View Poll Results: Do signature models influence you to buy?

Voters
153. You may not vote on this poll
  • Yes, I like the player

    8 5.23%
  • No way I'll pay for the name + a logo tax

    13 8.50%
  • Yes, If the price were equal to the standard and appointments were nicer

    16 10.46%
  • I buy what I like and don't care if there's a name on the head

    110 71.90%
  • I'm probably better than that clown, I'd be embarrassed to play one

    6 3.92%
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Posts 51 to 93 of 93
  1. #51

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    after you play for awhile..twenty years or so..you refine your wants and needs in a guitar..at least I do..I cant just play any guitar and feel at my best with it..I have had many over the years..and with each one I have modified it in one way or another..mostly the neck and action and pickups/tone...

    so at present my les paul classic antique in wine red is my only love..from all clean to very dirty depending on the amp and effects I get the sounds I want from it .. very low action/neck and nut adjusted/light gauge strings ..

    I have played several "sig" models..recently a jeff beck strat..now Im not sure if Jeff was involved with the design/specs..and he could say..."yep this is exactly how I like em.." or if fender just made a deal for his name and did a "close enough for rock n roll" model..I would have had to make some adjustments to the strat for my personal likings..

    I played a fender "custom shop" strat -no name- that I could have lived with and not changed a thing of course it was 4K+ a bit more than I can justify for any guitar..my next will be the Tele American Delux..out of the box it feels/sounds very nice..only change will be the string gauge..

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  3. #52

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    Quote Originally Posted by bananafist
    If Gibson did a Lee Rit Sig L5 with a 25" scale and 1 3/4" nut, I'd have to have one, even if they re-named it the 'J Beiber' model.
    Yeah good idea. Justin Bieber Signature Strat-Long Tenon Set Neck -Thick Mahogany Body 8.5-9.5 pounds total weight- No String Trees- 6Degree Angled Headstock- 14" Radius Fingerboard Medium Jumbo Jescar Frets...Hardtail with
    Resonant Chamber with tremolo springs attached...H-S-H with mini toggles to coil cut the Humbuckers which have rod magnets on one coil.
    What are the chances of this? ...lol.

    Even John Suhr hasn't gone here yet.

    I wonder why there are so few 25.5" Scale Set Necks ?

    I bet the Alvin Lee Signature 335( yes really) with which is Gibson's only H-S-H Guitar has some great possibilities( with Toggles added) but they probably only made 8 of them or they are same price as a Honda...like to try one though...
    Last edited by Robertkoa; 01-17-2016 at 02:43 AM.

  4. #53

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    The only sig guitar I've ever owned was a Les Paul. I'm not agains them in principle, but I am a cheapskate, and too often signature guitars are significantly more expensive.

  5. #54

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    Quote Originally Posted by morroben
    Not jazzy, but I own a Jimmie Vaughan signature strat. I couldn't name a Jimmie Vaughan song, but I like the neck shape and the pickups sound good. And the signature is small enough on the back of the headstock that I don't feel like I'm playing a billboard. Also, it's MIM and I got it used, so it's not like I paid extra for it. In fact, the previous owner had a trem cover with an actual Jimmie Vaughan autograph (as opposed to the decal on the headstock). I let him keep that and got him to knock $50 off the price.
    I have heard good things about this Guitar( very large neck I think ) and I agree with most of the posts regarding signature Guitars.

    I was asking Carvin about a neck through 25.5" scale Guitar they ( finally ) make again
    but unfortunately it has a 24 fret Fingerboard so loss of warmth from neck Pickup which has always been my main PU on every Guitar ..
    - It is a Lee McKinney Signature- whom I definitely never heard of ...lol.

    And Dave Grohl was another one I never heard of although I had heard of the Guitar before.

    One I would like to try is an Alvin Lee Sig 335 - because it is an H-S-H 335- that would be interesting.
    You would think some Studio Guy would have an H-S-H 335 ( Ritenour etc) but Alvin Lee ...I don't imagine Gibson has sold many but I imagine some cool Tones.

    Another Carvin which I want to try is the Holdsworth due to the Semi Hollow or Hollow Fatboy and the warm fat tones and resonance...again 24 frets a bit less warmth from neck PU ...

    Also agree that I don't want to pay for someone's name but for features and Tone I will .

    Maybe a Justin Bieber Set Neck Mahogany 2 " Thick Body Stratocaster ? Lol.
    I don't care who's name is on it if it has unique features/ Tones that I like/ need.

    After about 319 more nearly identical Strats .with different Model Names..maybe Fender will release a Set Neck Strat Model by 2026.

  6. #55

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    Quote Originally Posted by Robertkoa
    After about 319 more nearly identical Strats .with different Model Names..maybe Fender will release a Set Neck Strat Model by 2026.
    You mean like the Fender Custom Shop Set Neck Stratocasters they sold between 1995 and 2000?

  7. #56

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    Quote Originally Posted by Hammertone
    You mean like the Fender Custom Shop Set Neck Stratocasters they sold between 1995 and 2000?
    Yes...but a Production Model Run..not a superexpensive deal.

    Those were a special type of super strong glue joint they came up with I read...obviously I care more about fatness/ warmth...but yes..a Production Run of those would be cool especially Mahogany.

  8. #57

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    I have an Ibanez JSM-10 (the Scofield signature model) and an Epi Joe Pass. I bought the Joe Pass because I tried it out and liked it, and the price was right. The Scofield I bought because I figured it would come reasonably close to the early 80s Ibbies that he plays. I had not tried one before I bought it, but I was not disappointed in the least. It's an amazing guitar.

  9. #58

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    Quote Originally Posted by eddy b.
    I voted no but....if there was an Ed Bickert replica tele I'd buy 3.
    Just take an old Tele, bury it in the back yard for a couple of years, dig it up, run over it with your car a couple of times, and there's your replica.

    Signature guitars-ebt-jpg
    Last edited by Boston Joe; 07-31-2016 at 11:27 AM.

  10. #59

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    I liked the look of the Gibson Johnny A since I first saw it advertised but never had the chance to play one. This past January, Johnny A played on a blues cruise we went on and all I can say is that he was one of the few guitarists to send shivers down my back with a black one with Bigsby. I'd do one of those. And a Gibson Pat Martino too. Unique designs. And, until fairly recently, sort of affordable on the used market.

  11. #60

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    Quote Originally Posted by GNAPPI
    A Les Paul Signature Jeff Beck model? Curious name there.

    What happens if some rocker in 30 years from now named Jack Hack plays a Les Paul / Jeff Beck model and he becomes REALLY famous. Does the guitar get named a Les Paul, Jeff Beck, Jack Hack model? :-) Or do they disrespect Jeff Beck and drop him to name it a Les Paul Jack Hack?
    It will become the "World's First Triple Sub Signature Guitar....spanning over 7 Generations of Gibson Tone"...

    I noticed the Jeff Beck Signature of a Signature...but of course if it sounds as good as it looks....

    I was just remembering how great JB was in the Yardbirds in what ...1964 ?

  12. #61

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    Quote Originally Posted by Robertkoa
    Yes...but a Production Model Run..not a superexpensive deal.

    Those were a special type of super strong glue joint they came up with I read...obviously I care more about fatness/ warmth...but yes..a Production Run of those would be cool especially Mahogany.
    Not sure the strength of glue matters much outside mechanical considerations. I do like a set-neck for resonance, but even after 35 years on the instrument I still can't tell the difference between, say, hide glue and Titebond.

    If you've got comparative tracks you can point me to where I can hear the glue, I'm all ears. Until then, please forgive my skepticism. Once the rhythm section kicks in, this sort of detail -- if audible at all -- is lost.

  13. #62

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    Quote Originally Posted by Thumpalumpacus
    Not sure the strength of glue matters much outside mechanical considerations. I do like a set-neck for resonance, but even after 35 years on the instrument I still can't tell the difference between, say, hide glue and Titebond.

    If you've got comparative tracks you can point me to where I can hear the glue, I'm all ears. Until then, please forgive my skepticism. Once the rhythm section kicks in, this sort of detail -- if audible at all -- is lost.
    Ha. Well ..I did not make it clear enough in my Post...what I read was the Custom Shop ( someone ) came up with a different type of joint that was unusually strong...
    So that made me think of more tone transfer ...( I am not a Luthier but many feel that some joints can involve the Body more for deeper Tones ).

    I suspect there are better Glues for setting the necks ...but that was not my point.
    Also for the type of Tones - I am talking about...not sure a lightweight Body in Ash or Alder will even work.

    I have a Carvin Strat type which is very heavy which after Blocking the Trem has a lot of bottom end...and it is very loud and full unplugged...probably louder than most ES 335's.

    Not sure if it's the Koa...the weight( over 10 pounds)...the Trem as resonant Cavity etc. and more bottom end is noticed as soon as Trem is blocked- these are sounds your Grandmother would notice- not some subtle barely audible thing.

    Once more Buyers get out of the" 50's 60's - is- the-Golden- Age- for - Solidbody-Electric- Guitars" Fantasy...we can start moving ahead with R&D.


    But I suspect slightly angled headstocks,
    Set necks....heavier Mahogany Bodies..
    and fixed bridges( bolted to the Top of the Guitar) with a non moving trem block and springs - will produce a Strat Type Tonality with much more acoustic fullness ..so you get much more from it when you plug in.

    Most people don't care about a Morph between a Strat and an Archtop or great Semi Hollow...and if they make some cool Semi Hollow 25.5" scale Instruments...I can maybe just go there.

  14. #63

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    Here's I owned, anyone?



    Sent from my iPhone using Tapatalk

  15. #64

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    Is that a Robben Ford or an Esprit?
    Last edited by MaxTwang; 08-07-2016 at 02:33 AM.

  16. #65

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    Looks like a Strat mated with an ES 347 and this is the Offspring...

    Looks nice though - bet it's sweet through that Champ...

  17. #66

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    Quote Originally Posted by MaxTwang
    Is that a Robben Ford or an Esprit?

    p.s. Your guitar leaning against an amp on a chair like that is making me nervous.
    Ha, well done it's a Robben ford signature, so I suppose it's an esprit elite with the signature in the headstock.

    Which is still hard to see because of my lazy re string.

    I can pick up sky sports if I stand close to my tv though

  18. #67

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    Quote Originally Posted by Robertkoa
    Ha. Well ..I did not make it clear enough in my Post...what I read was the Custom Shop ( someone ) came up with a different type of joint that was unusually strong...
    So that made me think of more tone transfer ...( I am not a Luthier but many feel that some joints can involve the Body more for deeper Tones ).

    I suspect there are better Glues for setting the necks ...but that was not my point.
    I'm just saying that once the signal is processed by pickups, outboard gear, and preamp and power-amp stages, I'm skeptical of being able to hear this or that glue or joint. It may well make a difference in durability, no doubt, but nothing beats a straight comparison -- and even then, once the band kicks in, that sort of nuance is that much less detectable, in my own opinion.

    Quote Originally Posted by Robertkoa
    Also for the type of Tones - I am talking about...not sure a lightweight Body in Ash or Alder will even work.

    I have a Carvin Strat type which is very heavy which after Blocking the Trem has a lot of bottom end...and it is very loud and full unplugged...probably louder than most ES 335's.

    Not sure if it's the Koa...the weight( over 10 pounds)...the Trem as resonant Cavity etc. and more bottom end is noticed as soon as Trem is blocked- these are sounds your Grandmother would notice- not some subtle barely audible thing.

    Once more Buyers get out of the" 50's 60's - is- the-Golden- Age- for - Solidbody-Electric- Guitars" Fantasy...we can start moving ahead with R&D.
    No doubt. A guitar's tone is the sum of all the interactions. Perhaps because of my own background I ascribe more influence to the amp than other stops in the signal chain (and may well therefore suffer my own bias). But pickup type and make, and especially speaker type, efficiency, and layout, play crucial roles as well.


    Quote Originally Posted by Robertkoa
    But I suspect slightly angled headstocks,
    Set necks....heavier Mahogany Bodies..
    and fixed bridges( bolted to the Top of the Guitar) with a non moving trem block and springs - will produce a Strat Type Tonality with much more acoustic fullness ..so you get much more from it when you plug in.
    I do disagree here. I think the essence of a Strat's tone is a combination of scale length and pickup location under the string. More acoustically full? I'm not sure, myself. I've heard (and owned) Strats that bleated, and Strats that blatted.

    And once I plugged in, the gain-staging of the amp has so much to say tonally.

    Quote Originally Posted by Robertkoa
    Most people don't care about a Morph between a Strat and an Archtop or great Semi Hollow...and if they make some cool Semi Hollow 25.5" scale Instruments...I can maybe just go there.
    I'm not picky about it, myself. I'm one of those guys who thinks every guitar has a usable tone in it somewhere.

  19. #68

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    Quote Originally Posted by eddy b.
    I voted no but....if there was an Ed Bickert replica tele I'd buy 3.
    There is an Ed Bickert Tele, it's called a 'Graham Coxon' signature and seems to be only available in Europe....

    Signature guitars-coxon-telecaster-jpg
    It comes out of the Mexican factory.





    He's all angular indie Britpop wahh twangg Grrruuunnng. Not quite my liking. Some Blur songs are okay, a bit self aware and jocular. The Gorillaz are a better music project

    It's a shame that Fender choose someone 'pop' over the more cultured 'Jazz' styles.

    You got to give it to Gibson for their Artist signature series for Jazz musicians!

  20. #69

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    Quote Originally Posted by jazzbow
    It's a shame that Fender choose someone 'pop' over the more cultured 'Jazz' styles.

    You got to give it to Gibson for their Artist signature series for Jazz musicians!
    For better or worse, Fenders are not generally associated with jazz, and I doubt a Bickert signature model would attract even a small percentage of the buyers that would go for a Coxon sig model.

    Gibson has a long history of catering to the jazz market, so it's not surprising that they go for some jazz artists.

  21. #70

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    Quote Originally Posted by Thumpalumpacus
    I'm just saying that once the signal is processed by pickups, outboard gear, and preamp and power-amp stages, I'm skeptical of being able to hear this or that glue or joint. It may well make a difference in durability, no doubt, but nothing beats a straight comparison -- and even then, once the band kicks in, that sort of nuance is that much less detectable, in my own opinion.



    No doubt. A guitar's tone is the sum of all the interactions. Perhaps because of my own background I ascribe more influence to the amp than other stops in the signal chain (and may well therefore suffer my own bias). But pickup type and make, and especially speaker type, efficiency, and layout, play crucial roles as well.




    I do disagree here. I think the essence of a Strat's tone is a combination of scale length and pickup location under the string. More acoustically full? I'm not sure, myself. I've heard (and owned) Strats that bleated, and Strats that blatted.

    And once I plugged in, the gain-staging of the amp has so much to say tonally.



    I'm not picky about it, myself. I'm one of those guys who thinks every guitar has a usable tone in it somewhere.
    No Strat has the Acoustic Tone I am talking about ....one Anderson I played had it and the Koa Bolt that I use now does.
    When someone across the room plays a minor 11 th Chord unplugged even in a quiet room ...it goes plink plink plink you can't tell what the chord is ..on a 175 or
    most 335's or my Guitar you hear the Chord ...it is quite full and no Strat will do this...
    And you are correct about the narrow window pickups on the 25.5" Scale producing those Tones.

    IF you put Strat Pickups on a 25.5" scale semi hollow it would sound similar BUT fuller...less volume dependent...less dependent on the Amp.

    IF the Tone and deep resonance is already there in the Body Unplugged ( differences your Grandmother can hear MUCH more E A and D string unplugged
    ( no Fender Strats I have heard do this )
    then you do not need a 4-12 Cabinet and perfect Amp etc. to sound like _____.

    And there is more sustain...I wish they made more 25.5" Scale Semi Hollows and Set Necks.

    You can go and play 146 Fender Strats with light bodies...huge gaps in the neck pocket...not enough down pressure at the nut..( saves wood on neck blanks)
    and they won't have this quality and you have to deck and block the Trem to get the deeper resonance too.

    Block and deck your Trem even on a Strat...you will hear more bottom end usually..and even if you don't tell your Amp or Rig it will come through...lol.

    But not to the same degree as a better made instrument..and with distortion you hear it less anyway it's on clean Tones..

    I like some thinner Tones...but like to thin out a fatter Guitar rather than be trapped in Banjo type Tones..

    A 175 with a Stoptail and H -S-H might be really cool for what I do ...

    I have woodshedded long enough to deserve it...lol.

  22. #71

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    Oh, I'm not saying construction doesn't matter -- it does.

    I'm saying that my job, as a guitarist, is to fish the right tone out of the instrument, having taken inherent tones into account.

    As for thinning out a fat guitar, sure, it can be done. It doesn't mean that a 400-lb guy can ride the unicycle. There's a delicacy in Fender tones (due to scale length, pickup positioning, and wiring) that are difficult to achieve on other guitars. Banjo-esque? In the hands of one who hasn't spent time on the instrument, sure. But get the intro to "Little Wing" sounding right on a Gibby-scale instrument. Good gig if you can land it!

    There's a usable tone in any instrument you pick up. The song will tell you what it needs. Our job, as musicians, is to deliver that.

    Oddly enough for a rocker like m'self,a P-90 ES-175 is my Holy Grail axe. Beautiful combination of girth and cluck. If your mileage varies, it's all good. We each hear our own thing.
    Last edited by Thumpalumpacus; 08-13-2016 at 05:48 AM.

  23. #72

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    Seeing as I haven't listened to Scofield, Metheny, or Benson in decades, I'll ignore the Ibanez remark. The people I do listen to seem to have leaned heavily toward Gibson, followed by Epiphone.

    And yes, it can still be the 50s in some ways, if you have the desire and the will to distance yourself from the 24/7/365 idiot festival that is the 21st century.

  24. #73

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    Quote Originally Posted by jazzbow
    It's a shame that Fender choose someone 'pop' over the more cultured 'Jazz' styles.

    You got to give it to Gibson for their Artist signature series for Jazz musicians!
    Apart from Bickert, Frisell and these days Julian Lage .. It's not like there are a lot of names playing a Fender .. and while your usual jazz guitarist may lay down big bucks for one of those crimsom shop artist archtops (there are no cheap jazz artist gibsons), it doesn't seem like they will do the same for a fender. I can't remember the last time I saw a jazz player play a fender custom shop instrument?




    Quote Originally Posted by Boston Joe
    For better or worse, Fenders are not generally associated with jazz, and I doubt a Bickert signature model would attract even a small percentage of the buyers that would go for a Coxon sig model.

    Gibson has a long history of catering to the jazz market, so it's not surprising that they go for some jazz artists.
    Coxen managed to both sell a CS version of his tele some 5 years ago and now an affordable one


    But Ibanez has been keeping Benson, Sco and Metheny guitars in their stable for decades tho .. yay

  25. #74

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    Interesting tidbit that I just looked up. Mike Stern's signature Yamaha has a 7.25" radius neck. That might shake people in their boots over at TDPRI.

  26. #75

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    I dunno .. Currently they are too busy lamenting that Fender discontinued their beloved avri's and replaced them with was essentially is an avri series, but with 9.5" and medium jumbos

  27. #76

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    Aren't Les Pauls a signature guitar i.e. they're all 'Les Paul's' - created by Les Paul, bearing Les Paul's design, played by Les Paul, all in a way which is somehow different than say an Epiphone Joe Pass, which apparently Joe Pass loathed, he in fact far preferred a Gibson 175.

  28. #77

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    Les Pauls are fun .. These days you have signature version of a signature model .. Like the Slash Les Paul or Gary Moore Les Paul and so on ..

  29. #78

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    FWIW, Les Paul didn't design the Les Paul guitar. He took the idea of the solid body guitar to Gibson. They dismissed him. When Fender started having success with the Telecaster, Gibson designed the guitar we all know and asked Les to endorse it. Les designed a tailpiece and bridge that he liked (Gibson didn't nor did the public) and a deal was made.

  30. #79

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    No, a guitar being a signature model wouldn't be an influence one way or another. In my own work any consideration usually started and ended with 'Does this tool allow me to consistently do the job to the standard required?' I suppose that's kind of a boring or perhaps even dismissive answer, but generally speaking I'm not much one for labels anyway.

  31. #80

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    My aesthetic preference is to not have a famous player’s signature on the 12th fret or headstock (or anywhere) on my guitars. That said, I have owned one signature model - a Robert Cray custom shop strat. It was a hard tail strat with a gorgeous bird’s eye maple neck in metallic silver with gold hardware. Played and sounded like a dream. It was really all I ever wanted in a strat and the overall vibe and tone of the guitar overwhelmed my aversion to the signature on the headstock (which was fairly unobtrusive). I really like a lot of Cray’s stuff, and have seen him live. But I bought the guitar because of the guitar, and the signature on it had, if anything, a negative influence on my decision to buy it.

    I sold that guitar years ago when my affinity for playing strats and teles waned. But I’ve come back around and am now in the hunt for my forever tele. This, ironically, is on top of the list right now....

    (and should add that the player whose signature adorns the headstock is virtually unknown to me beyond recognizing his name as a professional guitarist.)

  32. #81

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    The Kotzen Tele is cool .. That neck is absolute huge, the only thing that might bother me is that it doesn't have a standard tone knob, tho tbh I don't use the tone knob that much, so ...

    I have the kotzen strat. Not quite as large a neck, but still substantial .. and let me tell you. Jumbo frets and a 12" radius on a Fender is a hugely underrated thing

  33. #82

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    For a while the Sco signature was the closest thing to a AS200 Ibanez made in Japan. That's why I got one. If it had been a AS200 rather than a signature model, I would still have gotten that guitar.

    In other words I would buy a guitar if it was the right one for me, signature model or not.

  34. #83

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    I've always looked for the best guitar for my needs and didn't care if it was a 'signature' model or not. Looking back however, maybe I was subconsciously influenced by the artist associated with them.

    My first Strat was a '96 Fender SRV. I loved the neck profile and Texas Special pickups. I hated the black engraved "SRV" pickguard and replaced it with a cool white mother of toilet seat guard.

    My favorite Tele is a Richie Kotzen (that I modded to include a tone control). Again, I love the fat neck and rich tones. Most of all it was the high quality build (MIJ), belly-cut contoured body that sealed the deal.

    Yes, I went for a Gibson Johnny A. signature guitar after seeing him perform live with one. Best damned guitar ever!
    Howard Roberts Fusion III was another good one, but I sold it to buy a second Johnny A.

    When my Ibanez 2630 started to show signs of wear and tear and binding rot, I looked for an AS200, but fell for a Scofield JSM100. I'm a sucker for a chunky neck and high quality Japanese builds. It didn't matter that Scofield was associated with it...and NEVER played one live based on my research. The 2630 would be MY signature model. It will never be sold!

    Others have come and gone...Gibson Les Paul Gary Moore, a great blues guitar, but not my style (sold). Epiphone Howard Roberts copy (sold).
    Of all the signature models I've owned, my favorites are the Benson models from Ibanez (GB10, GB12, GB200).

    So maybe I'm a signature guitar slut. However, it all instances, I like the guitar for its qualities more than any artist association. In other words, I would have bought the above named guitars no matter if they had an artist associated with them.

    Time to get my '79 Ibanez (Gitfiddler Signature) 2630 cleaned up and put on a fresh set of strings. She was my very first high quality guitar purchase...and my first love.

  35. #84

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    I don't give a darn. My Ibanez Pat Metheny (economy model) bears his name but I'm ok with that: he's clean, wears striped t-shirts and happens to be a rather wonderful musician.

  36. #85

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    Quote Originally Posted by Peter C
    I don't give a darn. My Ibanez Pat Metheny (economy model) bears his name but I'm ok with that: he's clean, wears striped t-shirts and happens to be a rather wonderful musician.
    Now you mention it ..

    But that has less to do with their association with PM and more to do that they're a good deal easier to find "cheap" on the used market than a ES-175 and I actually think they're great guitars



  37. #86

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    Quote Originally Posted by Lobomov
    The Kotzen Tele is cool .. That neck is absolute huge, the only thing that might bother me is that it doesn't have a standard tone knob, tho tbh I don't use the tone knob that much, so ...

    I have the kotzen strat. Not quite as large a neck, but still substantial .. and let me tell you. Jumbo frets and a 12" radius on a Fender is a hugely underrated thing
    since you have both the Ibanez Metheny and the Fender Kotzen, I would like to ask how you make the transition between the two.
    ibanez has a fast and a slim (compared to a Gibson es-175) neck. The fender one seems to me intimidating but I have never played one.

  38. #87

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    Quote Originally Posted by HarryPm
    since you have both the Ibanez Metheny and the Fender Kotzen, I would like to ask how you make the transition between the two.
    ibanez has a fast and a slim (compared to a Gibson es-175) neck. The fender one seems to me intimidating but I have never played one.
    I have the Kotzen Strat ... But have played the Tele in stores (been a few years tho)


    The Strat neck is slightly bigger than the PM, but not bigger then a ES-175 neck. It's also not quite as big as the Kotzen Tele neck. It actually is very nice neck. No issues there

    I remember the tele as massive, but not unplayable. It's more your traditional large 50s Gibsons necks than the to me almost unplayable large Nocaster necks from Fender.

  39. #88

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    I have both the older Metheny models (pm100 & pm120) and the Mike stern Yamaha signature telecaster.

    Both are killer players but I am not necessarily after the sound of Metheny or Stern. To be honest I have never tried to get their tone.

    I guess I prefer them for physiological reasons. We live in times of having the luxury to chose over many equally good instruments. But this is a headache as well.
    I can never understand the actual differences between of hundreds of the fender or Gibson standard reissues etc models (current and old).

    So my way is Japan quality guitars that someone else has put every thought in designing them.

    I don’t care to have the exact model that Metheny plays but I am confident that he was energetically involved in designing the pm100 and 120. Especially considering that they came after decades of playing his trusty Gibson es-175 . Slimmer neck and double cutaway was his trial to make a classic design better.
    so if it is good enough for Metheny is more than enough for me!

    same with the Mike stern model. Practically a 52 tele but with the consistent quality of Japan made instrument. His pickup choices safe bet as well.

    Event more time for practice I guess!

  40. #89

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    Quote Originally Posted by Lobomov
    I have the Kotzen Strat ... But have played the Tele in stores (been a few years tho)


    The Strat neck is slightly bigger than the PM, but not bigger then a ES-175 neck. It's also not quite as big as the Kotzen Tele neck. It actually is very nice neck. No issues there

    I remember the tele as massive, but not unplayable. It's more your traditional large 50s Gibsons necks than the to me almost unplayable large Nocaster necks from Fender.
    thanks.
    so the jumbo frets are not a problem I guess?
    I find it hard to find a better neck than the one on Pm100...

  41. #90

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    Quote Originally Posted by HarryPm
    thanks.
    so the jumbo frets are not a problem I guess?
    I find it hard to find a better neck than the one on Pm100...

    I'm not the right person to ask as I've always liked large frets. The 12" radius is cool tho

  42. #91

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    Some of them are rock solid, some of them are stunning, some of them are crap.
    Same as every other guitar model, just with "fancy name".

  43. #92

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    Catching up on this thread and I remember playing what was (I believe) the first production year model of the Jeff Beck Strat when it was issued. Two things vividly come to mind. The first is that the finish was IMO an unusual kind of yellow colour. The second is how big the neck felt. Huge. I've played various CS Nocasters and none seemed comparable to that Strat.

  44. #93

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    List of onces which I would love to try.

    PRS Johnny Hilland
    PRS Brent Mason
    PRS John Mayer
    PRS Mark Holcomb
    PRS Zach Myers
    Ibanez PGM 401
    Ibanez ATZ 100
    Ibanez TQM 1
    Ibanez SLM 10
    Schecter Nick Johnston
    .......

    I bet all of them are lovely instruments.