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Recently, I sold my LGB300 (George Benson). That guitar is a great guitar. Heavy (ish) @ just under 8lbs, but great. I bought a 1999 mint condition double Florentine cut away part Matheny model. As a professional player and guitar professor, this is an absolutely incredible instrument in every way shape and form. If you can purchase one, do it!
Weighing in a 6.8lbs, it is simply amazing in its simplicity, tone quality (from 10-1 -on the tone control - the l characteristics of the instrument are amazing). I'm curious as to why Ibanez dumped the double florentine for the wayyyy more pedestrial look of the PM200 )which I bet sounds equally amazing?
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08-12-2023 06:54 PM
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I like the design of the pm100
show us a picture please ….
Is it easy to play the blues in F at the 13th fret ?
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I would hazard a guess that it was odd enough to put enough people off, that keeping the tooling around to make it ended up costing them money.
Originally Posted by Brazenkane
That isn't to say the guitar is bad, simply that it would have been no longer financially worthwhile continuing.
I've never tried one I'd be happy to bump into one.
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they still have the pix up!
Ibanez PM100 Pat Metheny Signature | Guitar-Place
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There's no doubt that making Florentine cutaways entails a lot of intensive labor. Certainly much easier to steam and bend Wood. This guitar is just brilliant in every way shape or form. As a matter of fact, if you look up p.m. 100s on YouTube, aside from the fact that nobody who's playing them can really play… The guitar still sounds great. That alone is quite a testament!
I would love to know the actual reason. My friend interviewed Pat recently and I totally forgot to ask him to pose that question... smh ugh... anyways......
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PS... Yup...just played a blues in F at the 13th. No issues, no buzzes, no problems!
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I had one for 3 months or so. I like Pat but using anyone’s ‘signature model’ kinda goes against my grain ( I’m aware how silly that is)….I overlooked this because I was curious about the enhanced playability in the upper reg and otherwise liked the idea of a modernized 175. Originally Posted by Brazenkane
When I received it I was really impressed with the playability, sound and great build quality, but, upon using it on a gig it quickly became evident that this guitar’s flaw is that it’s very feedback prone….like easily as feedbacky (hah) as an 18” solid wood guitar with a thin top and floater. I played it professionally in every context from duo-quartet with and without drums and the thing was afflicted with this problem perpetually. I wondered if my guitar had some fatal flaw or if this was endemic to the model. I jumped on the net and remember reading accounts from several other owners whose experience mimicked mine.
I mute like a champ, and feedback is literally never a problem for me with archtops, but I’d say steer clear of this one to anyone needing to use it in a high volume context without low stage volume and good sound reinforcement. Or maybe plug/tape the F -holes.
Ironically, in the end I got rid of it for its lack of practicality despite all the practical improvements.
Cool guitar anyway…maybe just tape it up!
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FYI, there is always an option to pick up some sort of feedback destroyer. Those devices have come a long way, and according to others do not have the same impact on tone as the older ones. I do not know from personal experience. I plan to get one some day.
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I love my PM100, the black version. Easiest neck in the world to play on.
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Originally Posted by Brazenkane
I am guessing the fact that Metheny stopped playing the double-cuttaway PM100 played a role. It is hard to sell an expensive signature guitar when the signatory is not playing it publicly.
This is a quote from the Vintage Guitar interview with Metheny:
Originally Posted by Vintage Guitar
Pat Metheny | Vintage Guitar(R) magazine
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Who knows what he's thinking?!? I remember seeing him on tour once and he was using the PM20 instead of the 120 or 100. But I agree it helped kill off the 120/100 series. I love the double cutaway look personally. Very art-deco.
Originally Posted by kile
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the production pm20 has a 22fret neck and was Korean Originally Posted by jzucker;[URL="tel:1281395"
Pats Ibanez prototype (he started to use after he retired the famous 175)
was Japanese made
out of a body and a neck
and has a 20 fret neck ….
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I think that yeah , he still plays
that prototype a fair bit ….
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Guitars come in types but
they’re individuals too
I think he just likes that prototype
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yes, i know. On the road he was using the PM20 though, even while his namesake PM100/120 were in production. No wonder they didn't sell well. Not sure why he wouldn't play them. I've often wondered about the FG100 and how close it is to pat's prototype... Originally Posted by pingu
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indeed …. they should’ve put the prototype into production as is Originally Posted by jzucker;[URL="tel:1281410"
I probably would have bought one
the current pm200 looks nice
have you played one ?
(I’ve got a current af2000 which is wonderful so I’m sorted for now ….)
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A friend of mine has a PM120, PM100 and PM200. He says the PM200 feeds back a lot. I have not played one. Have you heard Kreisberg playing one? Sounds amazing. I heard they may be doing a kreisberg model... Originally Posted by pingu
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I remember seeing him play the PM100 at least once. Originally Posted by jzucker
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wow Kriesberg !
my favourite guitar player
Avanti !
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My 100 started feeding back when I was practicing. I put my right arm over the F hole and it stopped. that tells me simple clear pickguard film, or foam F hole inserts would cure this issue. If I'm playing in a trio etc. I could care less about an "acoustic sound." Above speaking volume/ gig volume an amplified guitar ain't acoustic in any way shape or form that matters!
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The double cut away like the one on the PM100 was also seen on the modified/rebuilt guitar (I think it was an ES 150 he bought from Herb Ellis) Howard Roberts used at a point in his career. It's the guitar heard on the "Color him Funky" album (where he also used a custom built amp).
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The PM200 looks deeper than the usual 16" Ibanez. More like a cross between a 175 and a D'Aquisto.
That likely accounts for the reported feedback issues.
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Can’t comment on the PM200, Rich, but the PM100 was the most feedback prone guitar I’ve ever played. Don’t think it was the body depth as I’ve played too many other 16x3+” guitars that simply wouldn’t feed even when pushed hard, sitting in front of the amp. As cool as it was, I really believe there was a design flaw inherent in that one. Originally Posted by Archie
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I see this mentioned somewhat often on here that Pat was seen playing PM20 models on the road at times. Anyone have pictures or videos of that? I think it would be cool to see Originally Posted by jzucker
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Many years (decades) ago I read interview with Pat in one of the guitar magazines and he talked about his very first guitar from Ibanez, which looked like the PM100 from the photograph that was in the article. That guitar was stolen from him while he was on tour. Ibanez had apparently been reaching out to him quite a bit about doing a signature model before he assented. He said they would bring him various prototypes every so often to try and see if he liked one of them, and that was finally the one that he did.
There is a video on YouTube of a rig rundown with his guitar tech, who in passing mentions that Pat refers to the Ibanez as "the 175." In his interview with Rick Beato, he was playing one of the matte black finished CC pickup guitars that appeared to be just a factory model.
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I have a blonde 2002 PM100 and she has in her tone something alive I can’t explain.
It’s true… she’s more prone to feed-back than other archtops (more than the GB10 for sure), but I solved simply putting a damper wrapped around the neck (like those used by Matteo Mancuso). I use (when needed) a Gator small size…. And every issue was gone.
hope this helps, if you need photos let me know!
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Late 90s belongs to the black PM-100 like the album We live here and Imaginary day. The release year of PM-100 was 1996… Pat always played the black one, leaving the blonde color to the other models. Some years later he took back the old 20 fret prototype blonde with (the only one) venetian cutaway to which the PM-200 in my opinion was inspired. Originally Posted by John A.
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