The Jazz Guitar Chord Dictionary
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  1. #1

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    Hello,

    This is my first post to this forum, looking for some advice from experts!

    I'm thinking of buying a new guitar. I'm 64, going to my retirement and I have decided to give myself a Good celebration gift. so have been looking in the market for several weeks and I have found two guitars that I like, the new Eastman Cabaret-JB, designed by John Buscarino with the Eastman Guitars team, and a Taylor 712ce-N.

    As you can see, I'm looking for a nylon guitar. In my youth I did study some classical guitar (just 4 years of professional grade) and from there I did play Spanish guitar and acoustic guitar for years. I like all kind of music, but I'm thinking about going back to guitar studying to play some latin jazz and bossa.

    I have enjoyed Jobim and Baden Powell for years, but also Charlie Byrd and Joe Pass. I play almost exclusively with my fingertips (only use pick on my acoustic metal strings) and I don't use nails, sound is softer and warmer as I don't like to do solos but to do chords instead. I have lost finger agility and speed, and my hands are not big, so a smaller nut could make my life a bit easier?

    And I Will play it mostly amplified through an AER Compact 60 IV, playing with some Friends that play piano and acoustic bass, but unplugged too.

    Ok, all that clear, I have found this two guitars that I like and I Will quickly explain what are the main differences I have found on them.

    The Eastman Cabaret-JB is about a normal classic guitar in size (although body dimensions are wider), scale 634 mm (24.96"), nut 50 mm (1 15/16") , 12 frets to body, 17 frets in all, 9,5 cm body Depth. Body is spruce top + maple sides and back, electronics is LR Baggs LB6. You can see it on
    Cabaret-JB - Eastman Guitars

    The Taylor 712cd-N is a bit larger, scale is 647 mm (25 1/2"), nut is 47 mm (1 7/8"), 12 frets to body, 20 frets in all, body 11,5 cm Depth.Top is Lutz spruce (could be cedar as an option), sides and back in indian rosewood, electronics from Taylor ES-N* developped for nylon guitars. You can see it here:

    712ce-N | Taylor Guitars

    My question is: which one do you think is more adapted to the music I want to play? I think Eastman and John Buscarino have enough experience in archtops and jazz guitars to trust the Cabaret in jazz and bossa use, but body depth and tonewood in Taylor seems to promise a deeper tone, maybe I'm wrong? And I have come to like so much the tone of Taylor acoustic guitars that I know well.

    I must say I have an old spanish guitar Alhambra 4F from the seventies that I usually play, still sounding great, but not amplified.

    Any help Will be really appreciated!

    Thanks in advance,
    Juan
    Last edited by JuanR; 10-07-2019 at 05:41 PM.

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  3. #2

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    Since you will be playing amplified much of the time, the "depth" of tone can easily be adjusted at the amp. I've noticed that as we get older, a shorter scale length can be very helpful for left-hand stretches. In any event, both of the instruments you are considering are high-quality and will work for you, I think the Taylor could be more prone to feedback and, in the long run, might be too big. However if you practice and play every day, it won't make much difference; you should get the one that speaks to you.

  4. #3
    Thank you ronjazz - clever comments

  5. #4

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    Quote Originally Posted by ronjazz
    I think the Taylor could be more prone to feedback
    I have a buddy who plays a Taylor and he never has issues with feedback. OTOH, the acoustic tone is very quiet, so it really needs to be amped for almost all situations.

  6. #5

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    Gene Bertoncini's Grand Cabaret is the nicest sounding amplified acoustic classical I have ever heard. Amplifying classical guitars is like amplifying acoustic archtops: that which is good for electric tone is bad for acoustic tone and vice versa. Buscarino splits the difference really skillfully and doesn't give up much in either direction. It's also a superbly playable instrument. You can hear it on his CDs "Quiet Now" and "Body And Soul."

    That said, I think that for strictly amplified purposes the Rick Turner Renaissance RN-6 is the best-sounding amplified nylon string available. It is a semi-hollow construction and feels like an electric guitar with nylon strings, which isn't everyone's cuppa. Many people also like the very similar Godin, but I've never played one.

  7. #6

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    I have owned a couple of the more modestly priced Taylor NS guitars, 32 and 42 models, and found them to be ergonomically very well designed. Acoustic tone was passable if not inspiring (true of most electric guitars) and the amplified sound was as good as anything else I've heard. I've not yet found a crossover acoustic-electric with a tone as compelling as a well made acoustic instrument.

    I note that the Eastman at your link has a large fretboard radius which will feel flatter than the Taylor. It has a wider nut as well.

  8. #7

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    Timely posting for me, as I've been thinking about the Eastman Cabaret JB as well. I haven't yet seen a dealer though who's actually stocking them. (Guitars 'n Jazz is taking orders for them with a $300 deposit.) However, while looking at the Buscarino website I noticed their Starlight Nylon model, which appears to be more of an electric guitar type chambered body with nylon strings. Has anyone tried one of those? Or perhaps the Sadowsky Nylon string model?

  9. #8

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    When you buy/inherit/get custody of a classy violin, you're the one who needs to adapt and learn how to get the best out of the instrument. With guitars, instant gratification is the expectation. The price range and reviews tell me that, tone-wise, you can't go too wrong with either choice. I'd zoom on the neck - i.e. fretboard radius and nut width. One's got to be closer to what you are used to. My personal experience is from Yamaha NTX guitars far below your price point. Despite some classical studies 60 years ago, I'm more comfortable with the narrower neck and 12" radius fretboard. You might prefer a broader, flatter fretboard, however.

  10. #9

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    The Eastman Buscarino Cabarêt is undoubtedly a very nice guitar. Those of us who don't have the coin for a John Buscarino made-which sells for $5500 and upwards each used when you can find them-will certainly see it as a boon. Nice styling, nice ergonomics, nice tone, both amplified and acoustically.

    I don't like the LR Baggs LB6. Use it long enough and you hear its piezo quack. It severely, imho, compromises the tone of the guitar. Replace it with a solid bone saddle and your guitar comes alive. I guess it works in a live situation where fidelity isn't of the greatest concern. It is remarkable how the eyes trump the ears and fool the mind enough that it accepts that it is hearing a nylon string or steel string. Listen critically with your eyes closed and you recognise the tone as crap. I recall those early Ovation days. Remarkable how we accepted that shredded tincan amped tone as "acoustic" all those decades ago.

    I don't like Taylor guitars at all; momma always said that if I had nothing good to say about somebody or something then I should say nothing at all. So, about Taylor, nothing at all. They are really mid-tier Japanese guitars at American prices. I am not sure if the Japanese are offended by my remark.

    This is where I plug the Pavan TP-20-AC. $1495 from Tom Prisloe. Fit your own JJB Electronics Under the Soundboard Transducers-same as K&K at half the price-run it through a preamp or Tonedexter and you are good to go for about $2000. Spanish made Classical Guitars For Sale, Flamenco, Left-handed, Cutaway, Rosewood, Electric Classical Guitars .

    The Tonedexter captures the acoustic waveforms of your condenser microphone hearing your guitar and superimposes them on the electrical waveforms of the transducer attached under the soundboard of your guitar. Once you have done the "imprinting", you could plug your transducered guitar into the Tonedexter and what comes out of your PA or acoustic amp are the waveforms of the condenser microphone or something close to them anyway. Neat trick!

    My own preference for amplification is the Bartlett Guitar Microphone A or B for $199. Bartlett Guitar Mic - Bartlett Audio . You need a decent EQ pedal like an Empress ParaEQ or a Tech 21 Q/Strip.

    Good luck. Hope you find what you want.

  11. #10

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    Quote Originally Posted by Gitterbug
    When you buy/inherit/get custody of a classy violin, you're the one who needs to adapt and learn how to get the best out of the instrument. With guitars, instant gratification is the expectation.

    I get the point you are making and agree with the sentiment. However guitars are manufactured, commodity tools. While I could try to get the best out of that circular saw what I might really find more helpful is a reciprocating saw.


    The price range and reviews tell me that, tone-wise, you can't go too wrong with either choice. I'd zoom on the neck - i.e. fretboard radius and nut width.
    Excellent advice!

  12. #11

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    Quote Originally Posted by Jabberwocky
    The Eastman Buscarino Cabarêt is undoubtedly a very nice guitar. Those of us who don't have the coin for a John Buscarino made-which sells for $5500 and upwards each used when you can find them-will certainly see it as a boon. Nice styling, nice ergonomics, nice tone, both amplified and acoustically.
    John's Cabaret starts at $8,500 USD (with options, they are usually more) vs. the Eastman JB which lists at $2,999 (I am not aware of their discounting structure off MAP). Regarding not liking the LB6, John is an Eastman dealer for this model and will not only set it up but install a number of alternative pickups should one like another pickup system.

    The Cabaret Nylon String — Buscarino Guitars