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jimwratt

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  1. One word: Gibson. For much of the 80s, Steinberger was doing bang-up business and attracting a lot of star power. They were one of the leading guitar innovators of the 80s, without any question. Then Gibson bought Steinberger in 1987. For whatever reason, Gibson licensed the Steinberger patents out to makers like Cort and Hohner, who then produced cheaper, non-composite versions of the Steinberger in large quantities. Almost from that point on, the image of Steinberger was not of high-quality composite guitars, but of the licensed budget lines which (I think) eroded the cachet of the brand. Steinberger was making Gibsons look old and stodgy in the 80s, and you know any kid who had enough money for a Les Paul Standard back then would have also been looking at the Steinbergers. The Steinberger looked like the future of guitar designs. Gibsons looked like the past. I think for Gibson, it was a classic case of "if you can't beat 'em, acquire 'em." Mmm. Looks like they killed a high quality American product...BA dum pshht.
  2. I bought a Spirit years ago, but there not the same thing - of course I once went to buy a Steiny back in the mid 90s, but found they were suddenly no longer available. They were quite pricey back then - can't exactly remember how much now (something like around $1800 IIRC) - these days, I doubt I'd want to buy one, but I'd still like to play one. Steinberger is one of the saddest stories in the history of the guitar business. They came up with a truly innovative product that could more or less sell itself and it...didn't. I don't get it. Is it because GC lacks the facilities to hang them up? Bad price points? Two similar companies, Parker and Brian Moore seem do be doing a lot better.
  3. Just refret a neck with super jumbo frets. It has the exact same effect of your fingers not touching the fretboard. I've refretted maybe 10 of my necks with the largest frets I could buy and they are great for bending notes. You do need to get used to not relying on the fretboard for finger pressure though. Sonically, yes but I hear it's a different feel (I've never played a scalloped neck before). I too have huge frets on my Warmoth neck and I love it.
  4. Haha, true. As a Warmoth customer, I can honestly say that I really love my tele's neck. If I were you, I'd go with the Charvel unless you want something special done with the neck (a different profile, frets, inlays, etc). Though I personally would want to get a tone knob and a 5 way switch with coil taps, it seems like the Charvel would be less of a hassle and would have a better resale value should you decide to part ways with it. You could conceivably get a Warmoth neck at a later time if you so desire. I've heard great things about Charvel necks so I don't know that you'd be dissatisfied. Don't get into the whole "I wonder what xyz would have been like." If you aren't dissatisfied, don't theorize. Also, what does your Ceriatone 18 watt sound like? I've been looking at those amps for years and I've never quite known what to think.
  5. If you'd build a guitar with the same woods and features, I'd go with the Charvel. If you want to do something a little different with the woods or finish etc, the Warmoth is the way to go. The last thing you want to do is get the Charvel and go "damn, I wish I would have gotten this in cocobolo." Also, make sure you get documentation on the legality of each guitar part. JK.
  6. I could NEVER understand how neurotics like this guy with severely impulsive behavior, and not a nickel to spare get hot chicks to marry and bear them children..... You mean you haven't figured it out yet? "Speak softly and carry a big stick" - Theodore Roosevelt
  7. Depends on what you mean by overrated. For players who've had an impact that exceeds their technical prowess, the list is long. For great players who should get more recognition, the list is immeasurable. There's also a list of guys who made huge impacts while remaining unknown. For arguments sake, I'll say the beatles were totally overrated and that bumblefoot is underrated. But that doesn't really mean anything.
  8. Dude, get a used epi V for cheap and overhaul it. As much as I love trems, especially floyds, I can't see the Gibson buying crowd being ok with an instrument that has been modded in that way. Resale value may not be that important to you now, but there's a recession going on and you never know.
  9. Forgive my noobishness, but what exactly is a compound radius fretboard? A compound radius means that the curvature of the fretboard is greater at the nut than it is at the last fret. Another way to describe it is that the neck gets flatter the higher up you go. Some also refer to this as a conical fretboard. Its somewhat subtle, but it makes playing more comfortable and bends easier (the string travels less vertical distance to reach pitch, or so I've heard).
  10. trainwreck What's a trainwreck? I googled it and a few things came up about them being highly coveted, but I only heard crappy youtube clips that have them sounding no better than any other good tube amp. Is there another source of good quality recordings that can let me know what's so special about them and the type of features they have??
  11. What color is the fretboard? what color is the rest of you?? I looked down one time and was like "holy crap my fingers are black", but then I looked at the rest of myself and I was like "o yea, I'm Black"
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