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I'm fed up of this instrument being around in jazz. It's like 'I don't have the stones to play an archtop but I got this stupid thing instead of a solid body because I don't want to be judged by my jazz mates.'
(Larry Carlton is allowed.)
(this is a joke, BTW, I know the gear forums get angry)
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06-03-2019 04:42 PM
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Hey it's a gauge 10 archtop
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LOL.
I got an Epi 335 Dot as my first "jazz guitar" about 20 years ago, and I had a hard time dialing in a jazz sound. Then I got a Joe Pass, which was much easier.
That said, a LOT of guys make a 335 sound great. Knowing what I know now, and knowing that 95% of the jazz sound is in the fingers not the guitar, I bet I could make it work.
I wouldn't mind getting a Sheraton 2. OTOH, a typical 335 with a center block just doesn't float my boat. I have an ES-135 which DOES have a center block, but it is balsa wood and for whatever reason does get a great mellow jazz tone. The body is quite a bit smaller than the 335, which is a plus in my book as well.
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Originally Posted by Doctor Jeff
But also the thin line fully hollow guitar?
I honestly think the key thing about the guitar is it’s versatility coupled with its looks. Tele is equally versatile but doesn’t look like an f hole guitar... I think that’s why I hate it. It’s a guitar that post dates the Les Paul and Strat, it was a self conscious throwback for those afraid of the future at its very inception (pace BB King :-))
Plenty of great players have played a 335 but there’s this thing going around that contemporary players have to play a 335... it’s wearing off a bit now and all the kids want to sound like Pasquale and play a Trenier anyway.
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Originally Posted by christianm77
I agree, and always love an old-guy rant... are you rehearsing for your 60's?
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Fetchez la vache!
John
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335
vs archtop
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Honestly, I totally agree. If you want to look cool just get a f#*king strat or rg, or sg.
On the other hand I'm playing one right now so I'm very guilty and a total hypocrite. Lol.Last edited by arielcee; 06-04-2019 at 12:30 AM.
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Sco with his Ibanez though! Does it qualify as 335? You gotta add him to the exceptions list.
Otherwise, yea, 335 with clean tone, treble rolled off, dreamy reverb- bbbehhhh, kill me now.
I do like and want Epiphone Casino though, technically it's more 330, right? Awesome looks and sound!
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Zappa said it well... "Shut up and play yer guitar"
When will players stop listening with their eyes.
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Too much neck for me, need long arms to reach 1st position....sitting down they really suck.
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Originally Posted by lawson-stone
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Originally Posted by Hep To The Jive
Sco gets a pass. Also he was sounding cool on Tele a couple of years back.
I think Casinos are kind of cool. I’m over the oasis thing now....
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Originally Posted by GNAPPI
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Originally Posted by christianm77
B. Nobody cares what you or anyone else plays.
C. Sell yours.
D. Case closed.
What's next, railing about strings that aren't flat wound? Oh crap, I think I'm gonna be sorry for opening that can of worms.
Gads, at 67 I thought I had some beefs (even joke types) but now I feel better knowing it can get worse :-)
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Let's face it, ES-335s are for pussies. For those who like the idea of playing a late-'50s-style guitar that captures the age but is vastly superior in terms of balance, has a switch that stays out of the way, solves any feedback problems, has tone for days, and is simply the most comfortable instrument Gibson ever made, it's actually a pretty simple choice. I'm glad I made it. Another bonus - some of these have extra-wide necks - mine is @1.72" at the nut, has an ebony board and the rest is mahogany. Jazz heaven in the neck position if you are not looking for that hollow sound.
Last edited by Hammertone; 06-04-2019 at 03:17 AM.
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GNAPPI,
You opened the can...
I'm sick of people asking "what are the best strings for jazz" and the knee jerk reaction is "Thomastik! Get the Swings, Bebops, or the Bensons"
I'm not gonna use "hate", but I really dislike Thomastiks. They sound dead to my ears. Not everyone likes em either. Can we stop knee jerk recommending them, jazz guitar world at large (not just here--but jazz guitar world at large)? Can we also stop talking about flat wounds like they are the end all be all?
He he, I'm ranting now. But I think I'll get more flack than Chris '77.
I agree with Christian about the 335. I go to a lot of jam sessions--that's how I play "out" because I haven't been in a band since high school. People love the 335. Heck, I thought of getting one myself--a clone, that is. But then again, I'm more of a one guitar kinda guy. It's really limiting, I know. But the perk is that I really know that guitar--it's like a close friend.
All that said, I'm glad that I'm back on JGF. I miss these conversations. And I'm getting more grays as we speak. Is it age, or is it the stress of parenthood? You tell me
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I suppose anything (semi)hollow became obsolete once the solid body was invented. Solids are the most purely electric instruments, so if you want to play an electric guitar, there's no need to bring those throwback hollow things.
What I'd really like to see is a moratorium on the modern reverb/delay sound. Everybody's been playing in elevator shafts and bathrooms for the past 10 years.
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Whenever I come across 335 style guitar the guy says: ''it is not only fio jazz you know.. this is what I like it for... archtops are for jazz only and this is not only for jazz.''
It seems like they pass this motto each when they sell the guitar over...
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Play a Gretsch. That will sort it out.
I get sick of th jazz tone too (and players who all want to sound like joe pass. Love joe. But he did it already.
Sent from my iPhone using Tapatalk
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When I grew up and started getting into Jazz in general (from ca. 1974) all I had was pictures in the few magazines I could get my hands on (the occasional Downbeat, Guitar Player was unobtainium), the backs of album covers and the records/radio to listen to. I found BB King, Pass, Martino, Benson, Metheny, Sco, Wes, Carlton, Abercrombie, Hall, Burrell, all these giants playing different guitars and having a personal and identifiable stye and sound and in the interviews I read their advice to young players : go find your own voice. It's hard work, takes a long time and maybe you'll never get there but it's essential in art....
The internet/information revolution changed all that. Cloning is everywhere and whether that's good or bad remains to be seen -
As for the percieved ubiquitous ES-335 with reverb and delay : it's different over here in Europe and I see a many more older/cheaper archtops in the hands of the young guys along with lots of Eastman, Ibanez, Godin and Teles are everywhere.
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I play a 335 (Eastman clone) lightly amplified, mainly because I play late in the evening and my acoustic would be too loud. Being a 16" size it works great seating. I'm much more frustrated by the over-reliance on amplifiers in jazz guitar and the fact that so few make the effort to learn to play acoustically. On the other hand when I hear Kenny Burrell's tone, it's apparent he can play acoustic too. Hopefully young artists like Lage and Grasso will get things moving.
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Originally Posted by GNAPPI
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how about a moratorium on making me google the definition of words
Transcriber wanted
Today, 04:35 PM in Improvisation