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  1. #51

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    Hi Ellen. Yes, this is full hollow, which I like, and because of some osteoarthritis in both hands I'm loving the neck on this guitar. Otherwise I too would prefer thicker necks.


    The Jazz Guitar Chord Dictionary
  3. #52

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    Quote Originally Posted by EllenGtrGrl
    Great playing, and a great sounding guitar Rob! Too much of the general guitar public forgets that Ibanez not only makes super Strats for the shredder & metal crowd, but that they make great hollow & semi-hollow guitars. I had an Ibanez Artstar AF120 that was a great guitar, in the mid 2000s. Nowadays though, I lean more towards full hollow, when it comes to Ibanez, and I find their necks (other than the expensive EKM100 Eric Krasno semi-hollowbody) to be a bit on the thin side for me.
    The high end Ibby super strats, like the Jem, are just about as good as you get in that genre. I haven't had a day without a Jem in a long time; they're just effortless to play.

  4. #53

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    Now speaking of Ibanez hollow bodies….. witness the AF105SM “Exotic Explorer” on Reverb. Seriously worth seeing!
    Thays an interesting, different, weird,um gee I dunno what finish!

    2009 Ibanez Artcore Archtop AF105SM-Exotic Explorer | Monkton | Reverb

  5. #54

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    I'm glad that you like the AF200, and had a feeling that you would.
    I have always had an Ibanez in the herd, at the moment just my
    GB10, an easy on the hands model when the tendonitis appears.
    I've had Fender Twins including the !5" Speaker model, they're
    too heavy for me now, and I have the Vibrolux instead ,
    It's good to see some love for my all time hero Gerry Mulligan
    a good number of his tunes are ideal pn guitar, I first heard
    GM when I was 14 years of age and have loved West Coast
    Jazz & Bop since. Good to see and hear DB [;aying "Line for
    Lyons" ( a tribute to a west Coast DJ ) and Grahambop
    extolling the virtues of " Boplicity "

  6. #55

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    Cheers, Alan, but you must add another zero: I have the AF2000! I wish they’d given it a better name.

    Gerry Mulligan was a bit of a genius, always tasteful.

  7. #56

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    Okay, finally plugged in. I don't know how to use the Line Out from the amp, so what you hear is the mic in the middle of the room, and some amp sound mixed with some acoustic sound. To be honest, I think I can do better recordings, as the guitar sounds better in the room through the amp than it does here. So, I have some experimentation ahead of me. In short, I'm a bit disappointed with the recorded sound, but not the live sound.

    I've added a third section to Blues for Barney K...happy to discuss the composition too.

  8. #57

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    Rob it (and you) sound really fine! Happy NGD+NAD.
    I suspect the Amegre is giving it a more balanced sound than the maple AF200.

  9. #58

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    Quote Originally Posted by Lobomov
    Great sounding guitar that AF2000 .. I too like it more than the AF200
    Only one 0 and such a difference.

  10. #59

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    Kris - in a positive way?

    Lobomov - interesting. The 200 is a good guitar too, I think, but the mahogany certainly makes a difference.

    JK - glad you like it! All these guitars are good. My "problem" is I am 95% an acoustic player, so I'm finding it hard to cope with the amp settings and the guitar settings, and the microphone's sensitivity and placement, etc, etc. But I enjoy the learning.

  11. #60

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    Did anyone spot the somewhat disguised nod to the "You drove me" section at the start of the third chorus? Maybe not obvious, but it was on my mind.

  12. #61

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    I agree that the Ibanez AF2000 has a better sound/tone than
    the AF200, possibly the wood tailpiece has improved the tone
    or maybe a combination of upgrades, whatever ,Rob;s model
    has an excellent sound quality , the player too enhances it.

  13. #62

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    When you play an electric archtop that has some acoustic sound amplified, you the player will get some of that acoustic sound that the audience/microphone will not. And whatever speakers you listen to a recorded guitar through will change the sound as well.

    It is an imperfect process. Don't let it drive you crazy!

  14. #63

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    Alan - interesting too. Glad you like it.

    Stringswinger - it WILL drive me crazy!

  15. #64

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    Quote Originally Posted by Rob MacKillop
    Kris - in a positive way?

    Lobomov - interesting. The 200 is a good guitar too, I think, but the mahogany certainly makes a difference.

    JK - glad you like it! All these guitars are good. My "problem" is I am 95% an acoustic player, so I'm finding it hard to cope with the amp settings and the guitar settings, and the microphone's sensitivity and placement, etc, etc. But I enjoy the learning.
    100% in a positive way...obviously the guitar is in the right hands.

  16. #65

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    I’ll sleep tonight

  17. #66

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    Sounds wonderful

  18. #67

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    Thanks, PS. Glad you like it.

  19. #68

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    Nice piece, Rob!

  20. #69

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    Sounds great Rob.

  21. #70

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    Thank you, gentlemen.

  22. #71

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    Rob, re miking the amp and guitar to get what you hear close to the strings and soundboard as well as the amp—

    If you can access Apple Music, look up a solo album titled Looking In by Oregon guitarist Mike Denny. The first 3 tracks are standards—Desafinado, My Foolish Heart, Willow Weep for Me—and what you’ll hear is the tone of a fabulous old L5 close-miked. For a long time I have found his tone on that album the ne ultra plus for solo jazz guitar.

    If you can find it and download a few tunes (though the whole album is worth the €10-15), I’ll be happy to send along the technical recording info from my CD. Its essence, though, is the guitar belonged to Don Latarski, along with the key mic and maybe the studio, and Don (whom you may know from guitar music publishing) was the engineer.

    Although I am a writer, I dislike describing tone and timbre and so on the same way I dislike the insider lingo purporting to describe wines and coffees for wealthy snoots. So I won’t debase Mike’s tone and techniques that way. Hearing the solo takes is holistic, and your own critical, pedagogical and performative vocabulary will be plenty informative if you listen.

    Here’s the second most important thing. While I lived in Eugene, I went out to hear Mike, solo or organ trio, whenever I could, but especially solo. He played a pre-Gibson-takeover noncutaway sunburst Epi through a brownface Princeton. The tone was essentially the same, missing only that sense of acoustic miking (and probably some compression) in the studio. An old truism about tone and hands, certainly, but the point is that Mike solved it despite the differences of studio/live amplification/instruments.

    You don’t need benchmark suggestions from me about performance and recording, and I know you must have a vast internal catalog of cherished tones, techniques, tricks. But Mike and Don’s work might give you a nice little magic dragon of tone to pursue in this conundrum of properly balancing what your hands and ears do with what the pickups and amp and soundboard.

    If you can’t access it, just send me your new address. I’ll mail you my old CD version. I can download Mike’s stuff any day. Have fun, and thanks for the return to sharing your compositions and processes.

  23. #72

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    Many thanks for that thoughtful post, Robert. I'm sitting listening to Mike play on my phone (with good-quality headphones) thanks to your suggestion. He has mixed the amp sound with an acoustic sound, and it really does sound beautiful. Very impressive playing too! I wouldn't mind a copy of the booklet notes, if you could scan them - a phone scan would be enough - and post them to my email address, my name at gmail.

    Thanks again for your post!