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#2602
06-11-2012, 01:48 PM
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#2603
06-11-2012, 03:59 PM
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#2604
06-11-2012, 11:02 PM
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#2605
06-11-2012, 11:11 PM
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#2606
06-13-2012, 06:38 AM
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#2607
06-13-2012, 08:41 PM
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Wordman, is there anywhere local I can get a new pickguard? I don't feel... happy... about disassembling Blondie (JT90, blackguard) and mailing the currently irreplacable pickguard off. I need it before I try to bring Trouble (JT90, #1, sunburst) back to life.
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#2608
06-14-2012, 06:56 AM
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If your pickguard is uniquely Xaviere, then you would either have to check online or send the pg some place to be traced and copied. But I would assume the website you got it at sells stuff like that??
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#2609
06-14-2012, 07:02 AM
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Look at the Creamsicle (JT90, #2). It's got an off horn that Teles don't. Yes, there are places I could mail it in. No, GFS doesn't sell that specific guard, annoyingly.
Trouble got smashed, the pickguard's gone, and I really should get a replacement for it. Last edited by E-Sabbath; 06-14-2012 at 07:03 AM.
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#2610
06-14-2012, 07:07 AM
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#2611
06-14-2012, 10:25 PM
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Kinda OT, but I thought some of you guitar players might like to see this-- Pete and Jeff playing Love Reign O'er Me with The BBC Orchestra.
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#2612
06-15-2012, 07:44 AM
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Beck looks great in his white tie and tux. But damn if he doesn't make his guitar sound like Roger Daltrey. His technique is magically incomprehensible to me. Last edited by WordMan; 06-15-2012 at 07:46 AM.
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#2613
06-16-2012, 01:41 AM
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#2615
06-17-2012, 08:28 AM
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Estafeta, the Mexican parcel service dropped off my new (to me) Reverend Daredevil H90 yesterday afternoon. I had to adjust the neck slightly and raise the action when I put new strings on it. I had read that the 2 hole Wilkinson EZ Lock tuners could be a little difficult but after the first 2 strings I found it fairly easy.
I have had my eye on Reverends for awhile and I am more than happy with this model. The neck is very comfortable, the pick ups are hotter than what I am used to and the base contour feature is kind of cool and allows you to dial in the sound you are looking for. I am impressed. In a lot of guitar reviews for inexpensive makes and models say that that certain guitar is as good as a more expensive model. In this case I reall believe it is true. Now I'm suffering serious gas pains over the Reverend Club King.
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#2616
06-18-2012, 06:45 AM
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I have never actually played one - would love to. Heard many good things and contemplated getting one of the Made in USA ones a few years ago, but ended up changing my focus to building an electric, not buying one...
Congrats - sounds like it lives up to the reputation. I like their look, too.
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#2618
06-20-2012, 12:51 AM
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#2619
06-20-2012, 06:47 AM
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I think the other poster was referring to the Fender Marauder. http://www.elderly.com/vintage/items...body-front.jpg
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#2620
06-21-2012, 06:03 PM
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I was referring to the new Fender Marauder. By the way, Guitarfetish is having a clearance sale.
http://www.guitarfetish.com/Spring-C...erer=mailid:36 Aaand it looks like the pickguard issue is going to resolve itself in a slightly different manner than planned.
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#2621
06-21-2012, 08:14 PM
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 Thanks for the pointer to the GFS clearance, it's been sparse in there for quite a while.
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#2623
06-23-2012, 05:07 PM
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There's an 1840 Martin at the 12th Fret in Toronto that folks over in the Vintage Corner message board are drooling over, including me:
http://theunofficialmartinguitarforu...ret-in-Toronto CF Martin came to the States in 1833. This is a museum-quality guitar and just beautiful. Thought I'd share; hope you enjoy.
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#2624
06-24-2012, 01:59 AM
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#2625
06-24-2012, 08:10 PM
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#2626
06-25-2012, 11:39 PM
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Guitars I am currently using:
Acoustic: 1. 1992 Takamine D-28 copy 2. 2005 Johnson Red Cliff 12-string 3. 2011 Wayne Scott Jumbo Archtop Electric: 1. 1987 Fender American Vintage Stratocaster (all original) 2. Austin Strat copy Amplifiers: 1. Crate C-60 2. Fender G-Dec 15 (main amp). The song I'm currently working on is I Had Too Much To Dream (Last Night) by The Electric Prunes. For inspiration, watch some of your favorite players in action. It helped me quite a bit. -Larry
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#2627
06-28-2012, 03:08 PM
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Link
I remember that Wordman appreciated a good slide guitar performance and who better to give one than Derek Trucks. At the 5:30 mark he starts a slow solo buildup to some furious playing. The film quality is excellent and they give you want you want - closeups of the musician playing. It's almost a clinic. The only drawback (besides the 30 sec ad before the clip) is that Youtube has plastered a Nicki Manage Ad all around the video box. I know I sound rude but it just seems wrong to show the face of a plastic pop star while a quality vocalist like Susan Tedeschi is singing. Luckily the video quality is good enough that I could take it full screen and make the ad disappear.
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#2629
06-29-2012, 02:56 AM
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The only time I'm ever aware of ads on the internet is when I see other people complaining about them.
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#2630
07-05-2012, 02:13 PM
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I just wanted to toss a quick link to the Premier Guitar gallery from this year's Montréal Guitar Show. Sadly, I was unable to attend. It has now changed to a biennial event, so the next one will be in 2014. I'm hoping to be there...
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#2631
07-05-2012, 05:22 PM
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#2632
07-05-2012, 09:18 PM
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Going by the appearance, the bridge and nut are both high enough that I don't think you could play with anything other than a slide. I think it's meant to be more of a Veena (or Vina is the other spelling in Latin characters) than a guitar. Grant Wickland has built several instruments for Harry Manx, including -
German Silver resonator guitar. Black Walnut and Brass 6-String Banjo. Box Dobro. Here's Harry playing the Mohan Veena.
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#2633
07-06-2012, 06:01 PM
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...and some more shots in an article from Acoustic Guitar magazine. Dang, I'm wishing I'd gone this year...
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#2635
07-07-2012, 07:52 AM
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I've played several, at the 2010 Montréal Guitar Show and at the home of my friend Ed Klein. (His guitar, The Ellipse, is a fan-fret.) It took about 5-10 minutes of noodling to get the basic hang of it; essentially, it is based on the way your fingers work. I've never played one in concert, but my main hesitation is financial. The more I talk about getting a harp guitar or a 8-, 9-, or 10-string, the more luthiers start suggesting fan-fret as the only practical way to make that work. Aaaand how much do I need to earn with my present collection before I can talk about getting someone to build an $8,000 to $10,000 instrument?
My two big caveats: I have no idea what it would be like to switch between a fan-fretted instrument and a straight fretted instrument in concert, but I think that might take some serious getting used to, and: The instruments I've played were all acoustic 'Art' guitars, whether classical, archtop or dreadnought steelie - it just never occurred to me to try a series of parallel open fifth power chords on the lower 3 or 4 strings. I'd have to try it before I could say this definitively, but I don't think that would be any fun at all. And playing overhand looks like it'd be right out... Last edited by Le Ministre de l'au-delà; 07-07-2012 at 07:55 AM.
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#2636
07-07-2012, 02:58 PM
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If you think the following is basically accurate, please tell me why you think it is the case. If you don't, please don't ask me to support it, because it's just an idea I have for which I have done no research, and is based purely on my personal observations. To wit:
Why are bluegrass musicians much more likely to use Martin acoustic dreadnoughts, while rock musicians are more likely to use Gibsons? I have personally left off why I think this would be the case for the time being, so as not to unduly influence any who choose to answer. Last edited by Fiddle Peghead; 07-07-2012 at 03:00 PM.
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#2637
07-07-2012, 04:34 PM
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Ministre, thanks for the reply. Yeah, I was also thinking that barring anything near the nut would be darned uncomfortable. I can't play overhand, so no opinion there. Wiki says the main advantage to fan frets is deeper tone and better tuning -- what did you mean about it being how your fingers work? Wiki mentions ergonomics but gives no details. I can see maybe the notion that you have to turn your wrist less on higher frets because of the angling, is that what you're referring to?
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#2638
07-07-2012, 05:07 PM
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#2639
07-08-2012, 10:22 AM
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To speak to this post, yes, that is the conventional wisdom, with Country a blend of Martin and Gibson. It's based a lot simply on role models/tradition - we play what our heroes play. But, using electrics guitars as an analogy: Martins are more like Fenders - funtamentally great at clean sounds, crisp attack with great string separation. Gibsons are more like, well, Gibsons - warmer, thicker-sounding; if you play them harder, the energy starts to convert to a "distortion" sooner - the chords you play compress together with less string separation. A bad Gibson gets muddy; a great Gibson sounds like you hooked up a dirtbox to it (at a very low setting of course). That's a great foundational rhythm tone for rock. With those generalizations, the tendencies for each make to fit with certain genres makes sense. But the generalizations I shared are old school and mostly associated with vintage examples of Martins and Gibsons - each company today has models which have features of the old designs of each brand these days - the vintage designs have become "canon" that pretty much all makers, big and small, build from - again, like the canonized Strat, Tele, Les Paul and 335 designs for electrics. And it doesnt take into account the emergence of Taylor, which has made huge inroads in the strummy Rock and pop-Country areas, but little in Bluegrass. Or that exceptions abound - e.g. Stephen Stills and other rockers playing Martins. Bottom line is to play whatever moves you to keep playing. Hope this helps.
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#2641
07-08-2012, 01:10 PM
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#2642
07-08-2012, 03:15 PM
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Last edited by squeegee; 07-08-2012 at 03:16 PM.
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#2643
07-08-2012, 05:05 PM
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I have several, all with different advantages. Keysers are great for their one-handedness; I also have a Keyser that I've cut in half so it only covers the bottom 3 strings. (There are three songs that I do where I have to use the half capo on the fly...) I'm also experimenting with Keysers that have notches cut out of them.
A Shubb is much more effective as a 'leave it on for the entire song' capo, though you can get Keysers of different shapes and softnesses. I have a Spider capo, but it isn't as useful as I thought it was going to be - you're still left with this spikey bar that seems to always be in the way. And my favourite for the classical guitars is still the old-fashioned caterpillar elastic job. (Squeegee - do you keep the squeeze grip on the up- or the down- side of the neck? It's just I've never found the grip particularly in the way...)
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#2644
07-08-2012, 05:32 PM
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#2645
07-08-2012, 08:38 PM
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(Because I feel like I asked one of those obvious questions, like when tech support used to ask 'Is the volume all the way up on your screen?' There was always that one time in a hundred when the person on the other end of the line would start saying 'Of course; what makes you think I wouldn't have checked an obvious thing like - hmph - thank you very much'. 'click'
)You asked about the ergonomic advantages of fan-fretting. Here's the quick and dirty version - hold your hand in front of your face and spread your fingers. For most people, it looks like a letter 'W' with four prongs. Now, bend your elbow and rotate your arm at the shoulder with your fingers still spread. You'll be making an arc with your hand's motion, and the fingers look a bit like the spokes of a bicycle wheel at its outer rim. Standard frets, on the other hand, would make more sense if your hand looked like an upper-case letter 'E' (with four prongs) on its back. And that parallelism of the prongs causes you to have to modify that rotation of the shoulder so that the fingers maintain their parallel position. That's a gross over-simplification, as curving the fingers to provide support to the tip brings the spread fingers closer together. Also, a totally flat fingered technique would not be a good idea on most acoustic instruments, as the pressure on the joints can cause all sorts of nasty problems like tendinitis, focal distonia, carpal tunnel, etc. Standard frets are what most of us grew up with, and they're what has worked for the instrument and its cousins for hundreds of years (Okay, lutes, vihuelas, 18th century parlour guitars, ukeleles are all much smaller, but I'm trying to be brief, which doesn't come naturally to me.) (Also, I think if you'd approached an 18th century guitar maker with the idea of fan frets, they would have said that the math was all but impossible...) and so they persist. They work very well, in fact. But especially for instruments with a longer scale, or instruments with a large range of string thicknesses (I'm thinking of 6-, 7- string basses in particular.) they can solve the problem of bridge compensation. Last edited by Le Ministre de l'au-delà; 07-08-2012 at 08:41 PM.
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#2646
07-09-2012, 01:19 AM
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#2649
07-09-2012, 03:17 PM
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Fan Fret guitars - haven't played any extensively enough to have an opinion other than that they seem interesting. Given my meat-and-potatoes approach to rhythm guitar work, I don't know that they are a fit with my style - maybe if I did more fingerstyle and alternate tunings. Fiddle Peghead - any thoughts on my "why Martin for Bluegrass and Gibson for Rock" post? You said you had a POV you weren't sharing to bias things - what were you thinking?
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#2650
07-09-2012, 04:13 PM
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Oh - and Fender is going public. Lord, that seems kinda silly.
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