-
Originally Posted by Greywolf
-
05-26-2024 09:33 AM
-
Lately, my "main squeeze" has been this Strat that I built from parts (Warmoth body and neck, all other parts are Fender, except the tuners which are Gotoh). It has a lightweight Ash body, a 1 11/16 nut with a compound radius, 4th generation Vintage Noiseless pickups and she is a hardtail (Weight is just under 7 pounds). Combined with my Henriksen Bud 6, jazz guitar tone and great playability are all there.
-
-
I don’t know about THE one, I have a few that are very special to me, but this one has a lot of magic and I feel like we have a very strong connection. Obviously it was made for someone else long before I was born but the connection I have to it feels like it was built for me. The shape of the neck is massive but in a way that feels like home to me. The responsiveness is like nothing else. And the sound when played with a dearmond floating pickup is my quintessential good jazz tone.
-
This amazing Heritage H555 has been my go to, do it all guitar for many years.
-
Originally Posted by Stringswinger
-
'51 ES-350, a lifer.
-
Originally Posted by John A.
-
Ken Parker addressed the overhanging top and back of violins and other stringed instruments including guitars in his video on his nylon string guitar discussed elsewhere on the forum. He says it makes repairs easier, because the top and/or back can be removed without damaging the rest of the instrument, and the top and back can be repaired should the edge be damaged. It makes sense to me, and I'm not sure why it isn't standard with guitar builders. Binding the edges is much more work, and makes repairs problematic and expensive. The purfling around the top also affects the response of the top, theoretically improving it. I certainly wouldn't turn down a guitar with overhangs.
-
That's a beaut Telephone! Is that the one you brought down from 12th Fret in Toronto? Did that all work out well?
I only mention it as I think it's a bit of an over-looked resource for States-side folks, and they have the Canadian peso working for them.
-
Originally Posted by ccroft
This one came along not long after I got the one from 12th Fret. Both guitars were from the same batch; one is sn A-6872, the other is A-6879. I've since moved along the one from 12th Fret. You can read about how I came to possess both guitars in this thread. So, this just happened. ES-350 content | The Gear Page Aside from one having much more play wear, both guitars were eerily similar, so I kept the cleaner one. Still gigging it.
-
Originally Posted by Enlightened Rogue
-
My first guess on the reason guitars are made as they are is tradition. That's how they have always been made, so that's the only way they should be made. I would like to try one with the overhang, and I can guarantee you that if I hit a big lottery and have a billion dollar windfall, someone will be willing to part with a Parker archtop for what I would be willing to pay. I don't think I have enough time left above the ground to spend a billion dollars, but it would be fun trying. A thousand million dollars would buy a lot of guitars.
-
Don’t really have a favourite, but this is my newest and I’m growing quite fond of it: an Epi LP Special. Replaced the nut with bone, but otherwise mint. Beautifully crafted, great neck, great electronics and surprisingly good pickups. I aim for a tone that fits somewhere between Grant Green and Muddy Waters and this fits the bill admirably. Well done Epi!
-
Right now it's this tele.
-
I have some Teles and SG's I use a lot, plus a Gretsch Electromatic, but since I bought this Ibanez I've been playing it pretty exclusively.
(day one pic, still has the packing foam under the bridge)
-
Nothing special, a plain-looking Wu product, with no bling, as ordered. But it's the one I pick up almost every time, whether for acoustic or amplified playing. I have a Benedetto, but this one gets much more play, because it just sounds so good to me, and plays so well. And rotated, as is almost always the case here.
-
Originally Posted by VesaW
-
Originally Posted by Enlightened Rogue
-
I’m an admitted Benedetto fanboy since first seeing and hearing his instruments in the mid-‘90’s. I purchased a Fratello model in 2000, and it and my late 50’s ES 175 were my main squeezes for many years. Between then and now a number of great instruments have come and gone - including those fine instruments. But earlier this year I acquired this ‘90 Cremona and the love affair has reignited. It sounds great as both an acoustic and amplified archtop; and the materials and craftsmanship are spectacular.
AKA
Reading Music and aging eyes?
Today, 04:53 PM in Everything Else