The Jazz Guitar Chord Dictionary

View Poll Results: Which one?

Voters
242. You may not vote on this poll
  • Gibson

    73 30.17%
  • Sadowsky

    31 12.81%
  • Collings

    40 16.53%
  • Others (ibanez, yamaha, heritage, etc)

    98 40.50%
Reply to Thread Bookmark Thread
Page 3 of 6 FirstFirst 12345 ... LastLast
Posts 51 to 75 of 131
  1. #51

    User Info Menu

    Well, everyone who responds will have their favorites. Especially those who spent large!
    Play some, if you can. Your ears and hands don't lie... you like, or you don't.
    I'm still confused by my "go to" guitars.
    Not a G or F or boutique in sight!

    YMMV

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #52

    User Info Menu

    Did I mention the ES-339 ?

  4. #53

    User Info Menu

    Maybe I'm a TEENY bit biased, but I've had my Ibby JSM-10 for quite a while now, and I'm still over the moon about it. It's a $3,000 guitar in an $1,100 package.

  5. #54

    User Info Menu

    Quote Originally Posted by West LA Jazz
    I am still waiting to hear a single negative thing about the Collings guitar brand. Incredible how the reviews keep streaming in... all positive.
    Much of the glowing reviews of these guitars is based on confirmation bias. When you pay $5k for a 335 style guitar, your bias will make you like it. I have played many of these, originally intending to use one as my main axe. My conclusion based on many samples is that it is a fabulously made instrument but I felt that it sounds no better than the Gibson or Heritage semi-hollow guitars, muchless sadowsky.

    Additionally, I felt that for both straight ahead jazz and fusion, the 339/335 actually sound better *to me*

  6. #55

    User Info Menu

    A few weeks ago I played a Collings at Rudys in NYC. I have nothing bad to say about it. However, I also was not awestruck. It was a semihollow with some special pickups that sounded a bit bright and thin to me - but that is a matter of taste of course. It was flawlessly constructed and played well, but not in a different league. The guy then brought me a vintage ES 345 - and man - *that* thing was great. I was very tempted to just grab it, but then I came to my senses and passed. So, I guess, for my money I would get a Gibson or Heritage in the semihollow category. I have a great ES 137 and an awesome H555. That is enough (for now :-)).
    Last edited by Frank67; 08-11-2016 at 04:54 AM.

  7. #56

    User Info Menu

    Quote Originally Posted by markseale
    I have not played a semi-hollow that comes close to the Collings spruce top I35. It is the finest playing and sounding semi-hollow I've come across.

    I've had a quite a few vintage 335's, a recent 335 reissue (WH), A pair of collings I35 spruce tops, I 35LC, I35 solid maple top, a couple Sadowsky Semi's, A Thornton Improv, and pretty much every other semi available. (its a quest - its a problem).

    The question at hand comes down to how much your chasing the "335" thing. If that's the goal - than find a great 335. You may have to play a few dozen to find one but when you do ....

    The Sadowsky semi is a great instrument. Roger is on to something with his chambered spruce center block. Takes the tone towards a spruce hollow body but with more sustain and excellent feedback rejection.

    The Thornton is an outstanding guitar. Far more even sustain than a 335. Notes jump off of it yet its still sweet and warm.
    (I did a demo vid for it if you want to search on youtube).

    Of all the I35 variants -the spruce top is just killer. Each of mine rings for days, with a tone that is a step closer to arch top while giving up none of the advantages of a semi. Mine are aging in incredibly well. Opening up nicely over the first 6 months. The ergonomics of it are poor though. The binding is very sharp which makes it uncomfortable on the gut and arm.

    Thornton Improv
    Sad Semi
    I35 Spruce
    (not in any particular order)

    Those are my fav 3 at this point and since I'm old at now and have been on a semi grail quest forever ..... can't see another contender getting on this list. As to which wins - depends on the day. Probably the Thornton because Chuck rules. But so does Roger. And the gang at Collings is top shelf ..... shit ..... depends on the day .... can't decide.
    Last edited by edhamgtr; 08-26-2016 at 06:42 PM.

  8. #57

    User Info Menu

    Just to add another name to the mix, the Hamer Newport is a great instrument that has less repute than it deserves. Probably one of the best examples of the 335 type that I've ever played. This is just a picture from the interwebz as the guitar was sadly not mine. It's on the bucket list though.




    Sent from my iPhone using Tapatalk

  9. #58

    User Info Menu

    For me it would have to be a Gibson custom or a MIJ Momose custom craft guitar. The Seventy Seven Exrubato are also beautiful guitars, still trying to decide if I like the headstock, but the spruce top is very cool. Photos don't do these guitars justice.

    Semi-Hollow Guitars - Collings vs Sadowsky vs Gibson-img_0022-jpgSemi-Hollow Guitars - Collings vs Sadowsky vs Gibson-img_0024-jpg

  10. #59

    User Info Menu

    +1 on the earlier mention of a Hoboken Starfire IV. I'm not sure if this is a Hoboken Starfire or a very early Westerly, but they are basically the same until HB-1's arrived in 1970. A Bigsby was added to this guitar at some point.


  11. #60

    User Info Menu

    Before I had the $$$ to spend on a real ES guitar I had the Gibson catalog photos pinned up by my bedside ... so my love affair with these guitars goes way back. My first one was a '63 ES-345 in sunburst (from an LA Times ad) - some different 80's Ibanez models came after it, several Yamaha SA types, then a second ES-345 in red and I still have and use it, 38 years down the road... it's a stock model but it does not sound "stock" , it has a much sweeter, singing tone to it than most ES types that I played over the years. Most of these had a much more "Rock"-oriented tone, i.e. like a LesPaul but with a little more air to it. Many others were too heavy, felt stiff and un-giving in my hands - the one I have is really unique and a def. keeper. I have no idea why this is so, I just enjoy it and it works for me.

    If I were in the market for a semi today, I would look at the Collings I35 LC models first, then at the Gibson Re-Issues , the better ones.
    You can still pick up a used ES-335/345 form the later 60's for around $ 4500 (like the one Carlton still uses), unless you shy away from the somewhat narrow nut width. These models are def. very playable, deliver sound-wise and keep their value. An Ibanez AS-200 (the Scofield model) is a good choice for much less money but these sound a bit harsher than the Gibson models. The Yamaha SA series left me un-impressed, they have no character and sound bland. The great Chuck Loeb used a Sadowsky semi and got a great sound but I have never played one, cannot comment. Neither can I comment on the Collings SOCO, an absolute beauty by the looks of it but also a very rare bird , you simply don't find those in Europe.
    Again, given the needed funds my order of preference would be a vintage Gibson 335/345, a Collings I35, a Gibson Re-Issue and for less $$$ the Ibanez AS-200 would be a contender.

  12. #61

    User Info Menu




    2.25" deep ,16 inch wide ,
    Tiny block with stoptail , better electronics .
    He only has the Maple Top version now ...

    I wonder about the wider string width - I don't want to have any unnecessary woodshedding where there is superfluous(lol) added distance between strings .
    Unless I try one and it's unnoticeable.

    I might try one and it might not bother me but no Electrics in South Florida - ...

    Says 6 months to a year to order ...but I am tempted. Thinking it could go in a lot of directions , depending on playing styles.


    I would have an overwound PAF with a 3 way mini toggle ..series /parallel/single coil but have that done here ..China might take an extra year...lol.

    I just saw a simple unscientific demo of spruce vs maple tops - and the spruce difference was dramatic...
    I wonder if a T186MX with spruce top would have the even acoustic nature of the Guitar above ..across all strings etc .

    The thinner semis seem to get thinner on the higher strings ..less 'piano' .
    Last edited by Robertkoa; 08-17-2019 at 10:11 AM.

  13. #62

    User Info Menu

    Happiness!!

    Semi-Hollow Guitars - Collings vs Sadowsky vs Gibson-altgibson-jpg

  14. #63

    User Info Menu

    Best value for money? In my stable its a 1980 Ibanez AS200 with the early super 58's. As I've said in other posts they are very close to the PAFs on my 1961 ES175D - just a little bit hotter when the volume is above 7. I tried a Momose a few weeks ago and was impressed with the build.
    Semi-Hollow Guitars - Collings vs Sadowsky vs Gibson-capture3-jpg

  15. #64

    User Info Menu

    There seem to be no wrong choices just many instead. What it comes down to is affordability, feel, and on gig usability.
    For me my Memphis Historic ES-335 1958 and CS ES-339 w a 1959 neck shape do the job best. But others here have other prefences in neck shapes,size and overall feel.

    I will say that as beautiful as Collings are and meticulous craftsmanship as well, they don't quite sound or feel like a trad.ES 335. That can be good or bad ,depending on what you are accustomed to.

  16. #65

    User Info Menu

    When I was much younger and sorta stronger and played rock gigs at enlisted mens’ clubs at Fort Bragg and Camp LeJeune, plus seedier clubs in Fayettenam and Jacksonville, I had a loaner ES 345 and yes, I did did enjoy that big wide pretty heavy (over 3-4 sets standing) thing.

    In retrospect, a Tele might have provided better protection in the few situations where a pistol was flashed or beer bottles started sailing, plus being easier to wield to bat away projectiles.

    In the past few years, I’ve had a TX184 and a Seventy Seven Albatross. The Albatross is as wonderful as they get, so petite with such a nice neck and warm voice.

  17. #66

    User Info Menu

    I guess whichever I could afford, I'd tend to go for a Gibson, based on retail sale, but I know their QC issues
    I don't think you need to spend $4000 to get great tone

  18. #67

    User Info Menu

    I would go for a used Gibson 339, small, light, some vibe, versatile tone wise, playable, affordable.

  19. #68

    User Info Menu

    If cost were not an issue I'd try to persuade a good friend of mine to sell me his 1963 ES-335 which is probably the best I've played. Close second for my hands and ears is my own 1980 Ibanez AS200 - great feel, wide tonal palate and the original super 58s are very close to the PAFs on my 1961 ES-175D - just mildly hotter. A close third would probably be a Heritage 535.

    Semi-Hollow Guitars - Collings vs Sadowsky vs Gibson-as200-ray-jpg

  20. #69

    User Info Menu

    I have owned (and still own my '63) several early/late 60's Gibson Es-345 model guitars and it' still my favorite - however, if I were in the market for a high quality semi TODAY then I'd probably couldn't get past a Collings I35 or Soco. I've played an early I35 with the brazilian board and solid wood construction a couple of years ago and that guitar was absolutely wonderful, in all aspects. Did everything I want in a semihollow (I come from the BB King/Carlton school of tone....) and then some. The resale value is also excellent, seems to do better than your average Gibson reissues.

  21. #70

    User Info Menu

    Played a Godin single cut thin body (with block) today at GC that I thought was worth consdering. Maybe pricey at about $2k. My Comins is less money and also a very nice guitar in the same general type.

  22. #71

    User Info Menu

    If I had the dough, I'd get a Collings I-35LC with Throbaks and never look back. Something about the tone just hits me perfectly for a 335-style, and the slightly-smaller body would be a plus for me.


  23. #72

    User Info Menu

    I bought a Samick Greg Bennett Royale 3 many years ago, still the best semi I've ever played, $450 brand new.

  24. #73

    User Info Menu

    I have a '64(?) Gibson ES-345 traptail with VariTone, gold plated patent-sticker humbuckers, stereo output, and the most variety of tones I've ever heard. With a pair of blackface Deluxe Reverbs in stereo mode, the sound is simply awesome. There are many fine variations on the classic 33x platform. For me, the original is still the best.
    "Often imitated, never exceeded" sums it up for me.

  25. #74

    User Info Menu

    I'm really curious about stereo guitars; I can't imagine the sound of the 2 pick-ups separated - that's how it works, no? I wanted to try it with a Rickenbacker 620 at the musicshop, but they wouldn't let me.

    And re. 335, it's true that every time I hear those clean, there's an odd extra bit of 'woodyness' to the tone; unless I'm imagining it. Still, variations on the type can shine in their own right. There's an Ibanez model, 73 I think it was, that lay somewhere between Gibson's earthy 'plunky' and Gretsch's open sparkly sound; really very nice!

  26. #75

    User Info Menu

    Yes, that is how it works. Each pickup gets at least a dedicated channel or ideally a dedicated amp. I have used both configurations but prefer two amps. Our home had a room that was more or less cubic. I placed the Deluxe Reverbs along the corner-to-corner axis about four feet apart and adjusted the amps for similar tone/volume. I then adjusted the guitars' tone/volumes so that each pickup was in a similar range. I added reverb to taste. The resulting sound was nothing short of glorious. Toss in a little mis- matched tremolo and it's mind-bending. It leaves conventional chorus in the dust.

    Of course, it's impractical for most stage applications for space considerations, but un-paralleled for personal indulgence. The music shop was missing a bet by not keeping a full set-up (two amps) on the floor.
    Last edited by Dirk; 06-17-2020 at 08:52 AM.