I respectfully disagree, although I do believe fingers and amph are the larger denominators.Originally Posted by Heywood Jablomie
I respectfully disagree, although I do believe fingers and amph are the larger denominators.Originally Posted by Heywood Jablomie
Guitars
Wilburn Versatare, '52 FrankenTele(Fender licensed parts), Fender USA Roadhouse Strat, Fender USA Standard B-bender Telecaster, Agile AL 3000 w/ WCR pickups, Ibanez MIJ V300 Acoustic, Squier Precision Bass,
Amps
Ceriatone Overtone Special, Musicman 212 Sixty-Five, Fender Blues Jr., Peavey Classic 30, Fender Super Reverb, Traynor YCV-40 WR Anniversary w/ matching 1x12 ext. cab, Epiphone SoCal 50w head w/ matching 4x12 cab (Lady Luck speakers), Avatar 2x12 semi-open back cab w/ Celestion speakers
Pedals
Digitech Bad Monkey, Digitech Jamman, DVM's ZYS, Goodrich volume pedal
Although I don't give a rat's anus whether or not anyone agrees with my opinion, it seems rather silly to disagree in this case, considering the thread topic.Originally Posted by oldguy
Well, I guess the point of this discussion board is discussion, huh? Just sayin'.Originally Posted by Heywood Jablomie
Curious about your post though -- what do you value or what would you say matters in guitars?
Guitars: Gibson LP Studio, MIA Fender Precision, Carvin C350Originally Posted by Spudman
Amps: Genz Benz Shuttle 6.0 + Avatar B212 / Genzler 12-3, Acoustic B20
Pedals: Pod HD500X, Diamond Compressor, Tech 21 VT Bass, Sonic Research Turbo Tuner
As far as electric guitars are concerned, I think the amp/effects are the most defining thing. I've heard guys with 335s that sound like Telecasters, for example, although Strats do have a singularly unique sound that doesn't seem to be duplicatable (and maybe Ric 12s).Originally Posted by Eric
I mostly chafe against the endless touting of aftermarket parts in the likes of Premier Guitar, claiming total tonal transformation of one's guitar.
Arbitrary perception, who famous played one, etc. seems to be a bigger deal with a lot of players, especially younger ones. For example, Casinos and 330s were considered somewhat bargain models in the 60s Kalamazoo line, but because of Lennon's rooftop performance, the Casino is HUGE. And it seems that guitars often sell more for aesthetics than other factors. I often wonder what players would choose if they had to make their choices blindfolded.
The "placebo effect" of guitar mods is not to be underestimated, either. People who swear that the new nut made their guitar a "tone monster" (I hate that expression), are absolutely positive that it's true. Same for bulltique capacitors. Hell, my guitars sound different from day to day just subject to my mood.
Now here's the cool thing, as far as I'm concerned: When I was playing in the 60s, there was Fender, Gibson, Guild and junk (Teisco, Harmony, etc.) I preferred Gibson. Having re-entered the world of electric guitars a few years ago, I was quite pleased to discover all of the VERY playable guitars available at price points starting at $200. I got an Epiphone Dot Studio as my re-entry guitar. After replacing the pickups with P90s (I had a Gibson 330 and SG Special in the 60s and always loved P90s, and the Epi hot bridge pickups are horrid), I find no logical reason to upgrade to a "better" guitar.
On the other hand, I think the variables in acoustic guitars are vast, and the differences between the cheap ones and the good ones are huge. Now if I could just afford that D28.......
Last edited by Heywood Jablomie; February 17th, 2010 at 01:32 PM.
I won't delve any further into this topic than to say that, if somebody tries to sell you something and uses the term "mojo" as part of the sales spiel, head for the exit....
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Hey DVM I take it that you are not a huge fan of this road worn / relic phenomena then . I`ve been looking at a few Teles recently and most seemed to come with this added mojo thing , is this not a good 'thing' [and where is it kept / located ].Originally Posted by duhvoodooman
I'm firmly in the "whatever works" camp, knowing that can be different for everyone. I have accumulated various instruments, usually because I had some extra cash when a good one came up used. Most of them are US-made, but one is an aluminum/phenolic hollobody with buckers (and obviously a bolt-neck), one is a Hamer (perfect, by cork-sniffer standards), another is a US Washburn Telecaster (perfect, by classic ash/maple Tele standards), two are Linderts (which are essentially made of Masonite, of all things). I also have an Indonesian hardtail plywood Squier Strat and a Korean Epi Dot, and a Korean Epi LP. They all play fine, but only three of them are carrying their stock electronics. As long as you like the way they look, and they play and stay in tune, it's mostly pickups and switching. Find the combination that works for that guitar and you're as good as that guitar gets. I think I could pretty easily sell everything but the anti-cork-sniffer Squier, the Dot, the Industrial and one of the Linderts. The only one of those that would usually be considered a "decent" guitar by snooty standards would be the Dot. At least it's a good copy of a good guitar. With VintageVibe Charlie Christian single-coils and phase and series switching. Hot dog!