Damn...I'm Good! So...Why Can't I Focus Myself?

I was watching the television show Becker.
As a theme and for lead in and out of scenes a then young man, Jason Miller throws short stacatto phrases from his telecaster and generally is universally seen as just a wonderful player, gifted with an eloquent musical vocabulary. Also very tasteful.

I fired up my amp and grabbed my guitar; sometimes the opening is in one key, C Major I believe, and the interludes in another - A Major or E Major, sometimes they match...one never knows until after the fact. In which case I just backed it up and then play along.

But very quickly it became apparent to me that I was not struggling to match or follow him at all. I have seen most if not all episodes...more than once, so the music is not unfamiliar. But the ease with which I fell into it was pleasing and a somewhat of a surprise.

My inner critic, the voice that is silent in the shower, keeps talking about focus.
But I play many styles.
Shut them down? No.

There is a way for me to explore Blues, Jazz, Rock, even Country and remain true to my vision for myself. Has to be.

Clapton has reinvented himself many times. The Stones have been a rock group and a country and western band.
But...

Usually, they do one theme and then move forward.
I continue to play all themes simultaneously. Is that my 'thing?'

If so, how do I present it in a way that keeps me from appearing schizophrenic? In a way that will allow me to present all my facets? not one theme at a time.

Has anyone done an album with a complete mosaic of styles? What is my mosaics larger picture?

I have homework ahead of me.

What Matters? Perspective...

Tone?
Gate?
Personal satisfaction?

Music...all that matters is communication. The sharing of thoughts and ideas. 'Ah-ha!'s and I see's.'
"How'd they do that?"
Some have personal satisfaction above the mix. Like the world, really. So many musicians are assholes - actually and inordinate amount. Ego is a driving force in public expression.
Few and far between are the souls in search of new horizons and new ways of speaking, expression...communicating.

The first time you got high and that ah ha moment when you saw the contrast between pot flavored reality and the run of the mill variety. And you HAD to share it with the person you were with.
I recall explaining it over and over to someone a few years older and wiser; who knew everything I was about to say and yet allowed me free expression - I discovered getting high!

It was a Birthday gig. A repeat performance. In in itself that is not bad at all. Paying gig, too. And the other two musicians were, up to this point, not the best of friends. This seemed to make things better.

So now, who am I communicating with? The audience of semi conscious people? The rest of the band? (Almost as inebriated a the audience)

A smile comes as I realize I am speaking to no one in particular. I am wireless and free. My guitar has a distinct voice that I can manipulate and bend to suit. I can communicate.

When you play with others there is an energy. When you are ensconced and alone that interplay is lacking.
But were you to talk to no one in particular - to every one together.

Callaham Steel Tremolo Block II

The sound is similar, although the middle bottom seems more pronounced. More on this to follow.

The tremolo bushing is nice - the bar doesn't flop whether you have one thread coupled or all of them. It feels tight in any position.

The bar is two ounces heavier (11) and considerably wider than the stock PW-29 zinc bar, although it fit in the cavity with no modification.
The mounting screws are half again as long as the original OEM screws and non ferrous.

The surface where mating takes place is polished - "We always have gone to great lengths in our machining to produce a near mirror finish on the mating surface with the top plate to obtain the best fit possible. A very important detail missed on all factory blocks."

All the holes lined up perfectly.
(I did notice that the Fender person who drilled the holes for the bridge plate was inside tolerances on the outside holes and perfect on the four holes in the center)

No modifications were needed, it just dropped in.
(A quick trick - rather than removing the saddles to get to the mounting screws that affix the block, turn the saddles on their sides two at a time and you can easily get access without changing intonation)

The links are sound clips of both blocks.
Guitar into amp - the knobs on the amp are in the center and on the guitar they are dimed. No effects.
It progresses from the number one position of the selector switch through number five.

Zinc PW-29 Tremolo OEM block

Callaham Steel Tremolo block\

It is now not as hard to make that initial break from the body, once the bridge lifts, it feels very smooth.
I have not made any adjustments to the claw et cetera.

After a day playing I have noticed some differences.

I can hear sustain and clarity...less mud, so to speak. A chord, even with full OD can be heard - all six notes just flat out ring.

The sustain is not just a longer note per se but the contents of that note as it decays is important and this is full.

I have been at this all day, obviously there must be some, "I bought/traded it, so it must be good," syndrome - but as anyone that knows me will attest, I do not do the hoodoo that you do so well.

The Raw Vintage Springs made a very real change in the harmonics and so I must confess that some hoodoo works.

This sounds like the Outlaws Green Grass & High Tides opening.

It also took the guitar from 7lbs 8 oz to 7lbs 10oz.

The trouble with the hoodoo is there are SO many variables, I can't be certain which is responsible. Is it the material? 

Or maybe it is just the mating surface and screws that are twice the length of the OEM screws?

And the one thing I dismissed out of hand? The delrin insert that holds the bar where - ever you leave it? Genius.

Oh yeah - the tremolo itself feels much smoother. Sounds better in that when you have to exert a bunch of pressure to break the tension there is a corresponding warble.

Since this is smooth, there is no warble...just the notes changing pitch...smoothly.

I can finally use the tremolo the way it was meant to be.

I have also noticed that the area between the anchor holes in the zinc block for the springs and the trailing edge of the block has grooves from the steel springs digging into the softer zinc.

Thanks for stopping by, Frank.