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RELISH The Most Advanced Guitar That Nobody Knows About!


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It is interesting. Reminds me that I always bought a guitar by the way it sounds straight out of the box. I was one never to change anything.

 

I never left well enough alone Doc. I started modifying on my first electric guitar, trying to get things out of it that would not come out of it stock. The only one I left alone as it came out of the box is my Ibanez RG321. I did change the potentiometers when they got scratchy, I had to file the frets several times right out of box, but that was maintenance not any change in the pickups or other mods.

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I wonder what the production costs per unit are? How easily can this be ramped up (if at all)?

 

Im thinking that this method could conceivably be a cost effective way of mass producing guitars with less premium woods.

 

Im also thinking they could also go in the other direction just as easily. That design could probably be LED illuminated like the Nicole Chessmaster (and others).

 

Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: âNinety percent of everything is crapâ

 

My FLMS- Murphy's Music in Irving, Tx

 

http://murphysmusictx.com/

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It is interesting. Reminds me that I always bought a guitar by the way it sounds straight out of the box. I was one never to change anything.

 

I have become a believer in upgrading electronics (pickups and pots/caps) in mid-priced ($1000-1500) instruments. These modest upgrades often result in HUGE improvements in performance, due to the fact that it in these areas that manufacturers attempt to save money when building to a "price point".

If you play cool, you are cool.
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That's no doubt true. And to both their, AND our dismay, the money could have been better spent on the "guts" and the money saved in materials. I'm willing to bet the "average" guitar player, even( and especially) the novice, wouldn't really know, OR care about the wood used in making the body, mostly concerned with what's used for the neck and "finger board"(as the guy in the clip called it.).

Whitefang

I started out with NOTHING...and I still have most of it left!
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I won't be buying one anytime soon. It does look cool and looks like a very well made product. I would want to try the different pickups before purchasing one and decide on the ones I like best. The pickup swapping function doesn't really interest me...the ease of changing the battery and accessing the electronics using a magnetic back is cool. :cool:
Take care, Larryz
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Nice engineering ideas in there.

 

[font:Century Gothic]My fave bit is the strings being directly anchored to the frame.

 

My biggest concern would be access to the highest frets. You put 24 of 'em on a guitar, you can bet your azz I'm gonna want to use all of 'em. Could be a bit problematic here.[/font]

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There seems to be a lot of magnets. 7 large ones to hold the back on. Plus the two pickup mounts snap in and out with magnets and allow other pickups to be custom fitted in them. I just wonder why there are not some magnetic field problems interacting with the magnetic pickups? I'm guessing there could be some added sustain (maybe a little too much?). I'm guessing this was all worked out by the Swiss... :idk
Take care, Larryz
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I dont know how much they actually cost to produce right now, but that could be a factor that declines significantly if/when production ramps up.

 

Remember when CD players cost $1000+ for a single disc player? As they became more popular, prices plummeted, and towards the tail end of their commercial viability, you could get a portable one for $30.

Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: âNinety percent of everything is crapâ

 

My FLMS- Murphy's Music in Irving, Tx

 

http://murphysmusictx.com/

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I also wouldnt be surprised to find the bigger companies either emulating this or one outright purchasing Relish to get their paws on the tech & processes.

 

Ten years from now, if this construction method can be used to make mass produced, affordable guitars, it WILL be used to make mass produced, affordable guitars.

Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: âNinety percent of everything is crapâ

 

My FLMS- Murphy's Music in Irving, Tx

 

http://murphysmusictx.com/

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I dont know how much they actually cost to produce right now, but that could be a factor that declines significantly if/when production ramps up.

 

Remember when CD players cost $1000+ for a single disc player? As they became more popular, prices plummeted, and towards the tail end of their commercial viability, you could get a portable one for $30.

 

Sure. The same with...

VCRs, Flat panel TVs, digital watches...

 

I remember my brother in law buying one of those early LED watches. Needed to push a tiny button on the side to see the time displayed by pinpoint tiny LEDs. Cost him $150! :freak:

Whitefang

I started out with NOTHING...and I still have most of it left!
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It is interesting. Reminds me that I always bought a guitar by the way it sounds straight out of the box. I was one never to change anything.

 

I have become a believer in upgrading electronics (pickups and pots/caps) in mid-priced ($1000-1500) instruments. These modest upgrades often result in HUGE improvements in performance, due to the fact that it in these areas that manufacturers attempt to save money when building to a "price point".

 

I have always believed that and in fact it`s the first thing I did, after I got on an international flight to buy a guitar. My friend who I stayed with was ready to call 911 and report a crazy person in her apartment but, time has proven me right. I later swapped the house pickups for a set of Bartolini humbuckers, haven`t touched the pots yet. Still, the difference was immediately noticeable and shortly thereafter I recorded with it on a collaboration with other members of this forum.

Just for the record, longtime forum members DO know about Relish, they were posted about before. It may have even been me, I don`t recall clearly.

Same old surprises, brand new cliches-

 

Skipsounds on Soundclick:

www.soundclick.com/bands/pagemusic.cfm?bandid=602491

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  • 2 weeks later...

Some interesting design elements (though not as distinctive tonally as portrayed) but to me the most impressive aspect of the orig vid was the bass-tinged "golf-announcer" vocal timbre.

Now that's great engineering

d=halfnote
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I was actually tempted by an email alerting me to a sale on these somewhere... the white one (no pickguard) appeals to me... but I'm trying not to buy more guitars because I'm out of control...
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This would make a fantastic recording session guitar... if recording sessions were still a thing that happened.

Wha ?

 

Recording sessions, as they used to be, rarely happen these days... the big session guitarists have studios at home all set up and contribute their parts mostly that way... the days of guys having two full rigs and multiple guitars that are lugged around and set up for them in a physical studio for them to have options to play live with a band in a recording are gone... the days of that happening to overdub solos are mostly gone... solos are mostly gone...

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Well overdubbing's been the norm for a while (decades) but I'd posit that sessions aren't not dead as much as reduced & even then more in PurePop than many styles...although it's been a while since I was an active player, as you are, & even I anticipate that my future work will entail more a more "Spotcheck Willie" approach, at least on my own next projects.

 

There remains nothing quite like an ensemble actually at play however, both for the overall tone & the subtle rhythmic interplay.

 

d=halfnote
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I should have been more specific. Yes, bands still record playing together as a unit. And guitarists in bands make sure to have whatever tones they want at their disposal, but they've probably worked that out already in getting the band together.

 

I was referring to the golden age of the pro studio session guitarist, who spent the entire day jetting from studio to studio, session to session, playing multiple styles on multiple things and having to be a stylistic and tonal chameleon. People like Dean Parks, Steve Lukather, Larry Carlton, Lee Ritenour... there was an entire ecosystem to support these guys in the height or the recording studio business. They had specially hot-rodded amps (Riviera-modded Deluxe Reverbs were a fave, that could sound like a clean Fender or a cranked English amp or in between) and one each of every standard guitar: Strat, Tele, Les Paul, ES-335, a good acoustic... and pedal boards and rack systems were invented primarily for them... in L.A. and Nashville, they would have two sets of all of this, and they'd get to the first session and tech number one would have everything set up for them and working and they'd do the session then dart out the door to the next one while tech number 1 packed everything up... at the next session tech number 2 had equipment lot number 2 set up and ready to go, so they'd do that session and then dart out the door to session number 3, were tech number 1 had equipment lot number 1 all set up... they spent 5 or 6 days a week doing this, all day if they were first-call guys. New York's transportation and parking differences made it different: they relied on studios having an equipment list they could rent as far as amps, and the necessity of covering bases caused a lot of them to start modding guitars... putting humbuckers in Fenders that could be coil-tapped to still have the single-coil sound when they needed it, etc.

 

Recording studios are becoming an endangered species these days in New York (because of real estate prices) and L.A. (because of the drop off in use)... hell, Abbey Road in London is perpetually for sale...

 

Nashville remains kind of a hub, though a lot of the studios are being closed for lack of business, but people like Brent Mason still make a great living playing guitar solos on hit singles all day there.

 

And Mason is a good example of someone who could've benefitted from this axe. He says he needed a Telecaster, a Stratocaster and a Gibson when he first started working, and he only had a Tele and couldn't afford anything more, so he modded his Tele to sound like all three... Putting a mini-humbucker at the neck and adding a single coil in the middle and modding the electronics to give him tonal options in using them all. With this guitar he could've just popped in the needed pickup (though they should do a three pickup version, for Strat tones).

 

The articles I read by people like Lukather now they talk about having their own Pro-Tools studios at home, and files are sent to them to record and add things to and they send it off. So, They have their entire gear arsenal at their disposal.

 

People used to ask me to go into studios to add guitar solos or bass parts to things... then a few people started to have me over to their house or bring their laptop and stuff over to my place to add that stuff. Now they just email me files and ask me to add stuff... and I 'm not set up to do it at the moment (I'm angry at Apple for selling me dud MacBooks...) and even the idea of me popping over to their places seems to be too much for them to deal with... maybe I need a better deodorant?

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