Are you saying Billy is adding the minor 3rd to that minor 6th power chord?

@@TheSoundCoopminor 3rd on the E (or Eb if you’re tuned down.) Prob sound perfect with your crunch tone.

Haha. This is so great. I can totally hear it on the record now that you've pointed it out. Cheers Sir 🙌🏻💯

Thanks so much for leaving feedback. I'm really glad you enjoyed this video. I get a few people complaining about all the extra details and clinical approach. But for me, I want a sound comparison as scientific as possible. And I want the audio clips back to back with no pauses or talking, so I can actually hear any difference. If you end up liking that Mojotone Hot Quiet, please report back and let me know. I'm in the process of shooting out a whole bunch of noiseless P90s for use in a single pickup guitar. Curious to see what the tonal differences are, as well as any differences in noise. Next week I should have a comparison video shooting this Mojotone Quiet Coil against the Lollar DC90 noiseless P90 they just came out with. Once I've run through a half dozen noiseless P90s, I want to try a couple of the hotter noiseless p90s. Mojotone Hot Quiet is top of the list.

​@@TheSoundCoop Thank you for doing this comparison and possible future noiseless P90 shootouts. I was pretty dead set on getting a Mojotone Quietcoil P90 for my next noiseless but I probably look elsewhere now. They still have a bit more noise than I would like.

This is totally valid. The Fralin Noiseless 90 has WAY less noise than the Mojotone. So if you want it as quiet as possible, Mojotone Quietcoils probably won't cut it. I was mainly reading the Mojotone Quietcoil P90 sounds closer to a typical non noiseless P90 than a stacked noiseless. And it definitely sounded pretty darn identical to the stock Gibson P90, but less noise. Regardless, looking forward to finding the ultimate noiseless P90 for a 1 pickup guitar 🙌🏻

Totally valid point 🙌🏻

$250 then is roughly $2500 now. Can't even buy a Murphy for that price. A real '58 Junior in decent shape? What do you figure... $20k? So. Ya. You know exactly what I mean 🤣

@@TheSoundCoop yeah but you’re comparing a brand new 58 junior to a vintage one of course it’s different.. a new 58 junior in 1958 is equatable to a new 58 junior today - if we are to use your math it is actually cheaper today. If you were in 1958 yo I wouldn’t buy a junior thinkings it’s a vintage 58 junior you would be buying it as the new model year junior as you would today.. sure a $250 junior would be awesome in todays monetary value lol

😂 Which Junior today? The $1000 DC Tribute? Or the $3500 VOS? Or the Murphy Lab for $7000? 😜 VOS is Vintage Original Spec so probably the closest and still more expensive than $250 inflated to $2500. And will the VOS be worth 20k+ in 60 years? Probably not. So yep. Those still were the days 😉

You're really too kind. Thanks for watching and leaving a comment 🙌🏻 This is an absolute gem of a guitar. I don't know if I just lucked out or if all the Murphy Labs are this good. But I'm still in constant awe a year later. I'm usually good for writing about 10 songs a year. I've probably written 25 on this guitar alone in the last year. It's inspiring in a really unique way and I hope this never lets up. This Murphy Junior was made in 2022, replicating a 1958. There's a bunch available on Reverb right now. Some of the Wildwood ones were listed a few months back for 7k and they've been slowly moving closer to 6k. It's a lot of money. I don't think I could justify this type of money. I got this one used a few months after it was bought new and I paid $4500. This is still a lot of money but I have 0 regrets. Worth every red cent.

My Murphy '58 definitely has the neck tilt. Does your '54 have a neck that leaves straight from the pocket?

I had no idea how much I'd love it. I truly wish I was a 50s baby 🤣

I'll give them a look but probably Junior'd out for a while 🤣

Any thoughts on where you're hearing this most?

@@TheSoundCoop when you are playing dirty. I prefer the darker sound. I have done lots of mods on different guitars I have. I believe the believe the biggest difference comes from how the tail piece and bridge are mounted and string height. There is a lot you can do to compensate with volume and tone and a peddle or two.

I totally agree Alex has some killer content and was extremely helpful answering some questions about the Grit guitars before I bought mine. Solid dude! I agree on the audio samples too. Is your P90 a neck pickup? I have one in my Novo neck position and it definitely sounded darker there. Sometimes about a P90 in the Bridge and they just scream. Thanks for stopping by again and leaving a comment 🙌🏻

@@TheSoundCoop No, it’s a bridge pickup on a DC Jr like yours but no Murphy Lab.

Do you like the vibe of yours? Or would you prefer something with more top? I'm gonna shootout a bunch of pickups in this guitar and I'm thinking about doing P90 giveaways as I go through them. Might have one for ya if you're looking for something different.

Are you so excited for that 9volt? I'd be curious to know if you can hide it in a control cavity without needing to route a place for it. If you build the kit, please report back and let us know how it goes 🙌🏻

@@TheSoundCoop Yes!! You Bettcha!@

@@TheSoundCoop Getting my first electric and have already planned on this mod. Thx

Thanks dude. Lots more of that coming on the white Falx III 🙌🏻

I appreciate you directing me at that timestamp. There's definitely a little something going on there. How much I can hear differences depends a lot on the speakers or headphones I'm listening on. All my cheap upper mid hyped headphones seem to present slightly more apparent differences. It's still hard to tell if it's the guitars making a difference, or if it's my performance inconsistencies. Regardless, thanks for having a listen and sending some feedback

@@TheSoundCoop Ya, I should clarify that I agree the difference is negligible, if any at all. The 14:00 mark was the only spot I thought I heard something.

Mid scooped is an interesting point. I've listened to the sound examples through a bunch of different types of headphones at this point. It does almost seem like there's a little valley in the frequencies underneath where the treble starts when I listen on a set of headphones that's very upper mid focused. It is amazing though! How much those high Gain tones just completely eliminate all the subtlety. Or maybe it's a lack of subtlety in the types of performances I picked. But either way, I was having a much more difficult time picking out any differences in the crunch and high gain sounds.

Haha. The difference in waveforms is due to MY playing. Totally on me. Not the pickups or guitars 🤣

I've never actually seen one of these. Any idea what year yours is?

@@TheSoundCoop I just put it back on the shelf, but I think late 1980s. I've changed the pickup to a vintage vibe and an epiphone, but neither sounded as good as the original unmarked p-90..

I really appreciate this feedback. I'm officially moving it to the top of the list 🙌🏻

Thanks dude!! Glad you enjoyed it.🙌🏻

Ya. This is totally a valid point. I guess I was more agreeing about the price gouging sentiment. I do think it's an odd choice of wording, but I do get the point. And not necessarily across the board with every guitar. The Juniors are just so darn simple. There's not a lot of fancy stuff happening. There's no binding. There's no inlays. There's no body contours. There's no flame tops with elaborate top carves. Out of all the guitars, this one should definitely have the least amount of price fluctuation between levels of quality.

A debate as old as me my friend. And I'm probably not gonna be the one to convince you. But since you're already off and running, it is really simple. Lay out YOUR favorite guitar aesthetic... and I'll find you a pack of people who rabidly dislike that aesthetic. And obviously, there's nothing inherently wrong with your favorite aesthetic. If we all like the same thing, maybe we'd all be stuck playing flying V's. That'd be pretty lame 🤣 Me... My favorite aesthetic is old beat up looking guitars. I'm understandably reluctant to spend 20k+ on a vintage one, only to wish it had new frets and functional electronics 🤣 So it was a relatively easy decision. A year later I still drool over the look. It inspires me to pick it up and play it. I've gotten more creative material out of this guitar than any other one I own. It's absolutely one of my top 3 best playing guitars. I'm in love. So, I guess I'm not really sure what else a guitar owner should ask for. I lost more money in the depreciation of my Nissan Leaf over the last 3 years than this guitar cost me 🤦🏼 And I could easily get that $ back in a matter of days if I listed it for what I paid. Greg Koch actually did a demo of my Murphy Jr for Wildwood. So maybe I could even make a little $ off it if I wanted to wait a little longer than a few days. Unfortunately, it's probably not leaving my collection. And I totally get YMMV.

I'm assuming you're pointing out the Quietcoil isn't exactly quiet. Please correct me if I'm wrong. But, ya. The quiet coil is a proprietary design by Mojotone. They don't use a typical stacked dummy coil approach like most other noiseless designs. Instead of wiring the coils around the pole pieces, Mojotone wires one coil above the pole pieces and another coil below. This is how they achieve their noise reduction. Apparently this creates better accuracy to a typical P90. The other upside is, it's not stacked, so it's not twice the height of a typical P90, so you don't need to route the cavity if you have a surface mount dog ear style pickup. The disadvantage compared to a stacked dummy coil is, it's not totally noiseless. Hence the name 'Quietcoil', instead of "noiseless". Here's a video I made comparing all the noise and tones of the Mojotone Quiet Coil to the Gibson Heritage P90 that came stock in the Murphy Lab. kzbin.info/www/bejne/qWmnlnhuhseEmJY If you're not interested in watching, the bullet points are.... The Mojotone had about 15dB less noise than the Gibson P90. Which is considerable. And the pickups tone was so similar I don't think I could pick out a difference in an A/B/X test. So, I'll call it an overall win. But to your point. A Fralin double stacked dummy coil Noiseless P90 was another 15dB quieter compared to the Mojotone Quietcoil. Which makes it's noise about as loud as the amp hiss when using a clean amp setup. I'd consider that dead quiet. So clearly the double stacked dummy coil can create better results than the Quietcoil. Unfortunately I'd be crazy to route this Murphy Lab in order to make the room. So the Mojotone was a killer option. I can't say about the tonal differences of a double stacked noiseless P90. Most people imply they won't ever sound the same compared to the real thing. But I'm gonna test this all really soon in a coming video. This weekend I'm gonna record some sound examples with this Mojotone '56 Quietcoil in this Grit Brothers Junior. And then I'll immediately change it out for the new Lollar noiseless DC90 and record the same riffs. I'll compare the noise, tones and output. And once that's done, the Fralin noiseless P90 is gonna be next on my list to compare and test. I'm gonna run through as many noiseless options as I can find and see what's the best noiseless option for the 1 pick guitar thing. And hopefully get some understanding as to how different a noiseless P90 actually sounds from a non noiseless one. More info coming soon.

@@TheSoundCoop That's how gibson made the p100. Stacked coils. My 97 LP came with them. I used them for years. They sound good clean, bell like, but they sound weak and lazy when pushed. p90 100% better.

@Les537 I don't know much about the P100 but can absolutely vouch the Mojotone '56 Quietcoil has the same output and tone as that stock Gibson heritage P90. Not weak at all. The stacked noiseless from Fralin also has a nearly identical output. It's also not weak at all. I won't know about the tonal differences for a few weeks... but soon enough. All that to suggest, maybe noiseless P90s have come along way since the P100?

I'm really glad you enjoyed the video. Thanks for watching and leaving some feedback. Much appreciated 🙌🏻 I totally get you on disliking Juniors. I used to view them as a novelty. They are certainly one of the cheapest ways to get into vintage guitars. I've also never been a bridge pickup guy so it seemed like there wasn't much utility to be had from a Junior. Buying the Murphy Jr was really an impulse after finding this really good deal. I had actually been saving for a 335 and just couldn't pass on the price. But with all that said, I couldn't be happier or more impressed. These things are exactly what the die-hards say they are. They're truly nitro fueled rock machines. Tons of vibe with very little to get in the way. Perfection from simplicity. I'm completely addicted. Never would have figured. Now if I could only find a rock singer for all these new rock tunes I've been writing with these Juniors. These guitars just keep coming with the riffs

Stripping a Strat down to the 1 pup EVH thing is next level commitment to the 1 pup vibe. Every time I see Nuno tearing it up it makes me want to get a 1 pup super Strat. One day 😉 Meanwhile, thanks for watching and commenting 🙌🏻

There's a short YT video called "Tutotial: Quick-Swap Pickguards for Strats" worth watching. I was concerned about going to one Pickup as well, and wanted some options, just in case it didn't work out. So far, so good. The one Pickup configuration also avoids unwanted phasing/cancelling of frequencies that can occur on some multiple Pickup guitars and switches.

I'll definitely keep these in mind. One day I probably need a 1 pup super Strat and maybe this is the ticket 🙌🏻 Thanks for watching and commenting 🙏🏻

Thanks so much for watching and leaving some feedback. I know some people think all the details and talking is too much but I try and be thorough. I'm glad it worked for ya. If you're talking about the white guitar. That's a FALX III Custom made by Matt at Arles Guitars. I've had it for probably 3 weeks. Absolutely amazing guitar!!! I'm gonna do a video on it really soon. But if you check my videos I did a review of 4 of Matt's guitars maybe 6 months back. I ended up buying the Pelham Blue one I showed in that video and was so stunned with the quality / playability I ended up custom ordering the white one which is even more amazing than the blue one. My butterscotch Novo is probably the best playing guitar I own and both these Arles are unbelievable close in terms of playability. But the back of the neck on this white Arles is sanded back to be silky smooth and the fret work on both my Arles are truly incredible. Maybe a slight leg up on Novo. Definitely a more reasonable price tag. Stay tuned for some more Arles demo videos from me very soon. I'm gonna do one for each of mine. And if you're really loving the design, Matt is going to be posting 4 or 5 guitars for sale in the next few weeks. And I think he's gearing up for custom orders really soon. The blue guitar I have from Arles has a 25.5-in scale length and I really think it's an A+. But there's something about the 24.75" scale length on the white one that really clicked with me. Plus the binding and inlays are just drool worthy 🤤🤣 There's a bunch of pics slowly dropping on the Arles IG page and some videos on his KZbin page. And and I've got a few pics on my IG too. Thanks again for watching 🙌🏻

@@TheSoundCoop wow-thx for the detailed response, man! i gotta say, i'm thrown off a little by the fact that matt's guitars seem to be heavily inspired by dennis fano. the 6-in-line fano headstock, and the serus/rb6/combinata body shape. i realize that those designs are inspired by rickenbacker, so, there's that! arles guitars are gorgeous tho! i agree, my combinata's 25" scale really did it for me! i'm currently saving up for a serus j!

I totally get what you're saying. I think it's probably hard to create offset designs that come across as totally unique. With that said the Fano and Novo guitars are quite a bit wider at the hips and not as long behind the bridge compared to the Arles. The Fano and Novo have a similar symmetry to something like a jazz bass. Things are just a little bit more wonky and out of symmetry. Way more round. Where the Arles is a little bit more like a P Bass. The symmetry is just a little bit tighter. The Arles also has considerably more body meat above the center line and slightly less below. Just like the Jazz Bass and P bass thing, it's the kind of thing that looks pretty similar in pictures, but once you got it in person you get more of the subtleties. I'm a tall guy so the bigger Novo/Fano thing really fits me a touch better. The Arles body is a little bit closer to the size of a Strat. Slightly bigger than a Les Paul or SG. As far as the headstock. Was Fano the first guy to do the split wood and paint thing? To me, that's the similarity with Fano. I get that Fano has the six in line tuners. But that's really a Fender thing. Hardly unique to Fano. The Arles tuner orientation is closer to the Gibson Firebird because it's six inline but in reverse. Bass string travels farthest to the tuner instead of the high string. Really cool tension compared to the other way around. Regardless, does Fano do a reverse orientation like this? I'd be interested in trying one because I really like the tension better and don't really dig the Firebird shape 🤷😜

@@TheSoundCoop no, you're right, i'm fairly certain the split wood/color headstock style thing was not invented by denis fano, and has been around since the 60s. honestly, i've still never seen a Novo in the wild, and would love to get my hands on one someday soon. i just sold my rivolta combinata xvii, and i loved that thing! my custom Iris OG should be in next month, and then i can start putting money aside for my first boutique electric, and i'm fairly certain it'll be a Novo Serus J...... thanks again for your über thorough reply!

@@TheSoundCoop say, do you mind telling me what the starting point/pricing is on the Arles models? i have been drooling over there guitars on instragram since you clued me into them!

Dooood. It makes me so happy to see you post here. Thank you! 🙏🏻 A few of us have been missing you on IG 😉 You made a banger of a guitar and really proved it's not always about the $$$. Please let us know if there is any way we can help with the IG situation, whatever it is. And I'll be in touch about a custom build soon. Those layered paint jobs you've been doing lately are just 🤤 Much respect 🙌🏻

Why is it so hard to find a link to look at/buy Grit Brothers guitars?

Blahaha. Great comment 🙌🏻 The real issue with these damn lava lamps is the heat. I have to turn them on right before the cameras go on and turn them off between takes. Otherwise I'm sweating in about 5 minutes 🤣 I recently got all these new LEDs and the lava lamps are being super neglected right now. I should probably just get rid of them 🤷

Seems like his IG was shut down. I really hope this isn't over headstocks 🤦🏼

Hey - I'm ok, was forced underground by a group of (presumably) well-paid attorneys given the depth of pockets of their client 🤙 new original next level product line coming soon.

@gritbrothersguitars good to hear you are doing okay! Can't wait to see the new lineup!

@@gritbrothersguitars ya brother. Keep us posted. If you're taking orders with the new vibes I'd love to get on the list and do a review for you. All the recent relic work was looking 🔥🔥🔥

@@lockedowng thank you! Starting to post short, quick vids on my channel. First went up earlier, more soon 🤙

Thanks for watching and leaving a comment brotha! You're a solid guy 🙌🏻 And more importantly, thanks for making your demo video. It was really easy to just hit the Buy button after watching you go over all the details in your demo. You truly saved me from buying something out of my price range or resorting to one of those 💩 DC Tributes 🤣 The whole "keeping value" thing is definitely something to consider, and not necessarily something people tend to evaluate when considering expensive guitar purchases. I think a lot of us are used to doing things like buying cars and watching them depreciate massively over a 5-year period. It's easy to forget not all luxury items are affected by depreciation in the same way or timeframe. Although I am a bit curious regarding the value/status of Grit Bros moving forward. Not sure if you noticed but looks like they may have had their IG page taken down. Really hoping Gibson isn't hitting him with takedowns over headstock shapes 🤦🏼 But can't think what else it would be considered how nice of a guys he seems to be. Seems like he changed the headstock logo about a year ago? Maybe this is all related? But ultimately, I hope this doesn't hurt his business I don't think he has a website. So not really sure what's happening with ordering, or new builds moving forward. Seems like IG is the main advertiser for his business. I hope he's still making guitars. His relic work has gotten ridiculously good over the last year. Fingers crossed 🤞🏻

@@TheSoundCoop I've seen the changes happening. Only time will tell what happens with the brand 😅

The day after the last letter arrived, the GBG account was suspended by Meta. We are appealing and consulting relevant folks for guidance.

You're not alone regarding feeling like it's over priced. But for me, we have a larger problem. Not a single person wants to step up and undercut the current supplier. If this cost is so egregious, where is the market to sort this out?!? Personally, I don't have any interest in sourcing and building one of these myself. And apparently I'm not alone. No one else sees the massive opportunity and wants to step up to fill that void either. A few folks have come here claiming it's overpriced but don't want to step up and start manufacturing these themselves for something slightly less than a 600% markup 🤣 An even larger a number of people have come here claiming that this exact pot is available for cheaper from another manufacturer. Neither of these two camps has put up AT ALL. So, until someone wants to fill this void, $90 it is 🤷 Regarding the boost in this mod. It's 100% passive. YES, there are passive boosts. No 9 volt. No preamp. It doesn't actually affect lows and highs at all. It boosts exactly where it cuts which is 850 Hz.

My video editing rig has some dark sounding headphones attached to it. And I was definitely hearing some subtle differences when editing this video. But you're totally right. Negligible. Thanks for watching and leaving a comment 🙌🏻

@@TheSoundCoop No. Thank you. This video of yours will save those who dreamed about Murphy Lab. Lol

Thank you 🤙

Right on!! Did you go with the '56 Quietcoils? Or did you try something else from Mojotone?

Haha. This sounds so familiar! The playability is so darn nice!!! I have several guitars where the action is just amazing. But somehow or another the Novo is just a hair better. It doesn't matter what I do setup wise to my other guitars. I can't get any of them to play like the Novo. I can get them really close but that last 5% is really difficult to achieve and Fano nails it. Do you by chance have an IG where I can see pics of your Solus? Regardless, thanks for watching and leaving a comment 🙌🏻

@@TheSoundCoop I have an IG but haven't been on it for a while and don't have any pics of the solus up there. If I do end up posting one, I'll let ya know. And yeah, the neck on the guitar is fantastic--beautifully flamed too.

I'm running a pretty old system here and haven't installed a new plugin in years 🤣 So probably won't be able to accommodate your suggestion. Apologies for that. It's not that I don't care about the "why". It's just, for me, it doesn't much matter, in terms of usability. This "trick" works consistently, across a wide range of circumstances, mimicking a similar result as shown in this video. A polarity flip is so common a process I can achieve this "trick" on any analog mixing board, in any DAW, and with any plugin. All I need is a bass DI track, a bass amp track, and a polarity button. Done deal. Add it to the bag of tricks knowing it's easily replicated. YMMV but that's my honest take 🤷

@@TheSoundCoop 😎👍 if it works it works!

I'm gonna take a stab at dissecting this when I get home. If I can see anything on any of my phase or spectrum metering that is significant, I'll make a video about it. It's definitely been a while since I've looked into any of this deeply. My recollection is, aside from the two tracks being obviously 180° out of polarity, and a slight dip at frequency peaks in the low mid-range, there wasn't a massively noticeable difference. At least nothing that created a "duh" moment. But I'll report back.

Okay, so I just ran a couple tests. When I check the phase relationship using an oscilloscope they are for sure matched. And then when I flip the polarity they go 180° out of phase. Just as I expected. But when I check the frequency related information, the only noticeable change between normal polarity and inverted polarity is, with the polaritys inverted, the fundamental note peak gets about 3 DB louder. None of the sub lows under the note gets louder. And none of the harmonic intervals above the fundamental get any louder. It's just the fundamental that seems to have a noticeable increase. Maybe 3 DB according to the spectrograph in my EQ.

I can definitely make a video about this, but it wouldn't show much. The frequency analyzer just shows a slight dip in fundamental and harmonics, and the low mid in general. But it's pretty minor considering the change in tone. Definitely no bump in lows. Regarding visualizing the polarity. If I didn't have waveforms in a DAW for visual reference, typically I'd use an oscilloscope/ micro delay to align the polarity of a DI bass and a bass amp. But since I have waveforms I don't need an oscilloscope. I can 100% confirm the polarities are aligned and matched at the beginning of this video. So when I flip them they are going 180° out of alignment. Phase wise, if I made a video this is really all I would be demonstrating. I'm routinely in the habit of aligning bass DI with bass amps before I even start mixing. So for anybody else who wants to achieve this, you just need to make sure your tracks are polarity aligned and then flip one of them 180 degrees out of alignment. For anybody who doesn't know how to align bass tracks, I definitely recommend checking out Steve Albini's video on the subject. RIP! Anyway, I can't really explain what's achieving this Sonic shift aside from making guesses. My speculation is the signals are creating a slight cancellation at the fundamental and some of its upper harmonics. This cancellation creates some masking of mids. This masking psychoacoustically shifts our focus to the subs. Someone else asked a similar question, so I pinned it to the top and provided a somewhat detailed response that might be worth reading over if you're interested in how to achieve this effect with a real amp instead of an amp simulator.

Just a heads up. A few others comments along the line of yours. I checked some analyzers and added a little more info in another comment thread if you're interested 🙌🏻

I gotta be honest. Despite my audio training, I can't explain why this works. It's one of those odd things I've just stumbled across that works more than it doesn't. My assumption is roughly the same as yours. Expect not canceling highs as much as low mids. There's still a decent amount of attack for a P Bass with flatwounds. To my ear it's canceling the fundamental and upper harmonics just enough to have them be "masked" by the subs. Not sure if that's the best term but that's how I think of it. Here's what I can say for sure. The bass DI and Amp are 100% polarity aligned in this track. So when I invert the polarity, it's now 180 degrees out of phase. I can make a Short about this if people don't believe me, but I assure you this is the case. Regardless, typically if I did this polarity flip with something like a 2 mic snare, 2 mic kick drum, 2 mic guitar cab, etc, the 180 degree out of phase would typically sound hollow, empty, lacking body and weight. But for some reason bass DI and amps just don't react like this. It's actually the same with DI Guitar and Guitar Amps except I typically don't want sub lows for my guitars. And don't typically blend DI guitar with guitar amps. 🤷 But ya, it's something about a DI track and a mic'd amp that makes this magic happen. Micro delays in signal? Now I should add... occasionally when I try this with a DI and real bass amp, it will actually cancel or hollow out frequencies between 800Hz and 1kHz (the lower attack frequencies). Sometimes I will just EQ this back on the bass bus. But usually if you take the time to polarity align the real amp to the DI, there isn't typically phase cancellation of this magnitude, and you'll get the exact results as shown in this video. If the bass amp is terribly distorted, results can vary. You really do need the bass amp to be putting out some subs. When micing a real bass cab, Mics like a Beta 52, D122 or Sub Kick are especially useful for pulling off this trick. I hope that helps a little.

Added some more info about this in another comment thread if you're interested 👍🏻

I own a $1000 Junior on top of this Wildwood Murphy Lab Junior that cost me $4500 used. The Murphy isn't 7x the guitar the cheaper one is. So I'll totally agree the price and quality doesn't scale. But owning several nice relics from many different companies. The Murphy is hands down the finest specimen in terms of relic work. And all that time spent costs money. It's also perfect out the box. Perfect nut. Music City Bridge already installed so intonation is perfect. The action is incredible. Very nice balance between body and neck weight. It's nothing short of amazing. Not 7x the guitar. I tried a Gibson Junior DC Tribute and the nut was terrible. The lightning bolt bridge had the typical intonation issues. It probably needed $500 worth of work just to make it functional. Probably could have used some fret work too. I tried a RnR Relic as well. Definitely better than the Tribute but needed a new nut and some fret work. And they wanted 2k for it used. 3 years ago they were 1k. Now they're over 3k. So for me, the Murphy is worth every damn dime. Plus, considering the market, I'm 100% confident I could get that 4.5k back if I really needed it. And sadly Tom won't be around forever. Who knows what the future holds in terms of value.

So glad you enjoyed! And thanks so much for watching 🙌🏻 I really love simple, efficient, creative options/solutions. Especially if they are useful across a variety of applications/styles. Most of my "tricks" are set up in production/mix templates. So I don't even think about them anymore. Borderline under appreciated 🤣 Since I started making YT videos, I've been trying to take a little more time and actually think about the mixing processes that have become essential. Been slowly rolling out some of these tricks hoping others might enjoy. Not much traction on these type videos so I really appreciate the feedback.

It's a wild market for sure. The Epiphones are now over a $1000. The VOS Jrs are over $3500. And the Wildwood Murphy Labs are over $7000. That's a pretty nutz range of prices for basically the simplest guitar design in history 🤣

Tell - noun - an unconscious action that is thought to betray an attempted deception 😉 or... Tel - noun - an abbreviation for Telecaster 👍🏻

If you were feeling like the knob looks small, it's just my large hands. The center part of the metal knob is a little bigger than 1.25 inches, making it considerably bigger than a nob on any control surface or midi controller I've seen. Meanwhile, Metagrid doesn't seem support Windows or ProTools which isn't a good sign if true 🤷

@@TheSoundCoop oh it is a pitty. I am super good with trackpad and keyboard ⌨️ forever. Magic mouse i ditched. Metagrid might not connect or crash… Just consider buying 5 big faders. But as a mixing engineer i would invest in a big desk with mechanical faders…

I've got 16 big faders collecting dust. Let me know if you wanna make a deal 😉

As I stated at the end of my video. You need to get on their mailing list if you wanna order one. They're not constantly available. They make them in batches based on demand.

I love the way it looks but I've never tried one. Maybe the reason why they're not more popular is a cost thing? They're considerably more expensive than an entry level Serus. Or maybe the sound hole makes it less ideal for gigging? Regardless, beautiful guitars

Do you live in Greece? Seems like the company is based there but I was always curious where they make them. Regardless, I'm super happy you were able to get one. Congrats! Please report back and let us know how you use it. I'm always looking for new ways to work.

@@TheSoundCoop I'm in Athens, yes. But I still need to join the wait list like everyone else unfortunately...

That's awesome you live so close. I'm gonna have to jump on the list myself. I really need another one of these for my video rig.

Come give it a try bro. And the Boogie. And the Arles. The list is long. Just say the word 🙌🏻

@@TheSoundCoop Log overdue... i just gotta get through this month... Work keeps piling it on.

@itsanthonybest the door is always open brother. I totally understand how things get.

Thanks for watching and so glad you got something out of it 🙌🏻

That white guitar 🤤 What a gem buddy. You made an absolutely unreal instrument for me!!! It's been a joy to get to know her and cannot wait to shoot a video showing it off 🙌🏻

I totally appreciate the speed thing. If It doesn't make you faster, what's the point? For me, I definitely shave off a lot of time using it because it's simply more accurate than a mouse. There's no friction or drag and you know what you get as you're turning. Trimming audio and video clips, fine-tuning fades, scrubbing, etc. Extreme time saver for me. I tend to run the mouse in my left hand and adjust the nOb with my right. When you talk about flipping switches for different functions, what are you referring to? I pretty much never touch the switches. You don't need to change any axis stuff when switching between knobs, faders, buttons. What modes are you switching between to compensate for which tasks? Genuinely curious. I definitely don't use it for stuff like level settings of faders. If I did I suppose I'd need to change between functions. But I don't see a use for the 'follow' function aside from none automation based fader adjustments which I still use the mouse for. For me I use it for all knob manipulation, and all my automation duties, and editing. Where are you selling yours? I've been thinking about getting another one to keep at my video editing station so I don't have to keep unplugging and replugging. If the price is right I might have to grab yours.

@@TheSoundCoop Not knowing, but I suspect that person might be using the more advanced features, for moving between controllers, without having to use the mouse. If I remember correctly, there are additional modes, that are activated via the touch sensitive switches. I don't own on, because it is out of my budget, but when I looked in to it, I saw all those control options and just thought, that looks way to cumbersome, I would just use the basic functionality (I had actually already thought of the concept before this came to the market, and it should be really cheap to make, as it uses standard mouse movements, and add a memory chip, to allow it to jump back, but this actually has a more advanced controller chip inside it for additional features).

I would love to buy it from you! I suffer from carpal tunnel for using the mouse all day. This will save me so many clicks and drags.

Thanks so much for watching!! The 4th position is truly magical for a T style setup. I would have never guessed. Anywhere I can see some pics of the P2? I always love 🤤 over Novos 🙌🏻