Calling all guitarists

[BKK-OZ]

...I've gone full circle and just prefer equal temperament, as did one of my heroes: JS Bach.
Shooshie

One of mine too. Both the biographies I read made a considerable effort to show just (no pun!) how important it was to him to establish the basis of a '...well ordered church music...', in which, it is understood that 'ordered' meant tempered scales, well organized gigs, (my word, not his) and generally, everything in its place, according to God. I dig all that, and fully understand, but I also see merit in the counter argument.

I've got a very old, obscure, almost falling-apart book about (what the author somewhat patronizingly refers to as) 'classical' Chinese music. According to his research, the Chinese developed and fully explored a couple of variations on equal temperament a full ~200 years before the west figured it out. He also contended that most of their so-called 'classical' or formal canon (court music, ceremonial music, etc.) didn't use a tempered scale, because it had been developed even earlier than that - and tradition was so strong, they didn't change their ritual music.

I don't see any right or wrong in any of this, it all just fascinates me. Why does a blue note make me feel so good sometimes? Why do I love the smeary, essentially out-of-tune sound of an amateur Polynesian or Hungarian choir, but I just can't stand any accordions, ever?

Anyway, weren't we talking guitars here?

[mhschmieder]

Gibson has a new maple-neck "country guitar" they're pushing as a "Telecaster alternative" but it's a bit of a misnomer since it has a Les Paul neck scale and uses P90's. I'm far more interested in the new Guild line, which sound awesome in the demos and will probably be $1000 to $1100 street price. I'm pretty sure the P175 has P90-styled pickups but they can't call them that of course. The one with D'Armond pickups sounds nice too but the P175 is my favourite of the new batch.

[Frodo]

Okay-- many moons ago, this thread started out with a pursuit of a Strat. I and many of you have acquired a yummy variety of instruments since then, but I'm back to Strat.

I confess to not have re-read the entire 68 pages in full ( ) but I do recall some mention and perhaps some objection to the G&L Strats.

By virtue of this vague recollection, I humbly submit a potential acquisition of a G&L Legacy Strat (3 single coils) in a most evocative color-- "fullerton red". It's not orange. It's not pink. It's not terra cotta. It's not even red. It just *is*, and it caught my eye and ear. I love the feel of the neck. I love the sound of it. Quite frankly, the only thing about it that I didn't like about it was that it was not free!!

I'm not sure that the photo does justice to the color, but whaddayagunna du?

G&L Legacy Standard, Fullerton Red

Ah, the pickguard and p'ups would be cream and not stark white, closer to this one.

[davedempsey]

I got the one on the left in '82 - pickguard and pups are new, as is the trem and mine's rosewood not maple - even still congrats on the colour choice

[mhschmieder]

I had the G&L Legacy for many many years, but I wasn't yet very aware of guitars. Professionally built but sounds NOTHING like a Strat. To me it has a very specific sound, no quack, and not much versatility compared to a Strat. But guitar isn't even my second instrument, so I am looking for specific sounds when I shop for guitars. Someone who is very good at guitar may find the G&L to inspire them or be their "voice". Just don't expect a Strat. Nevertheless, it is a tight sound; I'm not criticising it but it simply didn't fit the role of a Strat for me and ultimately a Strat was what I wanted.

Godin is another company that sometimes makes instruments that physically emulate legacy models but sound nothing like them. I think many players want these instruments because they don't raise eyebrows at auditions or recording sessions. Yet those players want modern instruments, for many valid reasons. So they split the difference and buy the instrument they want (feel-and-sound-wise) without coming off as "challenging" the EXTREMELY conservative nature of the music industry (don't bring your custom guitar!).

[Frodo]

Yeah. You hit on at least two great points, mh. Guitar is not my first instrument, so I'm not a session player having to please the tastes of session producers. I like that G&L a lot-- and it has plenty of "quack" for me, even if it might not be all the "quack" someone else would expect.

The other point is that this thread alone is 68 pages so far. That's a reminder that buying one guitar only *seems like* the going approach. There are no rules against buying another Strat-- beyond that which one's wallet would prohibit!

That said, I still haven't dropped the hammer on this purchase just yet. The first of the month is just around the corner and tax time looms "in the next street". I need to crunch a few more numbers, but I gotta say-- "me likey".

[mhschmieder]

Frodo, if you're paying taxes quarterly (which I suspect) vs. via payroll deductions, don't forget to also account for CA state tax increases this year (federal as well, I think, based on my paycheques so far -- though it has more to do with the expiration of the Social Security rollback of a few years ago).

[Frodo]

You're right, mh. It all factors in and becomes an issue of "hidden value". Any attractive discount at the point of sale could be wiped out when other considerations are factored in.

[mhschmieder]

My Eastwood Sidejack Baritone Deluxe arrived a couple of weeks ago, and is magnificent. More or less a Baritone Stratocaster, it has stainless steel strings coming from the factory and that's what I'll replace them with as it just seems to have the right feel and sound for spaghetti westerns.

Such better build than Danelectro. I bought a St. Paddy's Special in green (limited edition). Then I bought the Eastwood Mandocaster in special edition orange, now that I know this is a trustworthy company. One thing I especially appreciate is that they pick excellent specimens of wood for the fretboards.

This new Baritone will complement my humbucking Gretsch Jet Baritone nicely --two very different instruments, but both serving the purpose of layering more parts without creating mud or frequency stacking issues. The timbre sits on its own, distinct.

[mhschmieder]

Finally plugged my new Eastwood Mandocaster "Telecaster-styled" Electric Mandolin (which arrived a couple of weeks ago) into my Mesa/Boogie Royal Atlantic guitar amp just now, and it is PHENOMENAL -- the pickups are some of the best I've ever heard. Quite a tonal and expressive range, and the three pickup positions give it even more range.

Clean, it is articulate and balanced; no harshness or ice-pickiness. On overdrive channel, it is downright DANGEROUS sounding! It will make for a great heavy metal "accent" instrument; probably more-so than my earlier Epiphone Mandobird purchase (which has a single humbucker pickup and is a bit muddy). Also, it can work great to bring out more of the janglies on acoustic guitar based fare, without having to pull that stuff up in the mix in a problematic way.

Eastwood is an AMAZING company!

[mhschmieder]

Just when you think you know all the guitars out there, something "new" comes along.

Today, I took possession of a lovely (and eminently affordable) all-mahogany "Concert Guitar" from Guild: the M-120, which is a recreation of the famous M-12. It's sort of like a Martin OOO, but I like the timbre and the playability and neck much better. It has a nice bright sound without sounding harsh, and is a complete contrast to any dreadnought or auditorium scale flat-top that I might pull into the mix. It sounds great as a strummer, but really shines as a solo/lead instrument. Almost like a steel-string version of a Requinto.

I had earlier ordered (by accident) the dreadnought member of the family (also a vintage recreation), the D-125, which is also well-build, plays well and sounds nice and warm, but until I record with it I won't know if it's redundant with my Taylor Grand Auditorium or not. The top wood doesn't make as big a difference as I thought it wood; nor the side wood: scale, bracing, and shape seem to have the biggest impact (in that order). The timbre of those two full-scale flat-tops is amazingly close, but the Guild has a stronger attack (like a Gibson J-series or Hummingbird/Songbird).

[SixStringGeek]

Okay-- many moons ago, this thread started out with a pursuit of a Strat. I and many of you have acquired a yummy variety of instruments since then, but I'm back to Strat.

I've been on the lookout for a proper strat for awhile myself. The one strat I do have is a Kramer Focus from the 80s with a humbucker by the bridge and a Floyd Rose - which makes it perfect for Van Halen covers, and not so bad to ape a pedal steel riff here and there - and because its strung extra light, good for very swoopy solos. But its not a proper straty strat.

Also on the to-get list remains a rockabilly hollow body ala Chet Atkins/Brian Setzer, and a proper Les Paul Custom - looking for circa 1976-82-ish. And then I might be done. Maybe. For a little while.

[mhschmieder]

Been on the lookout for a good T-bird bass for years, and my placeholder Schecter Ultra from last year ended up being closer to a Ric (and not that close) due to maple vs. mahogany through-neck. Was almost going to take a blind faith chance on a B.C. Rich Mockingbird ST on blowout, but lucked out today when I picked up a replacement uke at the local GC as they had just gotten in the brand-new 50th anniversary Gibson.

Never thought I'd buy anything by that brand again, but they're stepping up their game this year just as fender did a few years back. The Epi edition has been renamed "Classic" and upgraded to Gibson PUPS but doesn't have the amazing tonal focus and balance of the 50th anniversary model (maybe because of narrower neck, 9-piece walnut/mahogany laminate vs. 3-piece all-solid mahogany, different PUP spacing, and lower-quality nut and saddle). It's a good buy for $500 though.

This may be the best bass in my collection now (haven't done full shootouts yet). The Epi has more on-board tonal range but the Gibson reacts to every playing nuance and is fully professional. $500 more than standard edition so I was suspect, but somehow the 3-piece neck is that much better than the 9-piece. Gold is a theft magnet but I'll mostly use this in the studio... I think (I typically need a fiver for gigs).

http://www2.gibson.com/Products/Electri ... -Bass.aspx

http://www.sweetwater.com/store/detail/BAT50BGGH-13/

It looks MUCH better in person. I knew I was going to like it -- even in spite of my pre-existing anti-Gibson bias -- the moment I picked it up, before I even started playing it or plugged it in. The tonal focus and balance shows through when unplugged as well, which is telling. It's the subtle differences that are what separate the truly pro instruments.

[mhschmieder]

Squier have just announced a new Bass VI that is true to spec, unlike the recent Pawn Shop series:

http://www.fender.com/basses/other/vint ... pic-white/

Of course it's a basswood body, to save costs. It looks appetizing though.

[BKK-OZ]

I bought my Bass VI direct from Japan before Fender came out with these new re-issues. I wonder how the two compare. I love mine.