#yes I'm posting this a day late

[artemis-73]

Suptober Day 12: Harvest Festival

The hunt is an easy one. Calling it a vamp nest would be an exaggeration, and Dean takes the two of them out without breaking a sweat. He thinks about calling Dad and asking if he's missing something.

Then he figures Dad wouldn't answer anyway.

He heads back to the motel alone. On the way, he passes Main St. It's completely closed with hay bales stacked in the street to block anything but foot traffic. There's a huge sign in faded oranges, browns, and reds declaring the start of the town's harvest festival. Tacked to the bottom are fliers from a bunch of local businesses, and one in particular catches his eye. It's for a place called Milton's that claims to have the best pies in the state.

He parks in the nearest empty spot and hoofs it back. The entire street is filled with people, mostly families, who are enjoying each other's company as much as they're enjoying the booths. Dean tries not to look at them too closely.

The bakery's booth is easy enough to find; he just has to follow the trail of people with half-eaten baked goods. When he gets to the front of the line, the woman behind the table freezes. She has fire red hair pulled back in a ponytail and big brown eyes that widen in surprise. Her customer service smile is still plastered on, and after an awkward, stuttering moment, she says, "Hi, how can I help you?"

She throws a look over her shoulder at the man who's slicing a new pie at the back of the booth.

"Uh." Weirdly enough, none of Dean's alarm bells are going off. It's a weird interaction, and he should be running the other direction, but... But he really wants some pie. "You got pumpkin?"

She nods eagerly. "Of course." To the other man, she says, "Cas, can you bring me a slice of pumpkin?"

Without looking up, Cas says, "I'm a little busy, Anna."

More urgently and through clenched teeth, Anna says, "Cas."

With a put upon sigh, Cas looks up, and it's like deja vu. As soon as he sees Dean, he freezes. His ice blue eyes dart to Anna then back to Dean. He drops the knife, scrambles for one of the pre-packed slices, and comes over to hand it to Dean.

Neither of them say anything while Dean takes out his wallet to pay. He even drops a couple of bucks in the tip jar before he starts back toward where he parked.

He's almost made it to the car when he hears someone calling his name. When he turns around, Cas is jogging after him. Dean slips his hand into his pocket so he can feel his switchblade.

"How do you know my name?" he asks.

Cas stops. Clearly, Dean's apprehension is obvious.

"I'm sorry. I didn't mean to--" Cas worries his lip. Then like it's some kind of joke, he raises his hands and says, "Be not afraid."

Dean flips the switchblade open but keeps it close so that the people driving by (probably) won't notice it. "Listen, buddy. I asked you a question, so start talking."

"Okay, okay." The real concern on Cas's face makes Dean relax a little. No monster's going to be scared of a little blade. "Anna and I are human. We are. We just haven't always been."

"Then what were you before you were human?"

"You're not going to believe me."

"Try me."

"Angels," Cas blurts out.

Dean laughs. It's a little manic, but man, the guy is actually crazy. "Angels aren't real."

Cas hasn't lowered his hands, but he takes a step closer. "Your name is Dean Winchester. Your younger brother is Sam. Your father is John. He raised you both to be hunters after your mother, Mary, died."

"How the hell do you know all that?" Dean bumps against the Impala. He hadn't even realized he was backing up.

"Heaven has plans for you and your brother. Awful plans."

"And what? You're telling me out of the goodness of your heart?"

"When Anna and I fell, we told ourselves we wouldn't get involved with any of it. We didn't expect you to show up at our booth, and it seemed cruel not to warn you." Cas finally lowers his hands. "I'll leave you alone now. I'm sorry." Awkwardly, he turns and starts back toward the festival.

The guy's crazy. Maybe he knows other hunters, and that's how he knows about the Winchesters. Maybe he's some kind of monster with amnesia that thinks it human. Whatever the case may be, there's no reason for Dean to do anything but climb into the Impala and leave.

"Fuck," he grunts. Then louder, "Hey, Cas!"

Cas turns around tentatively, but there's a hopeful quirk to his eyebrow.

"You said this whole heaven thing included Sammy?" Dean asks.

"Yes."

Dean sighs. He looks back at the road that leads to his motel. He could be packed up and heading out of town in less than half an hour. Cas hasn't moved.

Finally, against his better judgement, Dean says, "Could you and Anna use some help packing your booth up?"

[poorly-drawn-mdzs]

This isn't what it looks like.

[First] Prev <–-> Next

[icewindandboringhorror]

Little bright colored outfit with a fun vest ~

(shoes from ebay like 10 years ago. everything else is thrifted)

[yuviur]

Heh.

(detail close ups under the cut)

[gigizetz]

Day 1 of Classicstober: Cassandra

[isabilightwood]

Chapters: 8/8 Fandom: 陈情令 | The Untamed (TV), 魔道祖师 - 墨香铜臭 | Módào Zǔshī - Mòxiāng Tóngxiù Rating: Explicit Warnings: No Archive Warnings Apply Relationships: Lan Zhan | Lan Wangji/Wei Ying | Wei Wuxian Characters: Lan Zhan | Lan Wangji, Wei Ying | Wei Wuxian, Wen Qing (Modao Zushi), Lan Yuan | Lan Sizhui, Madam Lan (Modao Zushi) Additional Tags: Alternate Universe - Canon Divergence, Cursed Lan Zhan | Lan Wangji, it's not a sex curse, but it's not not a sex curse, Dual Cultivation, would you rather admit you want to fuck the hot man you're assuming isn't in love with you? or die?, lwj must decide, all the moms live, (and the dads but for lwj that's not such a good thing), Trans Wei Ying | Wei Wuxian, Angst and Smut, + fluff and humor b/c I don't write fic that's super dark, Top/Bottom Versatile | Switch Lan Zhan | Lan Wangji/Wei Ying | Wei Wuxian, Strap-Ons, Oral Sex, Anal Fingering, Face-Sitting, plot-relevant edging, Getting Together Summary:

All his life, Lan Wangji has been called cold and unfeeling. How hard can it be to hide the fact that he's caught feelings when he's literally turning to ice?

When Lan Wangji's mother freezes into a statue made of ice in front of him, not even a day passes before Lan Wangji's fingertips start to feel numb. With limited information and the hourglass running down, Lan Wangji must seek the aid of a mysterious talisman maker who happens to be hot and devastatingly good with children, and also (probably) (Lan Wangji assumes incorrectly) married. But when the curse proves challenging to break, Lan Wangji must dual cultivate with the man he definitely isn't falling in love with and find out who cursed his family -- before time runs out for him, and his brother is next.

[firehandlerfred]

Watching critical role but starting at campaign one so everytime i get a cr post it's like dodging a fucking bullet

[apocalypticdemon]

FFRMC day 20: Convinced me of [Kink]

Nah I'm Just Playin' (But I'm Just Sayin') by @clandestinegardenias

fitzier, 20k, E

Summary:

“I would hazard a guess that you are in fact quite good with them–with children,” James says. Francis makes a harumphing noise but does not disagree, which is as close to a confirmation as James is likely to get. Something feels as if it clicks, subtly, into place inside him. A delicious, tingly warmth spreads throughout his body. He emphatically declines to investigate the feeling. --- This is a story about families—the ones we find, the ones we choose, and the ones we make. It is also a story of James Fitzjames absolutely gagging to get knocked up by one Francis Rawdon Moira Crozier

What can I say. I have never before enjoyed a breeding kink fic. but sometimes a beloved mutual posts a fic with a kink you usually avoid, you go "alright, I'll trust you on this one" and it turns out to be both one of the sweetest fics you read all year and it's also one of the hottest works you've come across in recent memory. I Get It now. I don't think I'll seek out very many others but i Understand now.

anyway trust me and give this one a try if you haven't. it's so moving and it both made me laugh and made me weepy AND made me Feel Things in the smuttier sections. it's so fucking good.

[hypmicdaydreams]

is anyone still in the mood for a hypmic imagines blog these days lol

[bandzboy]

i’ve been meant to talk about this but a lot twt stans have been agreeing to this which is we should boycott hybe fully and genuinely! they openly work with zionists (here's a thread that explains more about scooter braun and why you should boycott) and according to what i just saw… apparently yoongi’s movie is gonna have a screening in isnotreal and even after all the protests trucks and hashtags and emails that have been sent to this company this past few months, it’s clear they don't care about what we have to say and so, as much as we all want to support our faves, we have to make this company's pockets hurt. by that i mean, not buying albums or merch or stream music from their groups until something is done! unfortunately, these companies only gaf if money is not put in their pockets! so please download music listen to music illegally wtv you need to do we need to unite this time to make them open their eyes and realize we do not stand for this

[raviosprovidence]

To follow up on my last post i've seen a lot of people, both on discord servers and on tumblr ask if "they can enjoy Sky even with all the controversy". And I know a lot of you guys are young and/or striving to be perfect 100% of the time and i gotta say

Yes. You absolutely can.

You can 100% enjoy and even pay for Sky while still criticizing/support people criticizing the game. You're not gonna be deemed problematic or shunned or whatever. There are nuances to this discussion. It's not all on one side or all on the other. Hell, if most of the critics didn't like sky on some fundamental level, they wouldn't be criticizing it. They'd just move on to another game. Sky is always going to be there.

The only reason why i say "match the amount you pay into artist's pockets" isn't because of some Christian idea of penance or whatever (I'm jewish) but to support the artists that continually keep the community alive while get screwed over by TGC. They are our lifeblood, and they deserve both nonmonetary and monetary support as much as possible. If TGC wants to steal from them, they need to be compensated.

The only reason you should feel guilty in this community is if you're harassing critics/enjoyers. That's never okay and frankly disgusting.

[the-takosader]

While we're in the prep phase for the Crusader...

...let's go through the Ideas Archive, explore the stuff that's shelved, canned or otherwise not happening right now. This'll be the new pinned post, so I'll use this as a place to put everything I'm currently working on, and what I might do at some point.

Current:

The Crusader, a mix of Burns Double Six, PRS CE24 and Rickenbacker 4001, combined with influences from Hamer, Gibson and Fender. Note: this build is currently in the wood prep phase (stripping pieces of mahogany and sapele door for use in the guitar body and neck) as of 21/11/2024, and will likely take a year at my current progression rate.

Shelved:

Fender Marauder Build (yes, I still want to do this. The Crusader evolved from this, so it's still on the cards)

Casino Humbucker Mod

G6122 Country Gentleman '62 Style

Crest Replica (NEW!)

Telecaster Bass VI (kit body, custom neck)

Lennon Les Paul Jr. Replica (kitbash)

Höfner Violin Bass from scratch

Canned:

Lerxst 355 Replica

Acoustic Rickenbacker 360/12C63

Telecaster-Shaped Red Special (TSRS)

Plausible:

A non-specific doubleneck.

Resonator acoustic (kit build)

Completed:

Fretless Stratocaster

Cherry XII/Tele-Shaped Rickenbacker (TSR)

So, let's review top to bottom.

The Crusader:

I don't need to explain this much, I've already made a long-ass post about this. As said above, it's a mix of a Burns Double Six, PRS CE24 and Rickenbacker 4001 combined with influences from Hamer, Gibson and Fender.

The design is set in stone, aside from the exaggeration of the upper horn. You'd understand if there was a picture around here of the Burns. In the meantime, I'll get on with describing the others.

Fender Marauder Build:

Not the wackiest idea here, not by a long shot. As previously described, the Marauder is the culmination of Fender's offset guitars, featuring the switching of a Jaguar, the lead-rhythm circuit of a Jazzmaster, parts of the trem system of a Mustang, modified to fit with the pickguard and general aesthetics of a Jag. It even gave the Starcaster, the only semi-hollow by my reckoning that Fender still produces, it's headstock, something Fender afficionados call the "running shoe", at least, that's what my aunt calls it. Considering the contour gets filled in by paint, it's not hard to see her point.

The issue with doing this one is that barely anyone does Marauder vibrato plates. And to do this from scratch? Yeah, I need to find someone who would do the specific metal pieces I'd need, that being the Jag-style metal plate for the lead-rhythm circuit, the switch plate for the pickup switches, the extra long control plate, and that Marauder vibrato plate.

Yeah, if I ever find somewhere that does metal parts out of aluminium or something, I'm gonna get them to do the metal parts of this. Next item on the list!

Casino Humbucker Mod:

This one should be self-explanatory - take an Epiphone Casino, stick some P90-sized humbuckers in there. The only caveat is that they have to be hidden and mounted via dogear P90 covers, which isn't too much of an ask; this guy in Manchester does custom pickups, even hand-winds them. Certainly sounds appealing, may go for those. Next one!

G6122 Country Gentleman:

Yeah, uh... this one's shelved with good reason.

For context, the G6122, more commonly known as the Country Gentleman, is one of Gretsch's most famous guitar models, up there with the Duo-Jet, the Tennessean (now Tennessee Rose) and the one that Malcolm Young gutted and modded for his purposes as the rhythm guitarist of AC/DC. Gretsch list it as the "Jet" but I have no clue if that's a different model to the Duo-Jet or it's a variation, or whatever.

My aim with this would be to make as accurate a recreation of the Country Gent as I could with the documentation and information present on the internet. That means making it with 3-ply maple veneer top, back and sides, utilisng the thumbnail inlays on an ebony fingerboard, slotted for 24.6" (24.75" if you measure from the middle of the nut), with the same style of tuner, the little plaque on the headstock, the vinyl/leather pad on the back of the body covering a backplate access hatch, and all around trying to recreate this mad thing.

The only downside is the cost, because I'd need to source TV Jones Filter'Trons (not hard), maple veneer (harder), Grover Imperials or lookalikes (very hard!), and figure out how to make a veneer press, and how to shape the slightly arched top and back in a 3-ply veneer, not to mention the Bigsby, all the spare parts, the flip-up foam mutes that Jimmie Webster came up with (and also patented).

In short, the entire project is shelved. For the foreseeable future, until I can source all this stuff myself. Onto the next one!

Crest Replica:

This is a new one, inspired by an admittedly newfound appreciation for the Gibson Crest.

...oh right, I should explain what that is.

The Gibson Crest, as a name, refers to 2 different models, respectively produced around the late 1950s to early 1960s and between 1969 and 1972, with a one-off model of the latter style produced in 1983 for that year's Winter NAMM show. Said model is in the possession of guitar collector and YouTuber Trogly, who runs the eponymous Trogly's Guitar Show on YouTube. At first, I thought he was a bit of a knob, or at least a bit naïve, but as it turns out, his show's a good way to pass the time, and satiates the GAS (gear acquisition syndrome) that guitarists seem to get pretty damn often (as far as I know).

The former is estimated to have been produced a total of no more than six times, each custom orders put in by Gibson salesman-clinician and budding guitarist, Andy Nelson. Due to the nature of being entirely custom orders, no one knows the exact specs as they would obviously vary between examples as each guitarist would want something unique.

The body shape is assumed to be reminiscent of a similar model that Gibson were producing around this time: the L-5CT, that being a jazz archtop around the thickness of a Gibson Byrdland, but with a Venetian cutaway, a singular humbucker, a toggle switch next to the cutaway on "deluxe" models (models with 2 pickups as stock) and a trapeze tailpiece paired with a "floating" or freely moveable bridge.

One example of the original Crest, however, had a thinline single-cutaway body with a Florentine cutaway, as opposed to the Venetian cutaway of the L-5CT. It featured a carved spruce top, maple back and sides, with a 7-ply bound top, and a 3-ply bound back, as well as a pickguard made not of plastic, but of alternating dark and light plies of maple.

Now, that's interesting, because (and this is a personal side tangent because this guitar is so very unknown because of Google's overuse of SEO and keywords) the only other guitar Gibson produced with a wooden pickguard that I can think of is the Gibson The Les Paul, produced between 1976 and 1980, and that was only because the way Norlin-era Gison constructed these things, everything was either wooden or metal, with plastic being used as little and as sparingly as possible. The switch tip was rosewood, the binding for the body was rosewood, the veneer on the headstock was rosewood as opposed to holly, the knobs were rosewood, the pickup rings were rosewood. About the only thing I can find that wasn't wooden or metal is the inlays, which are actual abalone, and the binding for the headstock, which appears to be plastic, though this might not be the case.

Point is, the guitar was designed with one main principle in mind: "Can it be rosewood? Yes? Make it rosewood." That's why they now go for around £35k and rarely ever sell.

But anyway back to the Nelson Crest. Yes, that's what I'm calling it, it's better than calling it Crest 1 or Crest Custom. The example I'm drawing from here had bound f-holes, was stained cherry red like most of the ES models around the time, and had an HS pickup layout, with the usual number of volume and tone controls, and a toggle switch in the usual mounting place for an ES model guitar, that being near the treble-side f-hole.

According to the source I'm getting all this from (an article on the Gruhn's Guitars website), it also had a Switchmaster tone switch and was wired for stereo output. The floating bridge, as it was an archtop, was mounted on a rosewood "foot" which was inlaid with mother-of-pearl decorations. The bridge itself, meanwhile, was your bog standard late '50s, early '60s Gibson ABR-1 without retaining wire for the saddles, while the tailpiece has the diamond ornamentation seen on a Casino/ES-330 while also incorporating a shield and coat-of-arms motif.

This motif is continued on the absolutely gigantic headstock, which had individual Grover Imperial tuners, and an inlay featuring a coat of arms with three Moorish crescents on the shield. The fretboard is given the top-level treatment of the era, as is to be expected of a custom build, with 3-ply binding all-around, and Super 400 inlays up to the 17th fret, unsurprising for an archtop. The truss rod cover, meanwhile, is a sort of merger between the typical shape for a Gibson, and the art deco movement which was starting up in the early '60s, with it being a trapezoid interpretation of the standard Gibson bell shape.

This is one of the few images I can find of the original style of Crest, in all its resplendent late 1950s glory:

As you can see, it's basically everything I mentioned above, down to the cherry red stain.

So, that's the Nelson Crest, in all of its custom and stupidly insane glory. It'd be an interesting challenge to replicate that thing, but that's not the one I want to replicate, not by a long shot.

The Crest that I do want to replicate, however, is more reminiscent of a short-neck ES-330 or, to be more conforming to normality here, the Epiphone Casino. This has its own subsets, referred to as Crest Gold or Crest Silver, for the style of the hardware, those being either gold or "brushed silver". Assuming I was mad enough to build this, I would have to either source vintage-accurate parts or get someone to make them custom.

As you can probably guess, neither sound appealing! However, ignoring that, let's get down to business. What is the Gibson Crest, in this latter format?

The Gibson Crest, in the 1969-72 styling, is a double-cutaway ES-style guitar, as you can probably guess. Now, a double-cut ES-style isn't surprising, both CMI and Norlin loved making those. The surprise comes from the features, starting with the short neck, with the join at the 15th fret. Now, normally, that's weird for an ES-style, they all have long necks, with a meeting with the body at the 19th fret. Why does this one have such a short neck?

Well, it's because it's a hollow-bodied guitar, like the ES-330 or Casino. Then again, that is no excuse, considering the ES-330 and Casino both had long necks at this time, even if the Casino returned to the short neck, dragging the 330 along with it whether it liked it or not (kinda miffed about that, I like upper fret access, taking it away on an electric guitar like the Casino is just annoying).

But anyway, the Crest has this short neck, and that's where the similarities to most ES models end. The toggle switch is placed where the first iteration of the 347 would place the coil-split switch, that being the lower horn, and that's about it for known similarities, with the other features being more reminiscent of the original Nelson Crest rather than an ES-330 or similar guitar from Gibson/Norlin.

Let's start with the pickups, which are mini-humbuckers, most certainly an interesting choice; apparently, the reason they chose P90s as the pickups for the 330 and Casino is because it was a "budget" model, and not because they were fucking cowards. That last bit's not important, though, so we can come back to it at a different time.

As with the Nelson Crest, the Crest Gold and Silver have a floating bridge akin to an archtop, though I cannot for the life of me remember if they're an ABR-1 like the original, or a pre-compensated bridge. It doesn't much matter either way, because the fact of the matter is that this guitar has some nice details to it. A 7-ply bound top, with a 3-ply bound back separated by a decorative strip, and a large heel cap which has a strap button screwed into it.

The electronics are the interesting thing. As noted above, the toggle switch was placed in the location where an ES-347's coil-split switch went, which may even be where they got the idea for that, but as is also noted above, the thing has 2 mini-humbuckers with individual volume and tone controls, and treble-side adjustment screws that go through the pickguard.

None of this is nearly as impactful as what the thing was made of, though, because I have been keeping that bit entirely shtum for surprise factor. Y'see, the Crest was made almost exclusively out of Brazilian rosewood veneer, which, for a time, was entirely phased out of Gibson as a wood option, before even becoming a protected wood by the Washington Convention. Trade in it is restricted, even now, and that means it is incredibly hard to get hold of it, even in veneer form.

Does this mean I am shit out of luck? Well, if I wanted to recreate the thing using the exact same wood, yes. If, however, I wanted to recreate the guitar with just any species in the family Dalbergia, rather than specifically Dalbergia nigra (note: that's the scientific name for Brazilian rosewood), I am not, in fact, shit out of luck, as most other species of rosewood (any wood in the family Dalbergia) is not restricted, and has not been under restriction for almost 5 years.

Here's a photo from Gary's Classic Guitars in case you were having difficulty visualising this thing:

I'll be including images like these for projects that are either replicas, or I feel need the image in some way or another.

So, the rosewood veneer isn't a problem. Why is it still a shelved project, then? Well, the fact of the matter is that we live in a capitalist society. Things cost money, both for the item itself and the labour required to produce it. In short, wood is expensive, and I don't have the money yet. You may notice that "too expensive" is a running theme, even in cases where half of the expense is the guitar itself.

To avoid getting depressing, let's move on (finally)!

Tele Bass VI:

So, you may be wondering, "why's this one shelved?"

The thing is, it wasn't intentionally shelved. It's just that I can't really do anything with it without finishing the Crusader first. I need fret wire, wood for the neck, a nut, and a truss rod. Not that many things, but it's also what I need for the Crusader, and in the case of that, I at least have the wood for the neck, and a nut, but that still leaves me without a truss rod and fret wire (which I also need for my acoustic because it's got fret sprout, but that's neither here nor there).

I was intending a maple neck for it, anyway, and I need maple for the fretboard of the Crusader. Maybe I'll be able to sort that at some point. Moving on!

Lennon Les Paul Jr.:

This one's hard to call "shelved" seeing as I've done jack shit with it for 3 months at this point. Do I want to do more with it? Yes, absolutely. It's just finding the werewithall to actually go do more with it. Part of it's been the stress of organising my college stuff, but part of it's also been laziness and just not being able to decide if I want to do it or not.

I'm sure you don't want me to bore you with this one, and you saw a photo of a replica on the previous pinned post, so I'll move on.

Höfner 500/1 Violin Bass Replica:

This one is very much a doozy, but it's at least sensible.

Höfner's been going for over 100 years, that's an accepted fact, something that makes sense to everyone. Their "peak" of iconicity, however, came in the form of Sir James Paul McCartney, who has used Höfner's basses since 1961. Now, since then, they've done plenty of reissues of his (two) different basses, the 1961 with its close pickups, and the 1963 with the wide, separated pickups.

So which one would I go for? That is a good question, because it's really not what I should be asking. What I should be asking in its stead is "do I want to learn Actual Violin Lutherie to make this thing", because the whole "Violin Bass" is not just a selling point, it actually is constructed like a violin. It's a chambered hollow body, like the Country Gent, but it's the size of a violin, with the construction to match, including the use of flame maple (or, to use its more apt name, fiddleback maple) for the back and sides. The top, meanwhile, is solid carved spruce.

Don't believe me about the body size? Look at this sub-model Hofner do, based on the one you can see in Get Back:

As you can see, the body is tiny in comparison to the length of the neck, especially when you compare it to an actual violin:

Look at the proportions on this, then look at the 500/1. Doesn't the neck seem so ridiculously long now? Anyway, that's gonna take some going at, and thus it's shelved for when I feel confident enough to actually do it, or at least to take a partial stab at it.

Now then, we've seen the ideas that I might get round to but aren't being done now for one reason or another. Let's look at the ones that won't be done at all, for one reason or another.

Lerxst 355 Replica:

To the average reader, that name's going to look like gibberish. To be honest, I don't blame you, the way it's pronounced feels like you're speaking gibberish as well. "Lurks-st". It sounds better if you try and put on a Canadian accent. Not full tilt Canadian, with all the "eh"-ing and being super polite, just a hint of Toronto.

Anyway, what's Lerxst? Or, more accurately, who is Lerxst? Lerxst is the nickname of Aleksandar Živojinović, a man known professionally as Alex Lifeson. He was the guitarist for Rush for as long as Rush had existed, until their semi-functional retirement after the death of their drummer Neil Peart. The remaining two members, that being Alex and the bassist Geddy, have performed together since, including at the Taylor Hawkins tribute concert and at the 25th anniversary concert for South Park.

Now, Lerxst has used many a guitar over the past 50 years, from that ES-335 he used in the beginning, to the large amount of PRSes he used between 1990 and 2010. His most famous, however, is the one this one is talking about: a 1977 ES-355 built by Norlin-era Gibson. It has T-Top humbuckers (named as such due to the bobbins having a slightly raised part in the shape of a T), 22 frets on a voluted neck, a 7-ply bound top (you saw me refer to this in the Crest section; 7-ply bound top doesn't mean the top is 7 plies of veneer thick, it means the binding is 7 plies thick, and is bound around a 3-ply top of maple-poplar-maple) with a 3-ply bound back, a Maestro vibrola unit, an individual set of volume and tone controls per pickup, a simple 3-way toggle, and the key part - a varitone switch, with accompanying bypass mini-toggle for the "raw" tone unmodified by the varitone.

The output jack's also mounted to the top, but considering it's an ES model, I wouldn't think that too revolutionary. So, what's a Maestro vibrola unit when it's at home? For that, we need to explain vibrato units overall.

The history starts with Clayton "Doc" Kauffman, who devised the first ever patented vibrato system in the 1930s, fittingly named the Kauffman vibrola. This worked quite differently to vibratos that we know now, as the action of changing the pitch was much more subtle, and was done through moving the arm laterally, instead of pressing the arm down to the body. The sound was meant to mimic a slide guitar (as that's where Rickenbacker's guitars originally started), but there was an ever-so tiny but incredibly crucial detail: the tuning stability was terrible. Guitarists such as John Lennon decided to replace the Kauffman units on guitars they were installed on with other models, such as the Bigsby vibrola, the second patented vibrato unit, and the first to see widespread commercial success.

The Bigsby works in a much more conventional way, using the standard we know now: push down to lower pitch, release to return to normal. Supposedly, it has terrible stability in and of itself, but that is from players who ended up being like Floyd D. Rose, who overused the vibrato of the Bigsby, requiring that they retune. The Bigsby wasn't intended for that; instead, it was only intended to provide a slight "warble" effect to playing, what some would term a "shimmering" effect.

This, in effect, is what Gibson's vibratos were meant to provide, starting in 1961 with the Sideways vibrola. I have an opinion on these: they suck, both in function and form. They copy the function of the Kauffman nearly wholesale, and the large folded up arm in direct contact with the nitrocellulose finish(!), well. Yeah, no, not for me. The Maestro, however, looks and behaves so much better. It functions like a Bigsby would, excepting that it doesn't copy the mechanism wholesale like the Sideways does with the Kauffman.

To explain this, let's go on a small side tangent about a Bigsby vs. a Maestro vibrola, because I assure you, this is actually necessary to the guitar.

The Bigsby works by loosening tension using the leverage of the tremolo arm to cause a deepening of pitch. It's kept in place and returned to normal pitch by a spring which is compressed in the action of using the vibrato unit. The Maestro, however, uses direct leverage on a bent piece of metal to cause the same loosening of tension and lowering of pitch.

This means that the Maestro, while more primitive, is easier to work with when restringing due to the fact that the strings are threaded into the tailpiece, which is then bent, changing the angle and distance between the tuners and the ball-end of the string, thus affecting the tension. The metal returning to its standard shape (because the force required to permanently change its shape has not been applied) is what returns the guitar to standard and proper tension (as long as it's been set up correctly).

The Bigsby, meanwhile, has a specific way of threading the string through the unit before sending it down the neck to the tuner and the nut. When restringing a Bigsby, there is a massive rigamarole if you don't have a Vibramate spoiler installed. You have to thread the string down from the bridge, under the tensioning bar, then up over the string bar, around it, and slot the ball-end on the tiny little post on the underside, so it can function correctly when the arm is depressed. I honestly wish I was joking about this. I have restrung a Bigsby once, and once was all the experience I needed. Never again. I heavily advocate for people to damn well use a Vibramate spoiler on their units, even if it's just because of a personal gripe.

Back to the point where we were, about... 8 or 9 paragraphs ago, the 355 generally came stock with a Maestro vibrola in 1977, so it's no surprise that Lerxst got it on his. It's even featured on the reissues from 2008:

These are the same reissues that have a Fucked Up volute on the neck that's approximately halfway between the nut and the first fret, as opposed to in line with the nut. If I were to recreate this, I'd at least fix that.

So, it all seems possible, right? Then why is the build canned? Generally, it's the fact of the varitone, specifically the chokes. How, the literal fuck, do those things work. If I ever figure how they work, then maybe this will move from the can to the shelf. But right now? Canned. Completely and utterly.

Next, please!

Acoustic Rickenbacker 360/12c63:

This requires much less in the way of explaining. The Rickenbacker 360 is a famous guitar by most stretches of the imagination, soldiered on by its incarnations as the 360/12, used by George Harrison, the 370/12 used by Roger McGuinn, and the 330/12, used by innumerable amounts of famous guitarists like Peter Buck, Johnny Marr, Pete Townshend and The Edge.

But y'see, those are electric guitars. They've got magnetic pickups and all sorts of gubbins in there. My idea with this was to see if you could just... get rid of all that, construct a 360/12 in the double-bound style without that central block and all the electronics, and be left with an acoustic Ricky 12, complete with the compacted headstock and a piezo if I felt like it.

Knowing what I do about how Rickenbacker's shit is made, though, that would require making the body in the form of back, then sides, glued with bracing and then the top, with two sound holes. I'd then have to find somewhere to fit a pre-amp, and make sure that it's the usual thickness before then setting the neck in, which itself would be a 5-piece construction of maple with walnut center stripe and headstock wings, adding the truss rod(s) and the fretboard, before finally assembling the metal bits onto it.

Doesn't sound too hard, sure, but if you look at this example of what the Rickenbacker 360/12C63 looks like...

Yes, that is the entire thickness of the body. It's approximately an inch thick and not all that acoustically resonant. It'd be good as an experiment, but considering I'm debating over getting a standard acoustic 12 at some point, it's canned for that reason. Onto the last canned build, and the last build that's overall a hypothetical.

Telecaster-Shaped Red Special (TSRS):

I laid this whole thing out in a Notepad file back in May or June, as we were finishing up the Cherry XII, as a proposal of "maybe this can be the next build," but I scrapped it a month or so later because I fell into a trap I've fallen into so often it might as well be my home: I wanted to recreate a specific thing, without remembering the way that guitar is constructed, and really, what that guitar is built out of.

You see, the Red Special, built between 1963 and 1964 by Brian May and his father Harold, is a very interesting case of guitar design, in that it was designed to feedback in an appealing way. The internal cavities were actually carved out in a very specific way in order to allow for this, and most copies of the thing do the feedback, but struggle to do it exactly like his. He also has his own brand of guitars mainly made up of official replicas fitted with either a standard Strat-style trem system, that being the BMG Special, or the more accurate design mimicking the original's trem arm made of a knitting needle and a bicycle saddlebag holder.

Now, having only a Telecaster body, I couldn't recreate most of this. I mean, where am I going to put all this stuff? And the neck couldn't be slotted for 24" scale length. It just wouldn't have worked. 25", like the Harley Benton copy, maybe, but then I'd have to modify the body to allow for a 25" scale, and then rout out chambers for controls, the cavity, and the trem system's springs.

Looking back on it, I think I had a grand idea, but had bitten way too much off to just go and do it. If I ever do get it in my head to recreate the Red Special, even without a treble boost circuit or a treble boost pedal, I think I'm not going to try and start from a jump-off point, and just go at it from scratch.

Now then, we've gone through those that've been canned, let's look at the ones that aren't shelved or canned, but aren't currently in play. I denoted them as plausible above, but I might go at them at a slower rate than the Shelved builds.

Non-Specific Doubleneck:

When I say "non-specific" doubleneck, I don't mean "bland-name EDS-1275" like a Chibson or a Gear4Music or Harley Benton or anything like that.

For one, the EDS-1275 isn't the only doubleneck out there, nor is it the only doubleneck Gibson ever made. Rickenbacker made a 12/6 doubleneck 360, fittingly named the 362, as well as the 4080 doubleneck which was a bass on top and your option of a 480/6 or 480/12 on the bottom. That latter one was most famously used by Geddy Lee on Xanadu, as well as the former on A Passage to Bangkok (a song about smoking weed, if you didn't know).

Here's him with the former, in a surprising tuxedo (white with black plastics) finish:

And here's him using a Fireglo 4080/12 back in 2015 for the purpose of playing Xanadu:

Anyway, that's a Rickenbacker doubleneck, but they're not the only ones to do this stuff. Fender also make doublenecks. Well, "make" is a strong term. This is the only one I know about:

This is the craziest doubleneck I've ever seen. It's a basic 12/6, but actually No It's Not. You've got an Electric XII on top, which is the only "designed to be 12 string" guitar Fender made pre-CBS, and the Marauder on the bottom, with the vibrato merged into the pickguard, and the 5 pickup switches and the kill switch and everything that makes it the Marauder.

If I ever decide "okay, let's make a doubleneck," and then actually go through with it, I think I'm gonna take some design cues from all of these. I'll probably also chamber it so it's not uncomfortable to play for long periods of time, and just hide the chambering under the pickguards because that's a thing that could work.

Now, the other plausible idea.

Resonator Acoustic (kit build):

You know how I said kit builds were out of the question? Yeah, I didn't believe me either.

Resonators are a really cool relic of the pre-amplification era. Like, they're the step between electric guitars with magnetic pickups, and the acoustic guitars we all know, minus the piezoelectric undersaddle pickup. They work by passing the strings over a bridge mounted to a resonator cone, and when a string is plucked, strummed or otherwise makes a sound, the cone takes the vibrations and amplifies them entirely acoustically. They were originally made by a couple companies before Rickenbacker came along and invented the horseshoe pcikup and, by extension, the electric guitar.

Those companies were National String Instrument Corporation, and Dobro Manufacturing Company. The former was founded in 1927 by George Beauchamp (anyone who knows the history of Rickenbacker will know that name), and John Dopyera, a Slovak immigrant who came to America with his brothers and father in 1908, sensing that war would soon break out in Europe.

Smart move, fellas!

Anyway, Dopyera and his brothers, Rudy and Emil, soon left National to form their own comapny, Dobro. Dobro is a name with double meaning, in this case - while it's an abbreviation of Dopyera Brothers, it's also the word for "good" in a lot of Slavic languages, leading to the slogan "Dobro means good in any language!"

Due to Beauchamp's work with Rickenbacker, though, resonators fell off the radar in terms of popularity. After all, they'd figured out a form of amplification that didn't use lots of metal, so resonators ended up failing as a product. Or at least, they did for a while. Nowadays, you can find many brands producing resonators, usually for the specific tone resonators provide: rich and metallic. They're seen nowadays as bluegrass and country music instruments, but you can see people like Mark Knopfler using them for songs as well.

Now, this isn't referring to a specific kit build. I found one that's kinda an ES-style thing, with 21 frets, so that's probably the one I'd go for, not least because I like upper fret access, but it's all dependent on if I still want to build a resonator acoustic after the current build, or if I'd want to do something else entirely. It's an odd thing, my mind.

So, what now? The completed section? Eh, not exactly.

I would do a small piece on the Fretless and the Cherry XII each, I really would - God alone knows I love rambling about these builds enough, this post is testament to that on its own - but I don't need to. I made a full post about the creation of the Fretless, and made multiple posts in the course of building the Cherry XII, starting back in January and leading up to June.

But other than that? That's all there is to this post. There's nothing more I can really do in terms of explaining my ideas. I may have more ideas in between now and whenever I revisit this concept, I may reshuffle things, shelve one idea or can another. But as for everything else? It's in flux, constantly uncertain unitl we reach and observe it. I can't really say what I'll want to build after the Crusader, because I haven't finished the Crusader. Hell, I've barely started it.

Hope you enjoyed reading this. If something needs explaining further for one reason or another, tell me, and I'll try and explain it to the best of my ability.

[reitziluz]

Unbidden, he remembered the first time he had woken up on the office couch after hiring Serizawa. One of the bath robes for the clients in need of more hands-on exorcism had been carefully spread over him. For the rest of the week, Serizawa had hovered around him, subtle as a bear. He hadn’t minded it at all, having all that worry and care and affection wrapped around him like a warm blanket. “It’s different in practice. It’s different… with you.”

Days Spent Dreaming Shit-All, chapter 2: Theory and Practice

[read on ao3]

[st4rsinthenight]

★Victim to the sand of time.★

[aeoris4lovers]

Angstpril 2023 Day One: Liar

There were very few things in life that Eadwulf insisted upon without any chance of compromise. Choosing battles was a matter of survival under the tutelage of Master Ikithon; incurring punishment was easy enough to do even without the added risk that stubbornness presented. To resist bending only made it inevitable that one would eventually have to break, and as far as Eadwulf was concerned, the world offered little of great enough importance to justify tempting that fate.

It was not an oath made lightly, then, when he promised that he would return every day that he was able to one particular cell in the depths of Vergesson Sanatorium.

Astrid refused to speak to him for weeks after the incident, after what he did that night to save her from a fate far worse than a scar. So, with no one there to swear it to, he made his promise to the gods themselves.

He knelt on the floor of his bedroom, hands clasped together in his lap. Outside the small window above his bed, the cool light of the nearly-full moon fanned out across the skies, setting the shadowed room aglow with the night’s ghostly haze. His gaze settled on the nearest mountain peaks; ancient and immense and unmoving, he thought they must be the closest things to gods he would ever lay his eyes on. When thoughts of his past, of his people, of his own actions that night threatened to creep to the front of his mind, he pressed them back into the darkness of memory. They were gone now; there was nothing more to be done for them. Instead, he turned his thoughts again to Bren, to bright red hair and wild eyes and roaring flames and the crack of rock against bone. 

“If I condemned him to this fate,” he whispered, so quiet it was more thought than speech, “let me be the one to see him through it.”

Only a moment later, the soft moonlight was eclipsed by the silhouettes of two ravens coming to rest on the windowsill, and he knew somewhere deep within him that his oath had been sealed.

The next morning, he rose earlier than usual and ate his breakfast as quickly as he could manage to hold it down. The sun still hadn’t even begun to show itself in the young day’s sky when he slipped past the guards at the sanatorium, giving each of them a look which told them not to stand in his way if they valued their lives. They had no way of knowing that, in truth, he wasn’t sure if he would have the courage to make good on that threat; they only saw the determination in his eyes and stepped aside. 

As he pushed through hall after hall, he wasted no time looking at anything other than the faces in each cell, searching for blue eyes and red hair. Any strange looks that may have been aimed his way were lost in the blur of stone and bars and wrong faces. 

When he finally turned a corner and saw a short-cropped burst of orange in the nearest cell, he was just in time to stop the guard who was preparing to enter with whatever sad excuse for a breakfast they had prepared for the day. He caught the guard by the arm, stooping down to look her in the eye, and pressed a few coins into her hand.

All he said was, “Let me.”

She stared at him for a long few seconds, head tilted to one side, before shrugging.

“If you insist.”

Handing him the tray of oatmeal and water, she unlocked the door of Bren’s cell and started off toward the next one down, leaving Eadwulf there alone. He slipped through the door, closed it behind him, and crouched down next to Bren, truly taking in his current state for the first time. 

Perhaps the most noticeable thing should have been how beat up he was – the dark bruises, the blood that no one had bothered to wash from his skin. But instead, all Eadwulf could see was how empty he looked. There was always such a fire behind his eyes, a kind of passion and life there, like his mind was working so feverishly to puzzle the world together that you could watch it happening from the outside, and now? That fire had been all but doused. His eyes were glazed over, wandering helplessly around the space, looking through it all and not truly seeing any of it. There was a slight strain on his face, a clench to his brow that Eadwulf knew his resting face didn’t possess, which betrayed some process of thought, no doubt an unpleasant one. It was distant, though, and passive, as though the thoughts had taken on a life of their own within his mind and he, in this clouded state, was helpless to resist or engage them at all. When his gaze finally fell on Eadwulf, there was a soft spark of recognition that sent Eadwulf’s heart into his throat.

Eadwulf returned every morning after that, and again every night, so long as he wasn’t off on a mission or locked away for the sake of some punishment. Each morning, he fed Bren whatever breakfast the guards had prepared, careful to make it a far more gentle process than the other meals likely involved. As Bren’s hair grew longer with time, Eadwulf took to brushing it, and trimming it when the ends began to fray. A few times, he considered cutting it short again; surely, it would be more comfortable for Bren to have less of it. But there was no ignoring how his eyes fluttered closed at the feeling of it being brushed, or how he hummed in a way that almost seemed to approach contentment — better to keep it long, Eadwulf always ultimately decided. 

At night, Eadwulf would clean him — easy enough to do with a simple spell, but most nights Eadwulf wiped his face and hands the mundane way first, probably more for his own sake than for Bren’s — and tended to whatever wounds may have been sustained since the last visit. Then, he would take out whatever books he had been able to find that day, sit by Bren’s side, and read. Bren’s favorite of the books, judging by the way his eyes brightened ever so slightly at the sight of its cover, was an old children's story about a young boy and a cat prince, so they always started and finished with that one. In between, they cycled through as many of the other books as Eadwulf thought they safely had time for, and by the time he closed the fairytale for the final time, Bren was almost always slumped against his side, asleep. 

Eventually, once the rifts between them had been repaired, Astrid joined him for some of his visits, though she was quickly given more responsibilities than him and often found it more difficult to get away. On those days, Astrid would braid Bren’s hair once he had brushed it in the mornings, and alternated reading with him at night.

And after every nighttime visit, he would sit in his bed and write a few lines in a journal: how the day’s visits had gone, what had gone on in the outside world that day or over the past few days, what he and Astrid were doing in their own lives. Someday, he told himself, Bren would have his mind back. Someday, he would hand over the journal, a meticulous record of the days Bren was locked away. Someday, Bren would be able to read it, and it would be as if he hadn’t missed a thing at all.

In all that time spent in Bren’s cell, Eadwulf never feared being discovered by Master Ikithon — not out of carelessness or apathy toward the consequences he would inevitably incur, but because he knew it was foolish to assume he hadn’t already been discovered at the very start. The archmage’s gaze took immense care to avoid, and nowhere was it more omnipresent than in the halls of the sanatorium. The chances that he had gone unnoticed were laughably slim — it was better to assume Master Ikithon was well aware, that a confrontation would come soon enough.

And come it did.

One morning, nearly two years into his visits, Eadwulf arrived at Bren’s cell to see his teacher standing there, calmly watching him approach. Inside the cell, he could see Bren’s eyes wide and his face held more tensely than usual. He was shifting slightly where he sat, as though his own body were the walls of a prison preventing him from running away.

All at once, Eadwulf was overcome with the urge to run forward, to lunge at Ikithon, to scream, because how dare he come here and strike that kind of fear into someone so helpless, hasn’t Bren been through enough? But he pushed the urge down and kept calm as he walked in spite of it. It was him that the archmage was angry with, it was him who would face the consequences of his actions; Bren had no reason to be afraid.

As it turned out, neither did he. Master Ikithon wasn’t angry, not at Eadwulf nor Bren; he never said or even suggested that Eadwulf would be punished, and the calm smile never fell from his face. He seemed entirely unfazed — pleased, even — by Eadwulf’s actions. 

“You are welcome to visit our dear Bren whenever you wish, Eadwulf,” he said in a tone that could almost be mistaken for good-natured, “as is Miss Becke. In fact, I think it’s wonderful that you three have grown to care so much for each other, even after all this time. By all means, do continue to come visit him if it pleases you.” Moving closer, he added in a lower tone, “I would only urge you to remember that it is for you, yes? As much as it pains me to say this, Bren is — how shall I put this? — absent, by all accounts. You are a smart boy, I have no doubt you’ve noticed. Each time you leave this place, it is to him as if you were never here at all; he won’t remember. The sharp young man we knew is, I’m afraid, no longer with us.”

And every night since then, as silence fell over the sanatorium’s halls, Eadwulf would look down at Bren, tucked against his side the same way they had once grown used to laying in their beds, and ask himself: how could that possibly be true?

How, when he still squirmed at the mere sight of his old teacher standing nearby, when his eyes still sparked at the sight of his favorite fairytale’s cover, when he still remembered how to fall asleep next to Eadwulf like it was as simple as breathing, could Bren be gone? How could it be possible that such a sharp mind, so full of passion and of life, simply slipped away? Even if he remembered none of it, even if each day felt to him like the first time, Bren seemed in his own way to welcome their company far more than any other’s, to relax in some small way at their presence; did that not count for something?

It would take him many more years to truly make sense of it, to fully understand the weight of what it meant, but the simple fact remained: that Bren was gone was the first of Trent Ikithon’s lies that Eadwulf ever saw through.

[purplebass]

I thought him a pretty bit of poison to start with, but I have come around. There is a soul under all that bravado. And he is really alive, one of the most alive people I have ever met. When he feels something, it is as bright and sharp as lightning.