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Discussion in 'Other Single-Cuts' started by FLICKOFLASH, Jul 20, 2007.
Does anyone here have a picture of the back of the headstock?
Here's almost any pic you can get of the Derrig
1986 Les Paul '59 Replica "Kris Derrig" #9 0607 [The Holy Grail] | Facebook
Thanks. I've been to that page but there's no pics of the back of the headstock. Anyone?
Not even a mention of a Max. That pretty much settles it.
Slash on his fave LPs!-Classic Rock magazine special - Les Paul Forum
My God... this is the thread that never ends
Slash said he got the Derrig from Alan to "do the overdubs" on Appetite. That doesn't mean it was the only guitar used on Appetite. It's likey the main guitar you hear on most tracks and solo work. Dont forget there were other demo recordings prior to the recording of Appetite. There are plenty of bootleg copies of demo stuff from GnR. It's possible Slash had the Max replica before the Derrig but he just didn't think the sound was cutting it on the Appetite recordings and it wasn't until the combination of the Derrig and APIIs that he found "the sound".
I've tried several Les Paul's and there is something unique about the sound of the APII pickups. I didn't think they would make much of a difference sound wise from other pickups but they do. It's a magical tone which Slash just stumbled on by chance/fate and thank god he did or we wouldn't likely have that raw aggressive sound on AFD. If Slash had gotten the right sound from the Max guitar he would have had no reason to go back and retrofit all of his guitars with APII pickups, the Max didn't have them initially and the Derrig did.
That what settles it for me.
I'm also sure that the reason Slash returned the electronics to Max was because he already discovered the "magic" sound of the Les Paul + APII pickup combo in the Derrig guitar. Slash would have kept the guitar stock if it was a critical component to the sound of AFD.
Well I guess the "magic" comes mostly from his fingers and not from his equiptment
I Can't argue with that, however, from my epxerience if you take a les paul with mahogany body and maple top and put Seymore Duncan Alnico II Pro's in it, you will very quickly realize how it forms the basis for his guitar sound. There's just something really recognizable about the sound that combination makes.
Jim Foote. Been taking my guitars to him since I was a teenager (way before AFD came out).
Does great work. Takes a GREAT AMOUNT of TIME to do the work.
Well i don't know about the whole album but i read a while back that sweet child was recorded using a jackson guitar which i didn't believe myself but later on i got my hands on a mid range jackson plugged it into a peavey don't remember which model but i remembered what i read about sweet child so i tried the famous intro riff and the guitar just sounded exactly the same not just anywhere near the same i can almost say 100% the same
Correct - I think it has been proven quite definitively at this point that Slash did, indeed, use the Jackson for all of his parts on Appetite. He still has the Jackson and he only uses it now for recording, for fear of it being damaged or lost playing live. I read through all of the replies to this thread, and to summarize, yes, I think the evidence is quite clear, and it all points to the Jackson on Appetite - this is pretty much the accepted consensus opinion throughout the various web guitar discussion forums, including here. You can also hear this distinctive guitar on the vast majority of Slash's parts on Apocalyptic Love. It is his "number one" guitar, and he has said that, if he only had a chance to pick one guitar to take with him on a deserted island, it would be that Jackson.
I can't believe that this thread is still kicking 6 years later. That is pretty damn impressive!
I, for one, have wondered whether Slash might have acquired a second Jackson (yes, there could actually be a *second* Jackson in the story here!), and had it converted and reworked by Jim Foote to late 50s Les Paul specs. In other words, I wouldn't be surprised - not surprised in the least - if the so-called "Derrig" guitar pictured a few replies above is nothing more than that reworked mid-80s "superstrat" style Jackson, converted to Les Paul specs. Maybe just for variety or a different look on stage, or more likely, possibly in connection with Slash's Gibson endorsement deal, which presumably would have prohibited Slash from appearing in public playing a Jackson.
"Gibson needs me to play a Les Paul live?" (Wink wink, nod nod) "I'll just send this here Jackson superstrat to my old pal Jim, and nobody will ever know the difference!" (Wink wink, nod nod)
In any event, the converted Jackson-to-Les-Paul theory would seem to explain the glaring "historically incorrect" Les Paul features - it would seem reasonable that converting a Jackson to Les Paul specs could be a feasible explanation. Convert the bolt-on neck to a set neck, a few more changes here and there, mostly cosmetic and hardware, and bingo!
In any event, I have been buying mid-80s Jacksons when they pop up from time to time, in anticipation of the still dawning, yet inevitable realization, among guitar aficionados, and within guitar circles, that these Jackson guitars are truly the gear foundation upon which the legendary Appetite album was built.
Just curious. How would one convert a superstrat to a les paul?
Very carefully and with a sensible amount of duct tape
lol you cant
WTF is this now about a Jackson being #1?
The story that mainly gets around is that Slash recorded the entire AFD with a guitar other than a Les Paul. It could have been a Jackson or maybe a BC Rich. He was trying to get another BC Rich from Paul Stanley who had an endorsement, but PS refused to lend him one after he heard about Slash gossiping about him.
Slash thought his AFD guitar parts sounded terrible, and wanted to find another guitar and redo his parts. They found the Derrig for him and he overdubbed all his AFD guitar parts again at a separate studio. The amp they used was a loaner Marshall that had been hotrodded.
I will be the first to admit that I have been attempting some Jackson-to-Les-Paul conversions over the past few months. I think I am getting pretty darn close to the look of the so-called "Derrig" (a/k/a the Jackson conversion, to those like myself who believe in the theory). So far, I have changed out the body, neck, and fretboard, and I am hopeful that some portion of the hardware can be used on the finished guitar. I can tell you from experience that the Jackson is a spot-on match for the "Derrig" after the conversion is performed - not only in terms of looks, but most importantly, tone wise.
It is not cheap to do, but I am not too worried about the cost because a guitar like these conversions is going to hold its value in my opinion. I look at the guys who pay 5 figures for their prized "Derrigs" and I'm like, guys, if you only REALLY knew! LOL!
As for the hot-rodded Marshall, yes, I have heard that one as well. But after quite a bit of my own trial and error, I am pretty confident that the actual mod involved modifying the preamp channel to an entirely solid-state signal path. Yes, bypassing the preamp tubes! Can you say dead-on "Anything Goes" solo tone?
I dare ANYONE to try to top the level of nonsense, gibberish, and outright misinformation I just spewed over my last three replies to this thread.
This thread needs to put on a suit and some makeup, lie down in a pine box, fold its hands, and die.
And I actually really like Slash.