The facebook says it’ll take a while to inventory it all, but yes, that’s where we expect to see it. Odds are it’s Samick stuff.
I see Ibanez, Fender… Gibson… maaybe PRS. Yamaha. Dean, maybe.
Going down to Radford, VA tonight from up here in central Jersey. Bringing back my standard late 80s Strat, decent early 90s Martin D-18, and completely awesome '78 Les Paul Custom, after being away from them for about a year.
Hell yeah!
Have a happy reunion. Let us know how it goes 
Have any of you had the chance to play a Rainsong or any other kind of graphite based acoustic.
I like the idea of having a guitar that is a little tougher in the elements but I’m also concerned about what you hear is how it stays. That is you won’t get any benefit from aging the guitar.
I’m thinking about buying a mid level acoustic soon (price range $1200 to $2500) and I want to get some feedback from some source other than random reviews on the internet.
Pros, Cons, I’m just trying to get an education.
Head over to the Acoustic Guitar Forum and search - ton of threads there. I’ve played a couple and since their necks are slim and fast, I.e. not to my taste I don’t spend a lot of time digging in. Folks at the AGF who like them do so a lot, so I think the basic guitars are solid. One of them - Composite Acoustics?? - recently stopped production. We are in a golden age of wood acoustics so graphite guitars tend to have an audience who really needs durability and/or digs innovative approaches - not as common among guitar traditionalists…
Thanks Wordman,
I keep forgetting the obvious. This is the second time you pointed me to that forum.
Maybe this time it will stick. 
Question for you all:
I’ve decided to start playing classical guitar again after a 3-4 year hiatus. I always try to take it slow with the practicing-- lots of warm-ups, easy pieces, no more than an hour a day or so, stopping if/when my hands get tired. However, after a few days of this, my wrists always start hurting. Any advice on how to get back into things that won’t produce this effect? What am I doing wrong?
Calling Le Ministre! He plays a lot of classical.
It sounds like you may be positioning your hands inefficiently, or perhaps you spend a lot of time at a computer or doing other repetitive activity and the guitar adds to that. But I am not a classical - or even trained - player, so can’t help with advice on positioning…hands, wrists, sitting posture, raising a foot and where you rest your guitar on your leg (and which leg) - can all have an effect, as can the actual exercises you do. Are they overly ambitious?
I wish I could help, F.Pu, but the only thing I can think of is to make sure you have something to put your foot on, which WordMan already said. But Le Ministre is the man to listen to here.
In other news…
Factory Buyout Clearance Sale It’s like Samick threw a Warmoth party and you’re invited! Disassembled and partially finished guitar parts for all!
Want to find something to abuse? Necks for twenty five bucks. Bodies for thirty. Go ahead. Try to put together the guitar of your dreams. You can do it.
I’ve gone for a stratoid neck (It may be a Strat neck, it has a lawsuit provoking shape) and a swimming pool routed stratoid body with a floating trem hole. Going to re-use the parts I upgraded that bottom-of-the-line Squier with. So if I start with a Squier, replace the electronics, the hardware, the neck, and the body, is it now my Grandfather’s Axe?
Steve Jobs, a person who legendarily obsessed about detail, once proposed inventing a new Pantone color for the exact shade he wanted his new Macintosh computer to be. Nothing else would do. At the time, saner heads prevailed.
I’m now on my fourth installation of a “white” Telecaster pickguard, and I think I finally have almost the right shade of off-white-aged really-close-to-matching-that-binding white pickguard. Almost.
I just did an interesting experiment on my beloved Squier CV Strat – swap two wires around so that position four (normally middle + neck pickups) becomes bridge + neck. Supposed to make it sound like a Tele, and by George it works! You do lose the middle + neck combo, but you still have position two for the classic Strat sound. I think it’s a good trade. It makes the guitar so versatile. I’m now thinking how I can add a few switches and make every combination of pickups possible, because it would still be nice to get the middle+neck position back.
You could add a single micro-switch that just swaps between what you did (pos 4 = bridge + neck) to the stock arrangement (pos 4 = middle + neck). It would be a bit fiddly until you got used to it, but it’s the simplest thing and requires the least work. If you wanted to go full bore there’s obviously other ways to do this, the most obvious would be no pickup selector at all, just 3 on/off switches, one for each pickup. I’d personally hate that arrangement, but that’s just me. In any case, there’s buttloads of room for extra gizmos under a strat pickguard, so you can go hog-wild with whatever switching weirdness you like.
You could also get one of these and really have a ball: Brian May-style 6-switch Strat wiring kit, pre-drilled pickguard included, $35.
Sorry for triple posting, but here’s another from the vendor above: Superstrat wiring kit with 3 switches that can be used as on/off/phase-inverted-on in any combination. Again dirt cheap if you don’t mind a little soldering.
I’m currently trying to learn Classical Gas (the “Eric Clapton - not!” version) on my new Taylor acoustic, and finding it devilishly difficult. Man was not meant to play without a pick, dammit.
Check out Deaf Eddie (http://www.deaf-eddie.net/tonecharts.html). He makes a switch that lets you get every possible combination of pickups on a Strat. It’s a rotary switch, and drops into one of the tone control locations. Completely stock appearance after installation. No need to add switches.
I put one of these into a Strat a few years back. Lots of fun, endless possibilities.
That sounds perfect, thanks (and thanks to **squeegee **for the suggestions too).
There was an interview with Randy Bachman in the Toronto Star today.
His five favourite guitarists - Lenny Breau, Hank Marvin, Neil Young, Jeff Beck and Jimmy Page. Lenny was no surprise, that’s who taught Randy his first licks; Neil, Jeff and Jimmy, totally get it. Hank Marvin, though? I’ve never heard any Hank in Randy’s work - that’s an unexpected one…
Hank’s one of those guys. Never part of my circle, but I notice how he crops up in interviews by Peter Green, Brian May, etc - other thoughtful Brit guitar players. Not too far of a jump to a favored Canadian in that era.