Bigsby (more on the modern ones in a second), you utilize the hollowed out section of the ball end.  The hollowed out section that every string manufacturer still uses, despite the only tailpiece that needs this are the increasily antiquated Bigsby’s.

What you do is put the ball end through the pin, wrap it around the back of the tailpiece...maybe thread it under an additional bar if it’s a more modern Bigsby (to help give the strings the proper break angle, which helps tuning stability)...and then PRAY TO GOD it doesn’t slip off the pin while wrapping the string around the tuning pegs.

If that doesn’t make any sense, don’t worry, it shouldn’t have.  It’s a solution straight out of the Russian space program.  Da, Bigsbyvich...vy not easy make hole for string in cheap bar of metal?  “Nyet.”

Unless you use tape, that ball end will fall off the pin REPEATEDLY during string changes.  Not that big of a deal if you’re at home.  But if you break a string during a gig?  OH SHIT.

***

CON #2 - Tuning

I mentioned this above...

Let me ask you a series of rhetorical questions.  a) what makes music pleasing?  It sounding good.  b) does out of tune music sound good?  No.  c) would you like to use this tailpiece that immediately knocks you out of tune?

This problem is kind of solved with modern interations of the Bigsby.  They now make a “string through” model, which makes the pin problem something of the past.  And with locking tuners...tuning pegs that have a screw to keep the string in place...that previous section is no longer much of a problem at all.

But you still get knocked out of tune because the Bigsby design is inherently unstable.  It’s really annoying, but there are workarounds.  The first workaround is tuning during every song break...something you should do anyways as a musician playing in public, but we’re in the Butt Era of music, so that shit hasn’t mattered since the early aughts.  The second is simply not use it.

***

CON #3 - Weight

Weight matters when you’re playing live.

“Oh look at you you little pussy complaining about having to carry nine pounds on your shoulder for four hours.”  Listen you little strawman...if you tried to practice like I do, you’d be tapping out after 15 minutes because your fingertips wouldn’t have any skin left on them.  So cut the macho shit.

Next show you go to, watch a guy playing a Les Paul.  Note how fresh and energetic they are at the beginning, and then take a look at the end of the show.  3-4 hours standing with an anchor strapped to you is murder on your back and the shoulder your strap rests on.

I mention this because the Bigsby adds a good chunk of weight to your guitar.  It’s gotta weigh easily over a pound.  And if you’re someone who simply doesn’t use a Bigsby, you’ve got extra weight on your guitar for no practical reason that’s readily identifiable.

So yea, there are some definite downsides...downsides that are legitimately shitty...to the Bigsby tailpiece.  You break a string during a gig?  Fucked.  Don’t have a working tuner during a gig?  Fucked.  There is one massive, massive positive.

***

CON #4 - Chinese variants

Like every major guitar part manufacturer, Bigsby realized the money wasn’t in distribution but in licensing.  The vast majority of guitars you see with a Bigsby tailpiece will be cheaply licensed variants from China.  Every single one of those previous categories’ cons are greatly magnified.

The Bigsby is art, not science.  If it were science, it’d be like Fender’s trem system.  All of the above...the variabilities are magnified.  They’re more of a pain to restring, they go out of tune faster, they’re made out of cheaper, heavier metals.

Basically any guitar with a Bigsby that’s under $2,500 has a Chinese variant on it.  This includes the model I just recently bought.  And whether you use it or not, those issues above that are magnified become even bigger pains in the ass when the tailpiece isn’t made exactingly.

***

PRO PRO PRO - The Sound

This isn’t something quantifiable like weight or tuning...wait yes it is, to a certain extent.

With a modern, Fender-style trem system, you’re chopping off basically all the string that’s not 100% essential.  You pull it through, wrap it around the peghead once, measure roughly an extra inch with your finger, and then chop the rest off.  What this does is create a wonderful string tension that allows you to really dig in...especially with Fender’s longer 25.5″ scale length.

On a Bigsby...again the strings are barely anchored to anything...you get an extra 3-3.5″ of string length that’s wobbly and loose.  The Fender twang comes from scale length, but the Gretsch twang comes from the pickups and design.

This is where the unquantifiable comes in...this looseness and silkiness adds a character to the tone that simply isn’t there with a more typical Fender or Gibson style bridge and tailpiece.  You get different harmonics and overtones.  It’s more forgiving and missed notes aren’t as audibly punished.  The other strings vibrate more (even when muted) and add even more of a character to the overall sound.

Simply put, guitars with a Bigsby...whether you use the trem system or not...sound different.  The extra string length makes all the difference, and the loose nature of the Bigsby gives you a unique character to your sound that’s quite different than what you’d find on a more modern style.

***

That last bit alone is the reason Bigsby’s still exist.  And why Bigsby models with the antiquated pin system still exist.  I do believe that pin vs. string-through models sound differently...unfortunately, not for the better in the case of the modern versions.

Locking tuners make a lof these issues less severe, including restringing.  If you can lock on one end, you’re actually in pretty good shape even with the pins.

Of my four guitars that see regular play, three of them have trem systems on there that I don’t use.  However, the trem system itself is a variable that changes the guitar’s overall tone...and in the sense of my Strat, PRS and Gretsch...these are changes that I find sonically pleasing over hard-tail peers.

Here’s *my* truth...doesn’t matter your trem system...it could be a wonky Chinese Bigsby, a Floyd Rose, a vintage Strat with Leo’s original design, a precision machined Kahler...they ALL SUCK.  They all knock you out of tune and are more of a pain to restring than a hardtail.  It’s why I “decked” my Strat and “blocked” my PRS*

*”Decking” is adding additional springs to the trem so that it’s fixed to the guitar’s body.  You can’t do this with guitars that have an arched top, in which case you “block” the trem by putting  a piece of wood in the cavity that keeps it from moving.  This way they’re essentially a fixed bridge.

But the apparatuses do alter the tone in a pleasing way.  Highs are less strident.  There are more overtones and harmonics.  And the Bigsby’s the same story.  Even though it’s a piece of shit that I hate, there’s still something there worth it.

[themusiczoo]

Get your hands on this original 1967 Telecaster, previously owned by Justin Hayward of The Moody Blues. This well-worn classic sports a Fender "F" stamped Bigsby, medium "C" neck shape, and a ton of that Tele' sparkle! Check it out on our Top 10 Used list this week right now! 

[elderlyinstruments]

Epiphone WildKat (c.2014) | Elderly Instruments

A modern Epiphone with throwback style, this WildKat features a bound maple top with a natural finish and bound f-holes. It’s loaded with two P-90 pickups and a Bigsby tremolo. 

This electric guitar is available here: http://bit.ly/2LUggQM

[zandeliongames]

Gnat Bigsby - “The Class Clown”

Bumblebee’s Chemistry lab partner. Lives with mom, stepmom, and stepsister, Percy as well as his best buddie Baloney, a Saint Bernard . C student. Member of History Club.

The King of classroom interruptions, Gnat spends more time in the office than the principal.  The only class that really keeps his attention is Ancient History and one day sees himself finding ancient treasures like that guy with the whip and the hat from that one movie he never really got to finish it because of the “Popcorn Incident.” HIs mom recently remarried and he became an instant big brother, so he’s trying to be a better example, but who else can release all frogs from the science lab better than he can? 

[livels285]

Epiphone casino 1991

Really Music - Epiphone Casino / 1991頃.

Pre-Oasis & Random Gear - Gem Archer Gear.

Epiphone Casino (Japanese Domestic) Terada 1987.

1991 Epiphone Casino - Made in Japan w/ HSC - Reverb.

1991 Epiphone Casino Electric Guitar Cherry w/ Bigsby & Case,.

1991 Epiphone Casino sunburst - Yeahman's Vintage & Used Guitars.

2004 or 1991 Epiphone Texan? - Gibson Brands Forums.

Epiphone Casino Pre-Elitist Question - Gibson Brands Forums.

Vintage Epiphone Guitars >> Vintage Guitar and Bass.

Epiphone by Gibson Strat! You ever seen one of these?.

Epiphone Les Paul: Made in China vs Made In Korea?.

Buying a new guitar - Casino or ES-335? - Ultimate Guitar.

Casino Guitars | Fretted Americana Inc.

Epiphone ES-295 Review | C.

Really Music - Epiphone Casino / 1991頃.

1991 Epiphone Casino, sunburst. Made in Japan, serial number 15668. This guitar is all original minus the missing truss rod cover and the plastic switch tip. Rare 'vintage' Casino with vintage correct 16th fret neck joint. This had a Bigsby.

Pre-Oasis & Random Gear - Gem Archer Gear.

1991 Epiphone Casino Electric Guitar Cherry w/ Bigsby & Case, Pre-Elitist, Japan C $286.08 shipping Let it Be Epiphone Casino guitar with vintage hand painted The Beatles Design.

Epiphone Casino (Japanese Domestic) Terada 1987.

1991 Epiphone Casino, sunburst. Made in Japan, serial number 15889. This guitar is 100% original and comes with the original hardshell case.. The guitars that Epiphone are producing today, imho, are as good, if not better, than any guitars they have ever manufactured. imho The Wildkat models, Riviera P93, Emperor Swingster, Explorer, ES-335 Pro, LP Pro and all the "signature" and "pack" models, historic reissues, Masterbilt acoustics, Elitist and IBJL Casino's, SG's of all sorts, Broadway and Sheraton...Really, right this very day.

1991 Epiphone Casino - Made in Japan w/ HSC - Reverb.

The Epiphone Casino Coupe (Cherry) is a thinline hollow-body electric guitar which is inspired by the instantly recognisable 1961 Casino, but is presented in a smaller ES-339 sized frame. This makes the Coupe around 85% of the size of the original Casino, whilst retaining all the classic features that has made the original a favourite among influential guitarists since its introduction. Paul Weller Tribute 1991 Rickenbacker 330... 1964 Epiphone Casino 1966 Epiphone Casino 230-T 1970 Gretsch Chet Atkins Nashville 6120 1960 Gretsch Anniversary Model 6125 1966 Rickenbacker 335 1959 Fender Jazzmaster... Whether it's Rickenbacker, Fender, Gretsch, Epiphone, Gibson, Vox, or any other high-end gear, I love to collect and.

1991 Epiphone Casino Electric Guitar Cherry w/ Bigsby & Case,.

Epiphone Casino (cherry red) japanese - Whirlpool... Picture taken in 1991 by legendary author Mick Mercer. Rickenbacker 330-12 (Jetglo) - The Contenders. Used while in the band The Contenders. Pick up a copy of Mick Mercer's book Gem Archer to find pictures of Gem wearing a white, one-piece jump-suit! Photo by Mick Mercer from 1988. Item Description. Epiphone Limited Edition 50th Anniversary 1961 Casino Electric Guitar in excellent condition with only some minor playwear on the pickguard. Beautiful vintage sunburst finish with chrome tailpiece and bridge. The guitar is set up with a nice action and the neck is comfortable. The only Texans Epiphone released in 2004 were the Elitist McCartney Texans (crafted in Japan by Terada) and their made-by-Gibson in Bozeman, MT. counterparts. The guitar pictured is not one of them. The guitar pictured is maple, not mahogany (as a Texan would be traditionally), which was how Texans were released in 1991.

1991 Epiphone Casino sunburst - Yeahman's Vintage & Used Guitars.

1991 Epiphone Sheraton - Lollars/Page wiring $550 (hillsborough co) pic hide this posting restore restore this posting. $125. favorite this post Jun 28... Epiphone Riviera Wine Red Electric Guitar w/ hard case Made in Japan, $320 (fmy > Fort Myers) hide this posting restore restore this posting. $600.

2004 or 1991 Epiphone Texan? - Gibson Brands Forums.

John Lennon played Epiphone Casinos, rather than the Gibson equivalent. The Casino E230-T single pickup had a fairly short production run and was discontinued in 1965. "The Casino, introduced in 1961, is the equivalent of the Gibson ES-330 -- a fully hollow thinbody guitar with one or two P-90 pickups. The dot inlay gave way to parallelograms.

Epiphone Casino Pre-Elitist Question - Gibson Brands Forums.

Made in Japan's Terada factory, this Casino is in excellent overall condition, especially for a guitar of this age showing just some light scratches around the bridge posts on the top and a few light scratches on the back. It is really white and sounds killer. Includes what I believe is the origi. It weighs 6 lbs 8.5 oz. Nut width 40.2 mm, depth at 1st fret 20.2 mm, at 12th 23.1 mm. The Casino was introduced by Gibson in 1961 and is the equivalent of the ES-330. It has the same pick-up configuration and hollow body construction. The main differences being the white pickguard, and headstock design.

Vintage Epiphone Guitars >> Vintage Guitar and Bass.

Epiphone Casino Rare Made In Japan. We Are Located In Japan. Epiphone Casino 64 E-230td Natural Electric Guitar W/hard Case Jp Epiphone Casino 64 E-230td Natural Epiphone Casino E-230td, Natural Made In Japan Made In 1996. The I-dot Of The Epiphone Logo On The Head Plate Is Also Raised. Truss Rod There Is Room. Good Pot And Selector Switch. Up for grabs is this all original 1991 Japanese Terada-built Epiphone Casino with hard shell case. It is in superb condition throughout. Built in Japan at the Terada factory this is a beautiful dark rich sunburst, not a finish we see too often on these Terada built Casinos. It’s one of the essential rock & roll hollowbodies.

Epiphone by Gibson Strat! You ever seen one of these?.

Color: Burgundy Mist, Rating: 8.75, Sold (ID# 00491)Call to Inquire: (818) 222-4113. Super Rare Mid-Sixties Burgundy Mist Epiphone Casino. This super lightweight 16-inch-wide guitar weighs just 6.10 lbs. and has a nut width of 1 9/16 inches and a scale length of 24 3/4 inches. Single-bound laminated maple top, back, and sides, one-piece. 5 = casino ＊例：34784 = 1993年製シェラトン 1998年以降. xymmppp（x=工場，y=年，mm=月，ppp=製造番号） ・工場名 無文字 か f = フジゲン j か t = 寺田楽器 ＊例：903584 = 1999年3月フジゲン製 t505693 = 2005年5月寺田楽器製.

Epiphone Les Paul: Made in China vs Made In Korea?.

Ca. 1990 Epiphone Casino, sunburst. Made in Japan, serial number '3283939'. This guitar is mostly original but features a few modifications to make it look like John Lennon's before he stripped its finish. The mods include the correct E-logo on the pickguard, a two-screw truss rod cover, the black plastic pickup switch washer and the blue f.

Buying a new guitar - Casino or ES-335? - Ultimate Guitar.

1991 Epiphone Casino Vintage, sunburst. Made in Japan, serial number 19513. This guitar is 100% original (except for a recent refret) and comes with the original brown Epiphone deluxe hardshell case. This is the higher grade vintage styled Epiphone Japan model with a mahogany neck, 16th fret neck/body joint and a lacquer type finish. Weighs 2.85kg. Mar 16, 2022 · You’ll find Epiphone serial numbers in the standard places. Electric guitars having the serial number on the back of the headstock. Semi-hollow guitar serial numbers are found inside the ‘top’ F-hole on a label. Acoustic guitars are punched inside the soundhole on a sticker behind the strings. On rare occasions, some dates can be found on. 1991 Epiphone Casino Electric Guitar Cherry w/ Bigsby & Case, Pre-Elitist, Japan. C $286.08 shipping. Let it Be Epiphone Casino guitar with vintage hand painted The Beatles Design. C $158.93 shipping. 13 watching. EPIPHONE CASINO WORN Electric Guitar #c6961. Was: C $228.86 shipping. or Best Offer.

Casino Guitars | Fretted Americana Inc.

Today, it's simple to use the serial number on your Gibson to date your guitar. If it was manufactured after 1977, the build date is included in the sequence. The first and fifth number signifies the year it was built, and the second, third, and fourth are the day of the year.

Epiphone ES-295 Review | C.

Up for sale, a 1991 Epiphone Casino in exceptional, 100% original condition and in perfect working order, complete with a hardshell case. Produced in Japan at the Terada factory and featuring a gloss Natural finish, this is an uncommon and early Epiphone reissue which preceded the current "Elitist" line. Jan 24, 2012 · This is a 50th anniversary "1961" Epiphone Casino, number 190 in a production run of only 1,961. Most people reading this review will think I'm just giving it a fantastic rating because most.

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[wilsoneffects-blog]

Hanging out off to the side….. Repost from @jrhparsons • Solo gig for a RSVP-only event. #FeelinFancy | #Anggie . 1999 #FenderAmericanDeluxe #Telecaster | #FenderTelecaster #ElectricGuitar . O. C. Duff Whiteguard ‘55 in bridge and O. C. Duff Big Boy (w/ chrome-plated brass cover) in neck. As well, a five-way selector switch (1st — bridge w/o tone; 2nd — bridge w/ tone; 3rd — bridge and neck in parallel; 4th — bridge and neck in series; and 5th — neck w/ tone), a push-pull vol. (to send the bridge pickup straight to the jack), a Fender no-load tone (to bypass the tone pot in any position), a three-way mini-toggle switch to engage an Esquire “dark” and “bright” circuit (down — a 0.1uF cap engages; up — two .05uF caps and 3.3k resistor engage; middle — bypassed), a “Tom Morello”-style “kill” switch, a Charlie McVay G-Bender, and a dummy coil installed by Charles Powers from C.P.R. Guitars in Fairmont, W.Va. Also, a Hipshot GT2 Xtender Chrome 30200C, Callaham nickel-plated brass ‘50s flattop knobs, and Hipshot saddles (chrome-plated brass on the high E, B, and D strings and chrome-plated stainless steel on the A and low E strings). . 2017 #DuskyElectronics #D2O #GuitarAmplifier w/ J.J. Electronic E34L Tubes . 2020 Dusky Custom 2x12 Speaker Cab | Baltic Birch ~> Loaded w/ #CelestionSpeakers — one Blue, one Gold . #ThruTone Volume Pedal —> Gamechanger Audio BIGSBY Pedal (not shown here) —> #WilsonEffects Ten Spot II v2 Wah —> #Analogman Bi-CompROSSor, REV5 —> Analogman Boss GE-7 Equalizer (hidden under top deck) —> #suchahardman Bodhisattva Overdrive —> #JAMPedals Ripply Fall Chorus/Phaser/Vibrato —> JAM Pedals #RetroVibe mk.3 —> #MXRPhase100 (Script Logo) —> #WalrusAudio 385 Overdrive—> #SpiralElectricFX Red Channel Overdrive —> SubDecay Spring Theory Reverberator —> Boss DD-2 Digital Delay —> suchahardman Aqua Vitae Analog Delay —> Boss RC-10R Rhythm Loop Station ~> Truetone CS7 & CS12 (both hidden under top deck) . #PedalPorn | #PedalboardPorn | #AmpPorn | #GuitarPorn | #TelecasterPlayers | #TelecastersOfInstagram | #TrickMyGuitar | #WestVirginiaMusic | #WestVirgina | #Petersburg #WV https://www.instagram.com/p/Cjd_OUuOomN/?igshid=NGJjMDIxMWI=

[oasisguitar]

Best Baritone Guitars in 2022

Because of their longer scale, the best baritone guitars can easily reach those low tunings you've always wanted to try. While you can occasionally get away with tuning a regular-scale guitar down to the pitch, you will run into any setup issues. On the other hand, Baritone guitars beg to be played in a lower register and will do so effortlessly. If you try this on a regular guitar, your intonation may be off, and string gauge and playability may be a problem. This is not the case with the best baritone guitars. They'll typically ship tuned to B-E-A-D-F#-B, a fourth lower than standard tuning, but you can adjust them lower or higher. Many of the best electric guitar brands and some familiar acoustic guitar names can be found hiding behind these down-tuned beauties. We're talking about six-string masters like Gretsch, PRS, Squier, and ESP, making arguably the best baritone guitar for metal. Let's take a closer look at lowriders.

OUR SELECTION OF BEST BARITONE GUITARS

Nothing beats the stunning PRS SE 277 as the best baritone guitar overall, in our opinion, a guitar that amply covers all the bases as a standout baritone electric. The PRS 85/15 "S" humbuckers can handle the heaviest tones while still cleaning up nicely, and they have a coil-tap for single-coil twang if you get tired of splitting the atom with high-gain madness. A good value for money guitar. The Gretsch G5260 Electromatic Jet Baritone, a retro-cool ax with bags of attitude, comes in a close second. The G5260 will reward you with vintage class and contemporary playability, whether you choose the hard-tail or the licensed Bigsby-equipped model, making it an easy addition to our best baritone guitars bonanza. Gretsch's Electromatic series offers exceptional value, and this one is no exception. The G5260 has your low end covered for everything except modern metal.

PRODUCT GUIDE FOR THE BEST BARITONE GUITARS

PRS SE 277 Electric Baritone Guitar

Source: Google The PRS SE 277 is an excellent example of a baritone electric that can be used for metal, following in the footsteps of the Mike Mushok SE model. However, it's equally at home in more relaxed settings, with your slippers on and the gain turned down, picking through jazz chords, or simply giving your compositions a new range. This electric baritone guitar is entirely up to you. WHEN TUNED TO B, the PRS SE 277 will lean its slab mahogany and maple veneer shoulder into bruising riff-work and has a 27.7" scale (hence the name). That push/pull coil split also allows you to expand the musical potential of the excellent PRS 85/15 S humbuckers. You can add spaghetti western or old-school rock 'n' roll twang to your down-tuned chug. With its impeccable build and finish, perfect balance, classy aesthetic, and reasonable price, the PRS SE 277 makes a strong case for being the best baritone guitar. Also check Best Electric Guitar Cases in 2022. Reverend Descent HC90 Electric Baritone Guitar

Source: Google The Reverend Descent HC90 is a very cool modern take on a vintage Fender design that never existed, to begin with. It has a rock 'n' roll kitsch vibe with its Jetsons-Esque offset body shape. Still, the hardware – Wilkinson vibrato, pin-locking tuners – the Railhammer Humcutter pickup pairing and clever electronics make it a severe deadly option. The pickups on the Reverend Descent HC90 Electric Baritone Guitar are wired with standard volume and tone controls and a bass contour control for fine-tuning the low end. You'll be able to coax all kinds of tones from the Descent, and it's very approachable for a baritone. The scale is over an inch longer than a standard Fender, and the roasted maple neck is carved into a comfortable oval C-profile neck that is neither too fat nor too thin. The tone has a classic bolt-on snap but plenty of meat on the bones. Gretsch G5260 Electromatic Jet Baritone Guitar

Source: Google Playing a Gretsch is always a welcome distraction from modern life, and the G5260 Electromatic Jet Baritone Guitar is no exception. It features the classic Jet silhouette, G-Arrow chrome controls, and the option of a V stop-tail or licensed Bigsby vibrato. And yet, this is Gretsch for uncanny valley gigs because there is just so much guitar. For some, the Gretsch G5260's nearly 30" scale length and slab mahogany construction make it a substantial lump of wood to wrap your arms around, but that neck profile is very comfortable. The G5260 is a fun ride once you get used to that extra fretboard runway (it's like a short-scale bass). Play it through a small Fender tube combo with plenty of spring reverb, and you'll be riding the waves of deep surf tone in no time. Dial slapback for a sonorous rock 'n' roll voice means that your only fear is that an authority figure will step in and confiscate it—the best baritone guitar for surf rockers, without a doubt. Squier Paranormal Series Cabronita Baritone Telecaster

Source: Google The Telecaster has long been a popular choice for the six-string rebel. Still, this low-cost Squier Paranormal Series Cabronita, with its 27" baritone scale, black finish, and oversized soap bar single-coil pickups, takes it to the next level. Its appeal stems from the fact that it takes the simplicity and enduring appeal of the Telecaster design – rarely matched, never beaten – and offers a clever variation on a theme. And while the Cabronita baritone guitar is unmistakably cool, everything here is designed with functionality in mind. Check out the string-through-body bridge design, which features individually adjustable saddles for fine-tuning intonation. Fender pickups do an excellent job articulating the low end without losing detail or mushing out. You could use this for down-tuned punk and grunge, but through a clean amp with some spring reverb and slapback echo, this is the best baritone guitar if you want a rock 'n' roll machine with an almost oceanic depth to its voice. ESP LTD Stef Carpenter SC-607

Source: Google Choose this Stef Carpenter 7-string if your riffs are metal – or metal-adjacent – and you want to encamp them right in the register of the bass guitar for maximum devastation. That is undeniably possible with the ESP LTD Stef Carpenter SC-607. The Deftones guitarist's long-running collaboration with ESP has resulted in some of the finest state-of-the-art guitars for low-end riffing, but the SC-607 may take the cake. It has an old-school 1980s look, a seven-in-line headstock, a heavily contoured double-cutaway body, and a thin U-profile neck that balances blazing speed and all-night comfort. The electronics are of the twenty-first century, with push/pull active-passive modes. These allow you to switch between Modern Active for when you want to leave a crater in the ground while playing and Modern Passive for a more traditional humbucker response, ideal for cleaning things up. The build quality of the ESP LTD Stef Carpenter SC-607 is excellent, as is the specification. And, even though this is a signature guitar, there are no flashy graphics or flourishes to deter those looking to make this one their own. This is the best baritone guitar for melting faces with massive-sounding riffs.

ADVICE ON BUYING THE BEST BARITONE GUITARS

While it remains a niche instrument, the best baritone guitars market provides plenty of options regardless of the style you want to play – they've even found favor among metalheads looking to add some cargo to their riffs. In the late 1950s and early 1960s, rock 'n' roll and surf rock players used electric baritone guitars to add a more rounded thump to their twang. In contrast, baritone acoustics have been around for a long time. Consider what you intend to use your baritone for and how much of your budget you want to devote to it when selecting among the best baritone guitars. There are options for every budget, so there is something for everyone. While we resisted the urge to fill our list with electric baritone guitars voiced for high-gain playing, it's worth noting that this is where the action is in terms of baritone development. ESP/LTD is leading the charge in this area. Indeed, one of its Stef Carpenter Signature Series sluggers had to make our list of the best baritone guitars. Read the full article

[pgarthurmiller]

Bibliography

Aziz, A and Korsten, FW. (2021) ‘Actualising History: Responsibilities with Regard to the Future in Arthur Miller’s The Crucible’, Critical Survey, 33(4), 79-92pgs. [Online]. Available at: https://web-s-ebscohost-com.ergo.southwales.ac.uk/ehost/detail/detail?vid=0&sid=fd9d96ee-392a-4847-81bc-84657a76191b%40redis&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#AN=152558685&db=hlh (Accessed: 28thFebruary 2022)

Bigsby, C. (2005) Remembering Arthur Miller. Ed 1. eBook Central [e-book reader]. Available at: https://ebookcentral-proquest-com.ergo.southwales.ac.uk/lib/usw/detail.action?docID=692111 (Accessed: 27th February 2022)

David Hare. (2018) ‘The best political plays, from The Crucible to The Jungle’, The Guardian, Thursday May [Online]. Available at: https://www.theguardian.com/stage/2018/mar/15/political-plays-david-hare-james-graham-timberlake-wertenbaker-jack-thorne (Accessed: 26 February 2022)

Meredith, C. (2011) ‘Miller’s Answer: Making, Saying, and the Impulse to Write’, Taylor & Francis Journals, 8(1), 71-89pgs. New Writing [Online]. Available at: https://findit.southwales.ac.uk/discovery/fulldisplay?docid=cdi_chadwyckhealey_abell_R04446264&context=PC&vid=44WHELF_USW:44WHELF_USW_NUI1&lang=en&search_scope=MyInst_and_CI&adaptor=Primo%20Central&tab=Everything&query=any,contains,Arthur%20Miller%20writing%20process&offset=0(Accessed: 28 February 2022)

Meyers, J. (2006) ‘Playwright’s forum: Arthur Miller’s Outtakes’, ProQuest, 15(1), 85-89pgs. Performing Arts Periodicals Database [Online], Available at: https://www.proquest.com/docview/2293619?accountid=15324&parentSessionId=cHmvomJhuPlBkHrAxle7OWV%2BZoWi6Hi9GJpiVAcx5Ik%3D&pq-origsite=primo (Accessed: 29 February 2022)

Radcliffe, M. (2005) ‘Arthur Miller’, The Guardian, Saturday 12 February [Online]. Available at: https://www.theguardian.com/news/2005/feb/12/guardianobituaries.artsobituaries (Accessed: 25 February 2022)

Tewari, A (2020) The Writing Style of Arthur Miller. Available at: https://medium.com/@manas.freelance01/the-writing-style-of-arthur-miller-f6ccbbf33c80 (Accessed: 25 February 2022)

The Editors of Encyclopaedia Britannica. (2022) Britannica. Available at: https://www.britannica.com/biography/Arthur-Miller-American-playwright (Accessed: 26 February 2022)

[makingperfomance2blog]

Bibliography

-Kunstle, S (2020). Boys Are Sold For Sex, Too. Available at: https://blog.theexodusroad.com/human-trafficking-stats-stories-boys-are-sold-too. Accessed on: 5th March 2021.

-Luiza. (2017). Antislavery Usable Past. Available at: http://www.antislavery.ac.uk/items/show/2451

-Romo, R. (2017). Human Trafficking Survivor: I was raped 43,200 times. Available at: https://edition.cnn.com/2015/11/10/americas/freedom-project-mexico-trafficking-survivor/index.html

–ShakesQueer. Tom Marshman. (2021). [Online, 27th February].

–Sherlock in Homes: Murder on Ice. (2021). Sharp Teeth Theatre. Directed by: Stephine Kempson. [Online, 4th March].

-Wattle and Daub Figure Theatre (2021). Chang and Eng and Me (and Me). 8thFebruary. Available at: https://vimeo.com/509816632. Accessed on: 16th March.

-Frantic Assembly (2021). About. Available at: https://www.franticassembly.co.uk/about.

-BBC. (2016). Shandra Woworuntu: My life as a sex-trafficking victim. Available at: https://www.bbc.co.uk/news/magazine-35846207

-Bigsby, C. (2000) Contemporary American Playwrights. Cambridge: Cambridge University Press.

-Calderwood, I (2017). This British Human Trafficking Survivor Was Forced to Have Sex 25 Times a Night- But Now Fights Modern Slavery. Available at: https://www.globalcitizen.org/en/content/uk-human-trafficking-survivor-modern-slavery/. Accessed on: 7th March 2021.

–End Slavery Now (2015). Shamere McKenzie. Available at: https://www.endslaverynow.org/blog/articles/shamere-mckenzie. Accessed on: 5thMarch 2021.

BBC Human Trafficking – (2013) https://www.bbc.co.uk/news/uk-england-24548143 . Accessed March 5th

Invisible men – (2014) https://humantraffickingsearch.org/invisible-men-male-victims-of-sex-trafficking/ Accessed March 7th

Antonin Artaud Acting Techniques (2019) https://www.nickdunning.com/blog/antonin-artaud-acting-techniques-2019 Accessed March 7th

[wilsoneffects-blog]

What a spread! Repost from @jrhparsons • This #NewPedalboard is my #MagnumOpus… #Anggie . 1999 #FenderAmericanDeluxe #Telecaster | #FenderTelecaster #ElectricGuitar | #FenderGuitar . O. C. Duff Whiteguard ‘55 in bridge and O. C. Duff Big Boy (w/ chrome-plated brass cover) in neck. As well, a five-way selector switch (1st — bridge w/o tone; 2nd — bridge w/ tone; 3rd — bridge and neck in parallel; 4th — bridge and neck in series; and 5th — neck w/ tone), a push-pull vol. (to send the bridge pickup straight to the jack), a Fender no-load tone (to bypass the tone pot in any position), a three-way mini-toggle switch to engage an Esquire “dark” and “bright” circuit (down — a 0.1uF cap engages; up — two .05uF caps and 3.3k resistor engage; middle — bypassed), a “Tom Morello”-style “kill” switch, a Charlie McVay G-Bender, and a dummy coil installed by Charles Powers from C.P.R. Guitars in Fairmont, W.Va. Also, a Hipshot GT2 Xtender Chrome 30200C, Callaham nickel-plated brass ‘50s flattop knobs, and Hipshot saddles (chrome-plated brass on the high E, B, and D strings and chrome-plated stainless steel on the A and low E strings). . ThruTone Volume Pedal (not shown here) —> Gamechanger Audio BIGSBY Pedal (not shown here) —> #WilsonEffects Ten Spot II v2 Wah —> #Analogman #BiCompROSSor, REV5 —> Analogman #BossGE7 Equalizer (hidden under top deck) —> #suchahardman Bodhisattva Overdrive —> #JAMPedals Ripply Fall Chorus/Phaser/Vibrato —> JAM Pedals #RetroVibe mk.3 —> #MXRPhase100 (Script Logo) —> #WalrusAudio 385 Overdrive—> #SpiralElectricFX Red Channel Overdrive —> SubDecay #SpringTheory Reverberator —> #BossDD2 Digital Delay —> suchahardman Aqua Vitae Analog Delay —> Boss RC-10R Rhythm Loop Station ~> Truetone CS7 & CS12 (both hidden under top deck) . #PedalPorn | #PedalboardPorn | #GuitarPorn | #TelecasterPlayers | #TelecastersOfInstagram | #TrickMyGuitar | #WestVirginiaMusic | #WestVirgina | #Moorefield #WV https://www.instagram.com/p/CjDAOtYOnEQ/?igshid=NGJjMDIxMWI=

[auburnfamilynews]

Justin Ford-USA TODAY Sports

Not bad, not bad at all... for some of you.

Despite the fact that Auburn was dysfunctional at times in the win against Ole Miss, and despite the fact that certain mistakes from certain areas can really amplify and make a team look worse than they are, the Tigers made great strides in a few areas on Saturday. It’s the kind of improvement that will pay dividends in the future and could turn into a big win as soon as this Saturday.

QUARTERBACKS - B+ for Boseph

Bo Nix was put in a great situation Saturday and made the most of it. His 23/30 line is impressive — completing over 75% of your passes is a VERY good thing when you’ve set the bar closer to 50%. Look, Ole Miss obviously isn’t an elite defense, but Bo Nix didn’t fumble the game away, didn’t throw an interception, and performed well under pressure. His chemistry with Seth was obviously never really gone. In addition, he completed 7 passes to Anthony Schwartz and another 5 to Eli Stove, WITH a key completion to a tight end for a first down! Hopefully Nix can build on that momentum coming home Saturday in front of a friendly crowd.

RUNNING BACKS - A for AUsome

Auburn posted 224 rushing yards and 4 touchdowns on 44 carries yesterday. It was essentially the game plan that we were all clamoring for over the past week, and Gus Malzahn/Chad Morris let the talent eat. Tank Bigsby was superb, leading the way with 129 yards on 24 carries and scoring a pair of touchdowns, including one that had people mentioning Cadillac Williams’ name as a comparison on Twitter.

Tank Bigsby dishing out dirt naps pic.twitter.com/fmnczdy86w

— PFF College (@PFF_College) October 24, 2020

He even returned a kickoff 100 yards for a touchdown, but it got called back for an extremely soft hold away from the play. Ole Miss fans don’t want to mention that in their analysis of the officiating. Aside from Tank, Shaun Shivers went for 60 yards and a score on 11 carries, and Auburn’s one-two combo looked really solid all game long.

WIDE RECEIVERS/TIGHT ENDS - A for all of the YAC yards

This was the game we’ve been looking for out of the Auburn wide receivers. Sure, the team only tallied a pedestrian 238 receiving yards and one touchdown. But of those 238 yards, 157 of the them (66%) were gained after the catch. It was more than just Seth and Schwartz, too, with eight of the 23 balls being caught by someone other than the big two. I’m not ready to say this passing game has turned a corner, but if we do see an uptick the rest of the year, this will be the game we look back on.

Also, major props for our favorite big boi J.J. Pegues mauling a defender in run block.

J.J. Pegues. 6'2" 300 lbs. True freshman pic.twitter.com/qULCShmsrS

— SEC Network (@SECNetwork) October 25, 2020

OFFENSIVE LINE - B+ for blocking good plus our run game is actually pretty solid

This offensive line has done a great job of getting better as the season has gone on. I’m really proud to see a group show that they can improve and find something more within themselves than what I saw in 2018/2019 out of the offensive line. They established a new line of scrimmage against Ole Miss and allowed not just Tank Bigsby to run wild, but they opened up lanes for the less shifty Shaun Shivers. Pass protection break downs are still there and are going to be a problem as we go into LSU and beyond, but overall it’s hard not to be pleased with the direction of this group. Here’s hoping Brandon Council heals up well and that Keiondre Jones is ready. We’re going to need him.

DEFENSIVE LINE - B for blowing things up for a change!

It would be nice to see this group get home and finish on the quarterback more regularly. I’m afraid that if we have a legitimate pass rusher on this roster, then we won’t see him until Romelo Height is actually healthy. That being said, this group did enough to keep the linebackers in open field and disrupt the pocket to avoid any real deep passing threat. That counts for something and is going to matter going into this weekend against LSU. They just need to get healthy and give maximum effort every play. Without both this group is going to struggle the rest of the way.

LINEBACKERS - C-minus for “I would like to see minus yardage more often for opposing offenses”

Ole Miss ran for 283 yards yesterday, averaging about 5.5 yards per carry. Much of that is the fact that Rebel running backs were able to get through the hole without much resistance, but our linebackers need to be there plugging those gaps. Owen Pappoe had a big game stat wise, but he was making tackles downfield (14 stops on the day), while Zakoby McClain added 8 tackles. Neither had a tackle for loss, and the fact that our starting safeties combined for 23 tackles is frustrating. It means that the backers weren’t in position to make those plays. True, K.J. Britt’s absence is tough on the other two, because we just have no depth right now, but Ole Miss was running free from the start. We’ll see what happens when the opposing offense doesn’t have a mobile quarterback.

DEFENSIVE BACKS - A for a whopping 2.0 yards per target for the SEC’s leading receiver

You read that right. Elijah Moore was averaging 13.8 yards per catch and 10.5 receptions per game headed into Saturday’s game, but the Auburn secondary absolutely pissed all over the junior wideout’s efforts. And it’s not like Matt Corral and the Rebel passing game found room elsewhere. Corral ended the day with just 154 yards, one score, and two interceptions*, just under half of his weekly yards average. It was a team effort, as well, as Moore duty shuffled around the secondary.

*Jordyn Peters’s interception might be tied with Justin Herbert for the worst throw to the endzone at the end of a game. And I’m not totally sure it counts, since it wasn’t a legal pass.

Matt Corral mayyyyyyy be over the line of scrimmage here. It’s close. But I think he is.... #lanetrainwreck pic.twitter.com/lNSttlsTeI

— Dave Algonquin (@DaveAlgonquin3) October 24, 2020

SPECIAL TEAMS - D for don’t let the game fall into the replay official’s hands anymore PLEASE

Special teams mistakes nearly lost this game:

However phantom the hold might have been, Tank Bigsby’s kickoff return touchdown to open the second half was taken off the board.

Ladarius Tennison muffed a kickoff that resulted in poor field position.

A bad punt snap that resulted in immediate scoring position for Ole Miss

A bad FG snap that resulted in Auburn trailing by 1 and needing a score to not lose, rather than avoid overtime.

That play

On the bright side, kickoff (3 TBs, one fair catch, and two returns of less than 25 yards) and punt coverage (1 for -9 due to a muff) were good. Eli Stove took over returning punts, and the 3 Ole Miss punts resulted in a solid return, a fair catch in good field position, and a touchback. That’s a major improvement over last week. Still, those positives can merely make this a passing grade due to the other issues. Make those mistakes again, and it’s unlikely Auburn comes out ahead next time.

COACHING - A for actually a great job, keep it up

Auburn has more talent on the field than Ole Miss. However, Auburn out-schemed Ole Miss big-time. Auburn’s defensive strategy worked flawlessly. Steele has always leaned into a “bend don’t break” mentality. This limited explosive plays from the explosive Ole Miss offense.

Auburn also leaned into it’s biggest strength on offense: Tank Bigsby. The true freshman was given every opportunity to carry the team. Props to the coaches for recognizing that and trusting a true freshman. That isn’t something that happens a lot with this coaching staff, so proper credit must be given when it is due.

FANS - N/A

Dang Oxford Rebel fans are going to have to crowdsource their pennies for Lane Kiffin’s 2.5 million coins he needs to pay his fine.

from College and Magnolia - All Posts https://www.collegeandmagnolia.com/2020/10/28/21533113/position-grades-auburn-35-ole-miss-28