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OK, now I understand why it's more than the AF155. That's extremely pretty.
Originally Posted by Philco
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11-05-2013 06:44 PM
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Agreed, Jim. I'm looking for one... Scarce so far!
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Wood binding, Solid Ebony tailpiece...and its affordable? What's got into Ibanez? Originally Posted by Philco
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You could get this guy to get it for you: www.tokyoguitarsafari.com . Yes, he is Meestursparkle and reliable. Originally Posted by rpguitar
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Very nice indeed, but the Peerless Monarch still has that sm-oot-th L5 kind of sound. Why would you need the Originally Posted by 2bornot2bop
bridge pup anyway..most of the time it's barely turned on..unless you are doing a more trebley improv or
maybe some Django style rhythms.
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Lose the dots and I'm on board! Originally Posted by Philco
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I'm sure they will be great guitars. It's just I have this mental red light that goes of at around $1000 for Asian laminate guitars. Originally Posted by Jim Soloway
I've played the new D'Angelico EXL at L&M and it is as nice or nicer than the above guitar and it is flawless and $1150 new. And it's Korean.
The new Guilds are Korean and around $1100 new. The new Artstars are superb and are around $1100. The Chinese George Benson is at this price point.
Once you get into the $1400 range, you can find some really nice used archtops from Asia in solid wood from Eastman. You can find used GB10s for a little more. Used premium Yamaha lami archtops, too. You can find interesting American vintage guitars for that price.
I think I'm like a lot of guitar buyers.
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All true. It's visually a beautiful guitar and I can see why the price is what it is but I probably still would't pay it either, especially given what a cool guitar I was able to get from them for less than half that price. Originally Posted by DRS
As for the laminate vs solid value questions, that set off a whole internal debate in my head that tells me that something is seriously amiss with the discussion. Solid woods guitars sell for more because they are perceived as reprinting a higher level of guitar making craft, but I think most players actually find laminates to be more useful in the making of music, especially for the sides and back. So should we be putting value on craft or on practical musical application? I know that's way off topic here but it's a question I ponder quite bit these days.
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I was considering a thread on a similar subject... Like why am I GASsing over MIC Ibanez guitars (and buying/playing them) when I own some pretty fancy carved and vintage guitars? It's a weird phenomenon. The idea of a low cost, simple, very playable and good sounding guitar is still appealing. In some ways, even more so. And I wonder if others experience that phenomenon too - they play their "cheap" guitars more than the expensive ones. Originally Posted by Jim Soloway
Probably needs its own thread, though.
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Add the Comins GCS-1ES to the list of great guitars around $1400-1500 and it comes with a case.
Godin Montreal Premier, too.
Although these are both semi-hollow. The Godin is made in Canada/USA.
Another cool guitar in this price range is the Peerless Martin Taylor (the laminate model). Specifically designed for a fingerstyle jazz player with a small, comfy body.Last edited by DRS; 11-07-2013 at 12:15 PM.
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Perhaps this is also a topic for a different (if potentially shallow) thread.
Ever played a Korean/Chinese/Japanese guitar that ticked all the cosmetic boxes but left you completely cold?
Zero mojo. Nada. Don't want to even pick it up or look at it even though "purchase guilt" is nagging at you.
All in the head?
I don't think so.
Ok I may be a little strange but in my little "la la muso brain", guitars have a personality.....or not.
It's a bit like meeting a beautiful woman who bores you to death after a 2 minute conversation.
There's nothing going on.
I shouldn't restrict my observations to only Asian guitars. I've had some American ones that left me feeling the same.
Am I nuts?
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I'm not qualified to answer that - but there's definitely some vibeless guitars out there Originally Posted by Philco
How's the Collings going? The reason I ask is because (I mentioned this on another thread recently) my repair guy raves about how Collings guitars have vibe and high qc. In his opinion some manufacturers with high qc, including certain high end US brands have sacrificed vibe and character in place of churning out 'perfect' guitars that lack serious mojo. High end Japanese guitars IME can often be like this (with the exception of my old Yamaha Stern, seriously good sounding axe).
Rosenwinkel played a Korean Epi for a while - IIRC he went into Rudy's in NY and asked which guitars he had that sounded great and was told to try the Epi. Rosenwinkel's rationale was that Epiphone (at least in that period) had highly variable qc which meant that occasionally you get a guitar that's really great.
By and large though I find Asian (more so Chinese) guitars don't sound as good as US ones probably because of the wood's quality, or the way the wood is treated in the manufacturing process - an emphasis on speed of production effecting the overall tone. However with global wood shortages, I wouldn't be surprised if some newer Gibsons and the like don't sound as great as the older ones as well. My2cLast edited by 3625; 11-08-2013 at 02:37 AM.
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The Collings is well stocked in the Mojo dept. I must still be in the honeymoon period because every time I pick it up it's a joy. Originally Posted by 3625
I'm not qualified to answer that - but there's definitely some vibeless guitars out there
How's the Collings going? The reason I ask is because (I mentioned this on another thread recently) my repair guy raves about how Collings guitars have vibe and high qc. In his opinion some manufacturers with high qc, including certain high end US brands have sacrificed vibe and character in place of churning out 'perfect' guitars that lack serious mojo. High end Japanese guitars IME can often be like this (with the exception of my old Yamaha Stern, seriously good sounding axe).
Rosenwinkel played a Korean Epi for a while - IIRC he went into Rudy's in NY and asked which guitars he had that sounded great and was told to try the Epi. Rosenwinkel's rationale was that Epiphone (at least in that period) had highly variable qc which meant that occasionally you get a guitar that's really great.
By and large though I find Asian (more so Chinese) guitars don't sound as good as US ones probably because of the wood's quality, or the way the wood is treated in the manufacturing process - an emphasis on speed of production effecting the overall tone. However with global wood shortages, I wouldn't be surprised if some newer Gibsons and the like don't sound as great as the older ones as well. My2c
Playability off the scale. My purpose for buying this guitar was playability and I am very happy.
Is it my holy grail tone? I don't think I would expect that from a 16" laminate.
It's my fave tone of anything I've had.
I did some recording a week ago and immediately knew that there was going to be some pickup experimenting.
At the moment I have a Seth Lover in her. Much more to my liking. My love affair with P90's just ended.
As I record more I'll let you know.
Still want to try a Johnny Smith though.
Don't seem to have a lazy 10k hanging around!
Really just enjoying playing this one though. Playing a lot!
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