This is the COOLEST Guitar I Own (and I Modded It)

[@atticushexcel9567]

SMOKING intro man. This makes me super happy Dylan. Melodic and heavy at the same time.

[@dylanadamsguitar]

Thanks so much man! Might have to write a song with it 🤘🏻

[@atticushexcel9567]

@@dylanadamsguitar That song has already been written man.

[@shanetapp]

@@atticushexcel9567 really? Can you tell us the song? I'd love to hear it.

[@atticushexcel9567]

@@shanetapp Dude, I meant that his intro was so amazing, a song with it basically writes itself -_- sigh Do you understand what I am saying now?

[@pauleddy5146]

The pickguard is made of ply wood. always put painter's blue masking tape on the top surface to avoid chips. It also allows for alteration in placement if you're off a bit. Punch the center as shown, BUT spin that drill! A slow twist will grab material and cause the splintering and chipping. The tape trick will work on most surfaces. Use on cabinets, countertops, furniture, etc.

[@antoniushalim2829]

Very nice guitar. Sounds deliciously vintage.

[@ryangunwitch-black]

I’m so glad someone has done a nice long video about this guitar. I have almost never been so obsessed with getting one guitar. ❤❤❤

[@maxmunzert9725]

The intro reminds me of if Madison Cunningham took a trip to the crossroads and made a deal

[@Stereostupid]

That may be one of the best tones I've ever heard !

[@Tord79]

Matt is one of the nicest guy i ever met. My mulecaster is amazing and inspiring, and makes me play differently. But there is one more thing i really love about my mule, that is after playing my mule and play one of my other guitars, i got now inspiration on them to, it is like i reached another level in my playing, not just the Mulecaster, but all my other guitars. The mule team is amazing, and so is your playing and videos Dylan👍

[@ryangunwitch-black]

I can’t wait to get one and record with it and mic the top and amp and blend that junk!!!

[@KevinMerinoCreations]

Love the opening blues jam! Mod definitely gave you the extra tonal control! Beautiful guitar! 👏👏👏

[@dylanadamsguitar]

Thanks man!

[@Jakexx01]

The intro touched my soul, Bruh. Thanks for the chilling shivers!

[@brianmcguire9872]

You play guitar like I wish I could. And you give great content.

[@VeniceKing1]

Would love to hear you play a tricone!

[@dylanadamsguitar]

A tricone will be my next major guitar purchase, I’ve always wanted one!

[@VeniceKing1]

​@@dylanadamsguitar I know you're a mule guy, but love my National T14. Like you said in the video, it forces you to play in new ways!

[@scottcurry4116]

Nice video Dylan. One tip I would add would be to put some shrink wrap on the treble-bleed wires before soldering. That will protect it from grounding out.

[@oldmanzen6682]

Gorgeous guitar, and great mod. I remember being very interested in these when they first released, but the cost of shipping to Canada could buy me another guitar. Too bad, as I'd likely have bought one by now. Oh, great playing too.

[@sjperry54]

To keep from blowing out the top when you drill, put a piece of masking tape where you plan to drill, make your marks and then drill. Make sure the tape is down tight.

[@ArthurDent33]

Great playing

[@archcunningham5579]

Dylan’s technical ability is impressive. 👍🏻👍🏻👍🏻

[@chirbin0nidhogg623]

Y’know, the tone on 10 volume on 10 edgy harsh sound is really cool (through my iPhone speakers… while my 1 year old yells for more cereal) And the video is very informative and comprehensive, which I appreciate. I feel like I could do this now too, with this video as a reference

[@shanetapp]

As always, Dylan... love your style and your class. Will you be doing any full cuts (like you did with the one take series w/ Rhett)? Your abilities are FAR and away a cut above so many, and I can only see you continuing to grow. You deserve all the success, man... much love from a Florida boy in Indy.

[@average.punter14]

Ripping good into tune

[@dalejones4322]

Fantastic video. Awesome guitar playing, beautiful guitar, and guitar mods. It has it all.

[@Hbomb731]

Great vid. Keep’m coming.

[@julesleyhe]

Fantastic video, Dylan! Really inspiring everything - keep going man!

[@spencerfreed6947]

I'd never call anything you play dumbed down. Spectacular playing and great mod video!

[@george-st-george]

Thanks for this ! It looks cool and sounds cool too !!!

[@ekw555]

great video & great mod. thanks, Dylan!

[@cechichan]

Such great musical examples man, you should deff made tabs for examples like this..id totally get a patreon going for some weekly licks like that in strandard slide

[@nickpanousakis3205]

Wow, great tone and playing.

[@1-eye-willy]

i thought on rezies you have to keep the cover on the biscuit to keep it from getting damaged

[@Jake_Finkbiner_Guitar]

Was that some Tennessee Jed that I heard?

[@dylanadamsguitar]

😉

[@taggmanibanez]

You should give it a try going up to 13s, and then tune it down another whole step. You'll get some more mids and low mids, and add a little sustain, also the inspiration of that crazy low tuning

[@dylanadamsguitar]

So tune down to Bb standard? I already have 13-56s on it tuned to C standard, as I stated in the video

[@taggmanibanez]

@dylanadamsguitar Yeah I must have missed the part where you talked about tuning and strings, so you're ahead of me on that. What kind of pickup is that in there, is that a mini humbucker type?

[@StarSpangledEpoxy-HSV]

Awesome video

[@zacksovine6923]

Call me crazy but if you can negate the need for a treble bleed circuit 1 of 2 ways, I personally prefer both. 1 you can simply use 500k pots specifically for the volume of you do the modern parallel wiring. The second is to wire the tone in series after the volume thus ensuring that you can maintain the treble or keep the sparkle as you roll down the volume knob. A further note about Log(audio), Lin, and rev style sweeps is that they are really more about preference, and adding the resistor to the volume pot as part of the treble bleed circuit you are essentially changing the pots sweep by altering the resistance over the first half of the pot. The reason for series wiring instead of parallel is the pots in parallel cut the total resistance by half. So a stand alone 250k is equal to 2 parallel 500k pots set the same but as the knobs are turned this significantly changes the resistance which is partially the reason for trebble bleeds especially treble bleeds that include resistors. The other reason for the treble loss is that being the nature of a 250k pot. Normally, as you go up in pot resistance there are more high being maintained and you have a longer range in your sweep which often can result in either feeling like you have a more immediate/pronounced effect when turning the knob or you may feel like you have more exacting control especially with a linear pot. All that geeky stuff aside lets call this pro tips. First you were worried about shorting the lil treble bleed and that could be prevented by simply sliding on show shrink or a piece of the wire coating you stripped off. Or you could have just bobbed the legs short and put it down at the lugs keeping it down out of the way. If you wire the tone in series, face your lugs, heck do it in paralell too. I do believe you had room for it. You probably just needed to put your pot in already oriented that way or temporarily loosen the volume if needed. In series and parallel, your output wire is off of vol 2. For series you can strip the output wire longer and run it thru vol lug 2 to TP lug 2 soldering to vol 2 just once or you can use the leg of the tone cap or the cap itself as the jumper from vol lug 2 to Tp 2. Because the tone cap is going to ground no matter what, the tone cap can be placed as the jumper from vol2 to tp2, between tone pots lugs 2 and 1, or from TP 1 to vol 3/ground. You can utilize the caps leg if you don't want to force vol 3 all the way against the back of the pot. I will point out that of the 3 places the tone cap can be wired and the tone pots sweep can make a big difference in how your tone knob operates or how you interpret it operates. If you pick gaurd is shielded or bare metal the tone pot is already grounded and adding a ground to the back is just getting your pot hot unnecessarily. Also 2 grounding points on your volume pot is unnecessary. If wiring fresh the pickup ground, TP ground, bridge/body/sheild ground and the output ground can all be soldered at the same point of VOL lug 3 is grounded to the back of the volume pot. I kind of like using that big hole CTS provides on at Vol 3 to catch them all and keep the heat away from the pots internals you can solder them to the lug first then solder to the body or use the lug to hold them and solder them all together to the back of the vol pot in 1 shot. Love that you pointed out to scratch the pot body where it is to be connected. I usually hit it with a peice of sand paper/block or even a file that is handy and I even hit the lug points especially on pots that are of questionable origin if i have to use them. call me Crazy but not all wire, component body metal compositions, and elctrical rosin core solder are created equall. Sometimes you will find out that the wire or pots comp just doesn't want to take in the solder or the solder doesn't seem to stick no matter how hot you get it. It happens. To prevent this and to ensure i get the proper solder flow I normally dip my stripped wire ends in a lil flux, if i pre tin them or not. I usually dip the end of my solder in a lil flux and prior to heating the pot up I make sure there is a lil bit of flux on the connection point I scratched on the back of the pot just to help ensure that it makes a good clean solid connection the first time. Less is more sometimes and it never hurts to spray a lil dioxit into your freshly done pots and work the knobs back and forth just ensure the inside of them is clean and lubed before you close up the instrument. That way you don't think the knobs feel stiff or gritty and so you won't here it popping cracking or being noisy when you plug it up and start rocking out. Btw you are right about using the 223 caps. The 473 just seem to suck the life out of the tone. 203s aren't bad either. But I wonder if on such a bad ass MFing resonator, that only Mule Resophonic can produce, I wonder if maybe using a cap closer to the 303 or 333 range would give more range and open up some real sweet darker tones that could be awesome for dark swampy blues, heavier or even creepy sounds that might be useful in creating the right texture to build suspence, envoke certain feelings, or create the right landscapes for certain songs. ***cool tone pot hack. Use a linear pot, even better if you use one with a center detent/stop. This works in series or parallel (see above for benefits of series). Hot input to center lug 2. Put your regular tone cap as normal from lug1 to ground then from lug 3 add a smaller cap in the pf range to ground or use a trebble bleed cap/circuit and run it to ground or if pots are in series jump it back to Volume 1. When the tone knob is in the center your tone is neutral as it is normally when knob is at 0. What you get is two part tone knob that seems to double your tone knobs range as one half is acting like a trebble bleed and the other half is your standard tone knob. Essentially you could look at it as sort of a half high pass filter and half low pass filter. First time i did that to someone's guitar they were absolutely astonished, ecstatic, and elated. They had to show everyone their new magical tone knob. He said holy sh*t! I don't know how he done it, but that guy did it.

[@bikerjazzz]

You could use a brad-point drill bit to avoid chip-out on the top of the pickguard.

[@druwk]

This post is helping me screw up the courage to do a similar MOD to Rivolta Regata. I like using my 5e3 and guitar volume for gain, but sometimes it still gets a little bit too dark when I turn down? I think I want to try a treble bleed?

[@dylanadamsguitar]

Right on! You could try a treble bleed, or convert to ‘50s wiring (which is just switching which lugs the capacitor is soldered to). They both have their pros and cons, but I might try 50s wiring first on a humbucker guitar like yours

[@teasquared09]

Absolutely Killin’, brother! I’m sure you’ve discussed this, but what slide are you using here?

[@kingcal53]

It's his own signature slide by Rock Slide - link up in the video description.

[@teasquared09]

@@kingcal53THANK YOU!!!

[@Everdaytillsplean]

What values ( cap and resister) did u use for the treb bleed?

[@TheMinorFallTheMajorLift]

Target practice for … wait for it… slide guitarists :) ! If not, slide, then target practice on any stringed instrument. :)

[@SmokingManVero]

noice!!!

[@BurninSven1]

Only problem is it´s way to expensive I can probably get two cars for the same money.

[@sempercompellis]

what is the DC reading on that mini?? I have a firebird pup at 6k and it sounds amazing

[@Stereostupid]

This is beautiful! What a tone man and your playing is really stellar 👌 hows the neck and playability on this beast compared to your favorite electric?!

[@zacksovine6923]

Those are 2 completely different kinds of necks. Even if they used the same radius, same fret height and width, same nut width, string height, neck width and thickness they still would not be the same for a few major reasons. First is the string gauges will be much heavier and their composition will likely be slightly different. This changes the action and the way it feels to the fingers. 2nd its an acoustic body that is thick where the neck meets and where the neck meets is around the 14th fret unlik an electric that bolts onto a thin body withna big cutaway on the bottom where your hand goes down the board. And at what fret does the neck and body meet on an electric... depends on style but it is closer to the 18th if you even notice it while playing. With this you will notice because after the 12th you will notice and at the 14th you can't just keep on running down the neck without changing your normal position and the way you play. Now that we've got the major differences out of the way let me just say this. You can get an electric guitar with a resonator that if set up properly, will play just like an electric guitar. But it won't be much of a resonator and it sure as heck won't be anything close to this mule. As a matter of fact no other resonator on the market is going to come close to a Mule Resophonic, not without some work. I have comento believe that there is none better and there is no equall to their design, quality of the build and their style. There are some good ones out there that aren't mules but most of them are just better than the average cookie cutter parts that are shiny and flashy and assembled with more attention to detail than the everage. They will never be Mules. The folks at mule even designed their own pickups and tuned their design specifically for their instruments to ensure that they could capture the magic of their instruments and have just the ideal sound when they plug em in. They knew the industry standard just didn't quite cut it. They didn't care for all the flashy parts. They didn't want to just source the same parts and make something that was about the bottom line where it needs to be assembled the fastest with the most lowest over head for the highest possible profit margine assembly line bs. They set out to make an honest working instrument that embodied what they imagined a high quality and treasured resophonic guitar should have been and be. The kind of instrument that would have been a working man's companion and his releif. The kind they could take anywhere that would have reflected their hard work, the hard times and had a peice of their heart and souls attatched to it that later got passed down through the family. That is what it seems they were out to capture, and they nailed it. When I think of Mule Resophonic's style, playability, their sound, their feel and the whole mystique that they seem to have captured and put into all of their builds; they feel like something special that could be a peice of history with it's own story. Like an instrument that was built with care and love, then made to feel like it was perfectly broke in about like a real good ball glove, your favorite pair of shoes or blue jeans that fit ya just right. It's like holding something that you feel the likes of Robert Johnson, Lightnin' Hopkins, Mississippi John Hurt, John Lee Hooker and any of them old hill country and delta blues men might have played when they were making history playing live in an old juke joint, bucket o blood dive or in a studio when they recorded one of them old records that changed and inspired music as a whole. You might even believe that it is something that they kept handy down at the old Sun Studios when Cash, Elvis, Jerry Lee Lewis and the rest might have dropped by at any moment to lay a new hot one down. I'm serious. These guitars feel like that. They are that good. A pleasure to play, and they just have that perfect sound that you don't have to try to find or engineer cause it's already there. There are 2 guitars that have kind of become like the go-to secret weapons of studio musicians around Nashville. You don't hear about them much outside of that. It could be because these two guitars are partially responsible for keeping them working and in demand. They are a Mule Resophonic and the Martin M36. Everything else there is no secret. They are just real good musicians with a decent instrument of personal preference, great amp, a good number of quality mics placed accordingly in a great quiet space and the rest is top notch production and sound engineering. But when they mention a secret weapon or swear by something like it's their secret sauce, it is usually an M36 or a Mule. I'd love to own a Mule. My usual style might not be ideal for one, but given my experiences with them and knowing how playing certain instruments inspire/cause me to write new songs like the instrument writes them for me often for their unique sounds, I do believe that I'd wind up with at least an albums worth of new or rearranged songs that would be befitting it's sound.