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Everything posted by Idunno

  1. Little finger. I get the mechanics of the light touch and damping. It's the 3-fold thing of that, using the fret wires and a tuning that's brand new to me. It's a start-over-again thing. Perhaps I should ask a lot of questions about the best slide, best guitar, best strings, best pins, best nut/saddle material, best humidity, etc., that will make me the best slide player I can be.
  2. Where's Neal Paisley? I've insincerely dragged a slide over the strings many times over the years and the lack of immediate results sent me back to finger picking. But, I want to think learning to finger pick had to be >>>>>>>>>> harder than running a slide across the strings. Keeping that thought, I shouldn't need to remortgage my efforts and interest to put a slide to proper use given some time. I'm going out today to the hardware store to see if it carries brass tubing that will fit my little finger. daddymack, you might be onto something re closing your eyes. I do that finger picking but until I know intuitively (muscle memory) where the fret wires are it'll be eyes-on.
  3. I don't have an answer for you, Franco. The guitar is unknown to me but I did take this request to the internet and search it. I came up empty handed. It appears Abraham Wechter left the US and went to China to further his craft with hand made high end guitars. A few years ago his guitars were on the market but that seems to have stopped. Good luck finding out about your guitar. Knowing Wechter's history, your guitar has become a collectible so hang onto it.
  4. These old posts cropping up in quick succession are trying to tell us to talk guitars if we expect to keep the forum current and interesting. Nah. Actually, I've had recent inspiration for resurrecting steel string interest. In my search for an elusive 12 fret guitar I've uncovered many people who have made great use of them, leaving me feeling pretty much in their dust. So, I bought a slide, tuned to open G and discovered I don't like a glass slide. Or, maybe I don't have a clue how to use it and buying a brass slide will prove it. In any case, I think I'm going in that direction. Anyone here making inroads with playing slide? I can see right away a radiused fret board is probably a hindrance over a flat board. Developing that oh-so light touch over the fret wires, for a heavy handed person, is like driving with a raw egg between my foot and the gas pedal. But, gotta break a few before you can make an omelette.
  5. I was in Music & Arts a few days ago looking at tuners. The Snark was there, among others, and prices were from $19.-. I don't need one. The Intellitouch I bought 13 years ago is still working strong but it's also persnickety with the low E string. To get around that I sound the 12th fret harmonic and it responds immediately. No guitar has perfect intonation between open and 12th fret so I have to tweak it a smidge after that. Happy NTD. It looks sturdier than the Snark.
  6. True. My son plays violin and has become rather good at it. Bowing is an art in itself to maintain an unwavering tone. But, yes, as long as the bow is in motion it's releasing energy into the string(s). One thing that's difficult to do is play softly. The bow has weight and it takes a very deft hand to know that weight and relieve it uniformly while in motion to throttle the energy to the strings. The compromise is to turn one's body sideways such that gravity is relieved proportionately.
  7. Not a bad looking guitar, Howard, but I checked out the neck shape and it's a very pronounced V, almost sharp. Don't think I could psyche myself up enough to give it a go with that neck. Thanks for looking out for me. On a tangent, while I was looking around I stumbled across this guy so I thought I'd paste him up here for a little lesson and entertainment.
  8. Sometimes a fret board has enough width to put a new nut on with slightly wider spacing, which can make all the difference, without getting the e-strings too close to the edges of the board. I did that with one guitar and it solved my issue with the spacing at the nut. My hands are big, fingers short and very blunt, and my neck profile of choice is the low oval. Like garthman suggests, a classical neck, coming in at a minimum of 1-7/8 inch with the symmetrically round profile is very comfortable for me, and why I play it over any other shape. Good choice for a hobby, BTW. Take it slow and methodically and it will progress (by fits and starts at first) but steadily. I taught myself as well and for all that I do wrong at least I'm well practiced at it. IOW, I get by. Oh, I'm also 64.
  9. I haven't found any better value in the price ranges Yamaha builds. I was hoping the company produced a particular model I'm interested in but it doesn't. If it did, I'd probably buy it sight unseen. I have no experience with the L-series.
  10. Ha, I'm not going nuts, then. Honestly, if fender's QA people have a lick of sense they'll revamp the looks and keep the body as-is.
  11. Today I put on my best 'tude and took a trip to Orlando to the GC and Sam Ash. I had the 12-fret guitar in mind but ended up playing all sorts of stuff. Gonna have to don my Kevlar for saying it but this guitar pleasantly surprised me. I remember Phil visiting it onto the forum a while back to a generally cool reception, my own being in that mix, but I'm gonna hold off on the knee-jerk reactions going forward. The one I played is the same color as the one in the link. I played the same instrumental (Suzanne - Leonard Cohen) on each of the guitars I tried, sticking to the sub $500.00 range, and the Fender actually fared near the top. I picked up a Breedlove Concertina thinking it would be an apex example of what I was looking for but it wasn't as tonally pleasant as the Fender. On the more humorous side, a used Ovation Celebrity in mint condition sounded pretty good unplugged but I could not keep that sucker from sliding off my leg. I'd tuck it up into my ribs and it would immediately slip. I bought a Glenn Campbell model in 73, new, and it had a very thin rubber patch, like an elbow patch on a style of sport jacket, bonded to the waist that worked like a charm. I didn't bother trying anything over the $500.00 price range so all other makes/models above that remained hanging. The GC was pretty crowded but I was the only one at Sam Ask (in the entire store) and that's where I spent some quality time checking stuff out. As far as the 12-fret search went, neither store had one. I had searched their inventory online before I went. It didn't show any so no surprises.
  12. Probably fill the bill but zero availability.
  13. Think in terms of the extended left arm to the first position. Fourteen frets clear is about 2.75 inches (7cm) further out from the body than 12 frets clear. It's a matter of moving the bridge further aft on the lower bout to accommodate a shorter (12 fret) neck, which is the standard construction of a classical guitar. I spend the lion's share of my time on a classical and have developed a most comfortable posture for that guitar. A steel string guitar of similar dimensions accommodates that posture nicely. As it is now I have a 14 fret (clear) guitar that I capo 2 frets and tune down a full step to create on it the dimensions of the classical I play. I can continue this practice without a problem but I'd rather sell the 14 fretter while it still commands a respectable aftermarket value (Goodall RCJC) and weather the rest of my time playing with a purpose-built 12 fret guitar that I do not need to capo. I have become accustomed to bumping into that capo as a normal part of playing and can continue but wouldn't have to with a 12 fret guitar. Now, there are smaller bodied guitars that have 12 frets clear but the neck is still the same length as a 14 fret clear guitar. The construction of that guitar extends the upper bout 2 frets, a rather goofy looking disproportionate aesthetic, IMO, supposedly to maintain the bridge in the center of the lower bout where it generates sound best as well as increase the upper bout's headroom. I'm not looking at this construction. I'm looking for the construction that moves the bridge further aft, as I mentioned above. Moving the bridge back sacrifices some of the tonal qualities, especially the lower end, and gives us that smaller, boxier sounding body. I think a good search might fetch a guitar with an acceptable compromise.
  14. Deep, that's about right. Today I went to check out an Alvarez @ Music & Arts and though it was tonally nice it had a 14 fret neck. Small body, though. I forget the model. The manager @ M&A suggested the Baby Taylor. Will look at specs. Gonna check out the 00 sizes as well. Howard - I see lot's of small-bodied guitars (parlors) that are 12 frets but they're also sporting 43mm necks. That might not be a deal breaker because the Yamaha I bought for my son had a similar width but the board width supported a 45mm nut, which I changed. I'd have to actually look at the necks to see if bumping any of them out is possible. Meanwhile, it's the classical or the steel string a full step down and capo'd 2.
  15. Well, I played a Guild P-240 and have to say it really plays well but sounds very small. Don't think it fits the bill in the tonal department. Gonna have to bump up the specs to include larger body sizes with 12 fret necks.
  16. This is the guitar. Great find, Deep. It very closely matches the Larrivee OO-05 I let go and shouldn't have years ago. Gonna see if I can find one locally to play.
  17. I've decided to go to a 12 fret steel string and divest myself of the 14 fret I have. Playing mostly classical these days, I've become accustomed to the comfort of the shorter neck. I need 1-3/4 and 2-1/4 spacing nut/bridge, respectively, a low oval neck shape with Sitka for the top. I don't mind wider spacing and would actually prefer it but I know that's pretty rare on a steel string. I saw Recording King had a 12 fret but the neck was skinny. Martin's 000-15SM mahogany is a near miss, plus I'm pretty much done shelling out over $500.00 for any guitar. Any suggestions would be appreciated. Thanks,
  18. Late, as usual. When I get my recorder back I'll post from it. Till then, I'm using the toob. This is Suicide Is Painless, by Johnny Mandel. I don't know if suicide is painless or not but the tune is hauntingly attractive. https://www.youtube.com/watch?v=1Eyfqw6tulo
  19. I wouldn't conclude it was actually produced on the date Kamen signed the label. I wouldn't even conclude that he signed the label on the date recorded on it. "Yo, Chuck, can you manage to be here every day so we can get your signature and date for every guitar we produce each (freaking) day?" I don't think ol' Chuck was given to flying an office chair waiting for labels. He probably just signed and dated a bunch of them, or signed them and then someone else affixed the dates after. His job was on the golf course, no doubt, where important people conduct important business. Let's guess: the 277 might be the Julian date (day number 277), which falls in the month of October (10-4-1978) your guitar was completed on. Number 93 could represent the 93rd guitar produced between 10/1/1978 and 10/4/1978, including all models or just the Adamas 1687-8, leaving yours #93 produced on day 277 (10/4/1978). Our good buddy Chuck signed and dated a bunch of labels in June and the shop just used them up without a care to what the date was on the label. Or, it could be a batch number and yours was #93 injection molded bowl of the #277 polymer batch mixed for the year 1978. Or, it could be an astronomical fix of coordinates for the position of the USS Enterprise on that day.
  20. LOL. "Every picture tells a story don't it?" Good'n, FF.
  21. I've probably played one or more of those guitars but if memory doesn't serve then they weren't memorable. In all of these inquiries I steer a buyer towards Yamaha's line-up. If there's nothing that company has to satisfy the buyer's wants or needs, then it probably isn't made by anyone else, either. I don't extrapolate sound by mentally sorting out species of woods and what I think they should sound like. I think that's a lot of forum-indoctrinated nonsense by inexperienced people, seasoned with aesthetics and quantified by a lot of parroting. It comes down to the quality of the build of the guitar itself, the strings and set-up thereafter.
  22. I have to go for the firewood category for pretty much any vintage Harmony guitar, though a few self-sufficient types might respond differently (romantic filters fully employed), because in its best condition a vintage Harmony is not worth getting a professional neck reset or repair. I'd make a heroic attempt to repair it myself and if I failed it would become a wall-hanger decoration.
  23. Get a Takamine head stock removable overlay sticker.
  24. You can justify and save money all of your playing days and then find something that blows the philosophy out of the water. But, what it comes down to is the who and where the sound is being focused upon. If it was strictly me, and these days it is, I buy what makes me smile. If it's for an audience then I'd compromise personal preference and get an all weather interceptor of a guitar. Quite honestly, I've played some of those (carbon fiber put-ups) that give good enough to an audience that isn't in my music room listening to my preferred sound. That's one thing an audience will never experience - sonic contrasts of guitars - so why sweat it? I play a Yamaha classical plugged a lot and probably more so than the steel string I have. Plugged into the right amp I'm happy with the sound and wouldn't hesitate to jam with it anywhere for any purpose. The steel string has a fine sound and satisfies music nylon can't. So, best of both cheap and notsocheap. The steel string is a jumbo concert. I read about forum members asking which guitar is the best for (insert price). Best and cheap is usually the inquirer's point. I get it: For nothing what can I get that sounds like something? This is when a forum becomes the expose' of mass inexperience it really is. It's a never-ending inquest for spending wisely in a wholly subjective realm. Even seemingly sensible responses are nullified by their relative subjectivity. So, buyers with zero experience and means take the high road to vet their best chances of success. It's a logic, of sorts, but it doesn't really apply. I bought my son a Yamaha synth - full 88 keys - and would bet the Roland can't best it with an experienced player.
  25. Turning a sows ear into a silk purse? I lived in Shelbyville, KY, for a short time and will agree with you about dreads. I attended some Saturday jam sessions with old grizzled farmers who brought Martin D-41's but barely managed to keep up with a few basic songs, meaning they were satisfied by having the gear and playing it was up for discussion. The Kentucky Thumbpickers jams on Friday nights in Louisville were more entertaining. A bunch of seasoned players frequented the event and lead the newer players in rounds in different rooms (church cellar). That was also dreadnaught central. I was the odd man out with a Larrivee OMV-09E and everyone wanted to play it like it was some kind of new-fangled design.
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