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  1. #26

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    They're tools used to make music, no matter how cheap or expensive they are.
    If they don't fulfill that purpose than they are just expensive toys, or wall art!

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #27
    Here's an interesting bit of info on Pat Metheny's 175.
    https://www.oakton.edu/user/4/larry/...henyes175.html

    Btw does anyone here hold their forearm on their picking hand as far back as Pat?

  4. #28

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    Just think of the sheer numbers of Telecaster models that were sold since the early 50's and you'll stop wondering about this discrepancy. The difference in cost also plays a role of course : in all these years of chasing my "Holy Grail" Super-400CES guitar (ever since my first one in 1993, a '68 model from Larkstreet/Buzzy Levine) during which I've seen and handled dozens of 50's and 60's models only ONE was in bad shape, i.e. showed extreme play wear/road abuse. A surprise ? No, these guitars were never cheap and certainly not the favored tool for the average weekend-warrior who plays blues and country in some biker bar. My current '62 Super has had a neck re-set and the top refinished but no dings or scratches to speak of, no buckle wear, no divots in the fingerboard etc. The case looks almost new.... this tells me that these up-scale archtops were played but also well taken care of by their previous owners, who had to save their coin for quite some time in order to buy such an expensive instrument.
    Metheny's ES is an exception to the rule and these 175's could be had cheap when he was starting out.....

  5. #29

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    Quote Originally Posted by grahambop
    Also Pat Metheny's 175 took some punishment:

    Attachment 83383

    what’s with the toothbrush?

    Does good dental hygene improve jazz improv abilities?

  6. #30

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    I think it was an improvised fix when the strap button fell out, he never bothered to fix it properly, and eventually it became a sort of trademark.

    If Gibson had any sense they would bring out a relic’d PM signature 175, with the first ten buyers getting a toothbrush previously used on the Metheny teeth and certified by Pat.

  7. #31

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    I've had a strat for twenty years now, that was dropped from guitar centers top shelf, so it has a few heavy dents, and has broken cracks in the woods. No problems ever, plays and sounds great. You can't do that with an artchtop..

    On the other hand, having spent 5-6 years playing my L5 clone a few hours a day, plus gigging, the finish has worn out in spots, behind the neck, there's a bit of cracking on the binding.. My 335 (70s) has literally no finish left on the neck, quite a bit of nitro checking. At some point, playing full hollowbodies, I left it in the case for months (or more) and it developed green stuff on the metal parts (that I mostly managed to get rid of... ). I should really change the frets on this one..

    My tele finish has started to fall apart also... Haha, as long as they play okay.. I just have the frets fixed if they go completely bad..

  8. #32

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    I have an early version Gibson Lucille with the fingerboard gouged and finish beat and it's one of, if not the best sounding semi I've played. I'm glad there are those who hear with their eyes... it leaves jewels to be appreciated by those who see and hear beyond the visual issues.

  9. #33

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    Quote Originally Posted by Liarspoker
    Here's an interesting bit of info on Pat Metheny's 175.
    American Garage: Larry's Pat Metheny Gibson ES-175 Guitar info page

    Btw does anyone here hold their forearm on their picking hand as far back as Pat?
    Yup. I also tend to hit the strings closer to the bridge than not. Gypsy technique ya know…

  10. #34
    Quote Originally Posted by Alter
    On the other hand, having spent 5-6 years playing my L5 clone a few hours a day, plus gigging, the finish has worn out in spots, behind the neck, there's a bit of cracking on the binding.. My 335 (70s) has literally no finish left on the neck, quite a bit of nitro checking.
    We need pics