Jump to content

Teleguy-qy4pw

Members
  • Posts

    65
  • Joined

  • Last visited

Everything posted by Teleguy-qy4pw

  1. 49 years experience. This is my #1 workhorse guitar for sideman jobs in several catagories and also around the house grabbing for pleasure or practice. There is also a self-assembled partsocaster kicking around the house for when I want humbucker sounds, which is rare. I can usually get what I need over a wide range with the s/s/s Strat. I love the neck. It's perfect for how I play and feels great. I have had the AV '62 RI Strat in the past, and though I like those too I appreciate the refinements and improvement schemes onboard this more modern take on the same idea. It's more versatile sounding and the neck fights me a bit less and flows more. Sustain seems the same between the big vintage block and the new copper infused block, and I like the bent steel saddles over most die-cast, though the stainless and chrome plated brass on some models are fine. I had an AmSeries hardtail with a second pickguard loaded with humbuckers -and GraphTech saddles- I sometimes used in the past for Jazz gigs, but I don't bother with that stuff anymore. The pots work well enough on this Standard. I use GHS Nickel Rockers: 0.011" - 0.050" strings.
  2. I had a solid spruce topped Gretsch Country Club (17" archtop) with no soundpost under the bridge, and these same pickups. For some reason, though it sounded good, it just didn't have the same "plonk" to the tone as this 16" laminated maple version. The bridge was also different, and may be another factor. THIS guitar has that Duane Eddy sound. The Country Club ALMOST had the Duane Eddy sound, but was rounder and less spikey sounding. The high frequencies on the Country Club sounded brittle and blended less with the overall sound. I love the sound, playability, and even the Western "schtick" of this DSW, though I originally wanted the DSV which doesn't have the "G" brand or inlay engravings. I love its versatility, especially with its own unique characteristics that make it MUCH more versatile than many hollowbody archtops. This guitar can do jazz just fine, but then can turn right around and do scrappy country about like a Telecaster. I would rather it was finished in lacquer vs poly though. I have had Gretsch 6120, Tennessee Rose (6119-62FT), Country Club, and several Anniversary models, over the decades. This is my favorite Gretsch of all time (though I like them all in their own ways). I've also had Gibson, Guild, and Gibson hollowbodies, as well as many solidbody guitars. Tons of amps too.
  3. I have played guitar since 1960. This is my main amp that I use for everything. I often just take the amp without the foot controller to play simple jazz gigs. It's small and silent. I've never needed the power that's available with this head (used as a chassis now), but it's still easy to schlep even when I just need the basics at very low volume. Yet it could cover any conceivable requirement I might need. I keep the wood head cabinet out in my garage. Not sure I'll ever need it. Maybe I should get a bunch of small Tech 21 speakers like they used in the TM 10's and put them in it. The XLR outs they put on all their amps is very useful for me when I go out to a P.A. (about once a week). It's easy enough to live with that I use it at home too, for a practice amp. I've had several TM 10's, TM 60's, a Bronzewood; a Power Engine 60; a TM 120 2x12 combo; and numerous SansAmps and SansAmp Classic, etc. As well as amps by Fender, Polytone, Victoria, Heritage Amplifier, Ampeg, Mesa/Boogie, etc etc etc. This head version 300 is the best rig for my purposes and so my favorite overall. It does many things well for gigging. It may not exactly sound like the amps it tries to model (especially with my "wrong" speaker array), but I don't require modeling: just a great sound I can work with in any room. This delivers enough for me, plus.
  4. I'm sold on the whole concept and sound of this single-coil size Alumitone, and intend to use more of them in the future, probably on a strat type guitar. I love single coil sound, but hate the inherent noise of the plain ones, and the common stacked humbucker designs really compromise the open quality of standard single coils. This pickup is the best of all worlds for my uses. Great sound, and silent for hum!
  5. I've been playing guitar for almost 50 years and have had them all. I have a Telecaster and a Les Paul Studio, and a cheap acoustic archtop (Godin). I've had some nice archtops too, but they're too finicky and pricey. This is about as simple and bare essential as a guitar could be, yet it doesn't buzz or show any signs of cost-cutting (other than the satin finish, which is pretty standard these days around the world). It has a snappy "Esquire" (single pickup) character to it, but with a nice Les Paul type neck and vintage vibe and sensibility. I actually prefer it to the '60's versions, and also prefer it to the earlier P-90 Melody Makers and Les Paul Juniors. It's much better hum controlled, adjustable, and good sounding for my uses. The neck is great and makes the guitar, but I love the whole thing. It's understated and makes me think and pay attention to getting the most tone I can out of what is available. That makes me play better music somehow.
  6. Teleguy-qy4pw

    Gretsch G100CE

    I'm delighted with this lil' ol' traditional archtop. It sounds as good plugged in as any high dollar electric archtop I've had from Gibson, Guild, or Heritage. Plays good. Decent lookin'. What's not to like?
  7. I've played guitar since age ten and am almost 60 now. All styles. A Tele and this amp are my #1 rig. I'd replace it if necessary. I think it's just the right size and power, and I really like the sound when used as intended. I like it better than the Hot Rod Deluxe I had, and it's lighter than the Hot Rod Deville I had. I had a '59 Bassman RI LTD too that I liked a lot, but I like this as well and it's lighter and has a nice reverb onboard. I've also had Tech 21 stuff too (and everything else over the years), but Fender 2 X 6L6 amps have a certain bounce I like and always sound like me.
  8. 50 years experience. This is my main rig though I have smaller Kustom and Roland stuff too. I love the straight-in tone. Plenty of grunt too. It's a bit heavy but lighter than a 410 Deville I had. Great tweed tube tone and response. The presence control makes it everything I could need. The G&L Legacy is a great match because I can turn down the bass on the guitar if the speakers flap a little. Its reliable and predictable and sounds good in all rooms. I'd replace it in kind if need arose.
  9. Teleguy-qy4pw

    Revival RG-27

    50 years guitar playing. I'm generally a "semi-pro" electric sideman at large (small local market: clubs and such), but started out on acoustic in the 1960's during the big Folk scare. Around here, real musicians have day jobs (even most members of the Musicians Union). I'm no exception. I couldn't believe the dust this thing had collected sitting next to tons of Takamines it was clearly better than in all regards. A steal at $449. This is really a well built and great sounding/playing old-school dreadnought. The attention to details is great. It has extra binding trim (wht/bk/wht) on the sides as well. The only real visible detraction is the stacked block heel. That and the non mitre'd trim ends are the only clues that this is a contract made knock-off instead of a custom luthiered flat-top. It's that good of a guitar in materials and build quality (as well as sound and appearence). I've had few guitars equal to this one (the Larrivee D-05 comes to mind again). And certainly none at this price point.
  10. I have been playing since 1961. Picked this up as a cheap ($150 brand new) acoustic for around the house duties. I generally gig with an electric G&L, or Gibson Les Paul. Haven't studied Classical guitar in years but for a "student" level instrument this one has all the big boy features like solid top w traditional fan bracing; binding; full sized; etc. It's basic, but has a good build quality and a nice sound. Crisp lines and fit. It's obviously CNC milled instead of cobbled together by elves of varying skill. Smells like Elmer's glue inside. Good playability. A keeper. I'd replace it in kind if necessary.
  11. I've been playing guitar almost 50 years, and have had lots of them. I think of a guitar as a tool so haven't "loved" one in a long time, but that said I think this one is about as perfect as could be for what I want and need at this time in an electric guitar. There's nothing about it I don't like or that doesn't work for me. I like those mini-toggle switches on some G&L's for the extra sounds they can provide, but it doesn't bug me that this one doesn't have that. Even though I'm not much of a trem guy I like this one very much and don't wish for a hardtail and/or I'm not gonna block it. It sounds great as-is and adds no hassle factor (unlike many trem-equipped guitars out there). I've had many Fenders but there was always some little nagging thing with them somewhere in the frets or parts alignment. The G&L's are a cut above in that dept. I would replace it in kind if needed, or maybe with a G&L S-500. They're about the same for my uses. A little more oomph from the bridge pu wouldn't be a bad thing, but that goes for strats generally in my experience. Sometimes I think one of the G&L Jumbo MFD pickups would be an interesting experiment in the bridge position, but I will not be altering this guitar. I've gotten away from using the -bridge pickup only- for solos, so probably don't require anything more from the bridge pickup anyway than it already offers. I'm just from the old Tele school (more bridge output is better) I guess. I'm afraid of losing something were I to alter the mix on this guitar in hopes for a beefier bridge pickup alone sound. I seem to do most of my soloing on this guitar with the middle pickup alone or in combination with the bridge, using the pots to dial in the sound. I like that the pots are all usable and I wind up using them on this guitar more than others. I can turn some things down and leave a reserve without losing all the tone. Farewell to always having everything on a guitar at ten and dancing on pedals to get the levels and eq right! Hooray!
  12. Played guitar since 1960. This is my main instrument for all kinds of stuff, though I also have a Les Paul Studio and an old US Kramer. They just hang on the wall unless our youngest son plays 'em. And a cheap Epiphone acoustic. In the past I've had a used G&L ASAT, S-500, and an older Legacy, as well as bunches of Fenders over the years. I love the neck on this one. Beefy, with some V to it, and 12" radius with small frets. Perfect for what I want in a neck feel. This neck used to get a bit sticky feeling like lacquer, so I sprayed it with FingerEase once in a while. Eventually it got to where that's not necessary any more. This Legacy sounds just like the last Legacy I had, which was from a different era and used, but had the same pickups and alder body, though that one had a rosewood fingerboard. The used S-500 I had was older too, but about the same general idea. Locking tuners I think. This one may be a bit brighter sounding overall, is more precise in the neck pocket fit, and prettier. And I picked it new off the rack. The neck on this one sold me. It sustains better than any other bolt-neck I've owned, and using the vibrato does NOT throw this guitar out of tune. I would replace it with another just like it if that became necessary.
  13. Teleguy-qy4pw

    Gibson ES-135

    For what it is I actually like the guitar. It has the Gibson build quality and feel. There are a host of aftermarket pickups available that would help it but I just keep it stock for backline rhythm duties. My main guitar is a 1988 Heritage H-140 (les Paul type) with stock Schaller parts.
  14. Teleguy-qy4pw

    Heritage H-140

    Because of the headstock repair I was able to score this used veteran '88 H-140 for $499, and am quite happy to have it as my main guitar now. It sounds better than my Gibson Les Paul Studio (which my son mostly uses now). More like a vintage Les Paul Standard. I like the feel of the neck and fretwork better on the Heritage too. It's just like an old Les Paul (go figure). If it said Gibson on the headstock people would try to buy it from me for $2,000. It has all the nice (though understated) figured maple features and the lacquer sunburst finish is showing that much sought after vintage checking and aged beauty. If it had cream surrounds and zebra coils and the "right" shaped cutaway it could be in The Beauty of the Burst book. But it's a Heritage, so gets none of the respect it deserves for being just as good as any Les Paul. Market stuff is too weird. It's just not fair to lump these guitars in with import Les Paul knockoffs. People who know a good guitar when they play it get the deals I guess. You take a bath on resale though. Somebody else already took the bath on this one (maybe several previous owners, except it's still bone stock, which is VERY rare with these). I've played guitar since 1960 and have always been a Gibson guy at heart, though I've owned other brands too. This guitar appeals to me and seems to me to be the best all around electric guitar I've ever owned for sound and playability. I wish I could say I bought it new, as it's a shame what this guitar looks like its been through. Yet it still works and looks pretty good too, despite its impact craters, nicks, and scars.
  15. These pickups give me the best Rock&Roll Les Paul sound I've ever had, with no detractions. Previously, I had an ES-175 with '57 Classics that I HATED, for Jazz sounds on that hollowbody. Thin and generic sounding. Burstbuckers are better for that, especially in an L-5. But in this Studio Les Paul, the '57 Classics work superbly for jazz and a lot more. More versatile than the Burstbuckers or 490/498 pickups. Wider range. A bit more sophisticated sounding than the 490/498's, fatter than the Burstbuckers. Right in the sweet spot for output AND tone. They could be dirtied up some by removing the covers, but I'm not doing that. They're perfect as-is. Just right. Solid AND airey enough without nasally sounding or "fragile" top end. There's a glassiness to them that doesn't dominate the sound with shrillness or icepick-in-the-ear trebles. It's the classic PAF sound on a Les Paul, to my ears. Can be rolled back with the guitar's pots without losing all character from the sound. I don't use bleeder caps. Just the stock wiring that came with the guitar. I've changed only the pickups. I can't think of a PAF style pickup I've liked better and I've tried them all from Dimarzio, SD, and Rio Grande. Most makers wind them too hot. The Burstbucker #1's are brighter and work well on a hollowbody IMHO, but these are perfect for the amps and sounds I want, which go from clean to Blues "grit," to Classic and Hard Rock distorted massive punch, grind, and harmonically rich chimey soloing. I use nickel wrap strings (GHS "Nickel Rockers," or Curt Magnan "Fusion" wrapped nickel), in 10's. I've been playing guitar since 1960.
  16. You wouldn't know this wasn't a vintage Les Paul Standard or Deluxe (though the humbuckers are fullsize) Gibson if you didn't notice the headstock design, cutaway, thinner body, or dot position markers on an unbound neck. It is basically a "vintage" Les Paul but for cheap. The thinner body works great with the hardware and pickup choices to deliver sound and playability on a par with any good Gibson Les Paul. The neck "flows" like a good Les Paul too. VERY Gibson fretwork, neckshape, and feel (go figure). If I got rich I'd hoarde these 140's.
  17. This is a great all around electric guitar with enough versatility and output to drive an amp decently. It ain't the arrow anyway: it's the Indian!
  18. Teleguy-qy4pw

    Martin OMCX1KE

    I've played guitar since 1961 and was in the local Musician's Union off and on for 25 years. I don't play many jobs anymore but sometimes get called to sub on a jazz gig for a night once in a while. Done my share of teaching too but now I'm retired from most things that seem like work. I play rhythm duties on this weekly at a small rehab oriented church, plugged into a cheap amp, then they take a line off to the P.A. Sounds good to me. I really like it for couch noodling too. Over the years I've had everything I ever wanted in a working ax. This guitar just fine now. I enjoy everything about it. I tried out a lot of guitars looking for the right acoustic. I hadn't had an acoustic in years because I usually played out at clubs and resturants so needed to be heard over drums, etc. I also really liked the Martin DMCXE that was all HPL, but went for this wider neck, and the spruce top sounds better, though the DMCXE had its own sort of compressed sound that was appealing, acoustically. I had dreamed of custom high-dollar guitars for my rocking chair years but this one is fine as-is and was quite affordable for a modern Martin.
  19. This little amp has some real possibilities once you go through a bigger speaker. PLENTY of EQ range and the gain is hilarious. I really like its sound. It's tweedy, suprizingly loud even with its own speaker, and gets that "whoofie" kind of bass like small amps being overdriven get, with a cool midrange snotty blat.
  20. Teleguy-qy4pw

    Gretsch 6120BS

    35 years experience playing rock and blues. Mostly Gibson hollowbody and/or Fender. This is a great guitar. I've had it about a year so the warranty is up now, but I have no concerns at all. The gold hardware readily shows fingerprints but still polishes up and has not even started to haze or flake. This is my favorite guitar ever. I also have a nice acoustic guitar too but hardly play it anymore since getting this. I've had lots of guitars cheaper than this one but they all have little nagging issues. Not this one! It was pricey at $1995 (list was much more) but it's worth it because it doesn't need better replacement pickups and tuners, etc etc etc. I've had expensive Gibsons too, like ES-347 and ES-175, but they didn't sound as good as this Gretsch 6120. It doesn't have any bad sounds in it. Only good ones. The neck is wonderful and plays like a dream. No buzzing anywhere. The bigsby stays in tune. The pots all work like they're supposed to. I used to think only Gibsons were any good but sometimes sound muddy, so tried Fenders and liked the sound but they were dead feeling. I thought made-in-Japan should be cheaper than they are, but actually I think they are worth it overall just because they don't need any work done to them or new pickups right from the beginning like a lot of the U.S.A. made stuff from the two big companies that are left. I used to like Guild too but I don't think they make hollowbody electrics anymore. This Gretsch is beautiful to hear and play and look at. I don't know what else there can be about a guitar other than that. Oh yeah: image. But at my age nobody looks at me, so I want to be happy with everything about my guitar. I am!
  21. Teleguy-qy4pw

    Heritage H-575

    This is probably the most ME sounding guitar I've ever had. It really has a snarly personality for jazz. Sort of an early George Benson tone (when he was using Guild guitars). Years ago I had an earlier H-575 in blonde. This one seems more precision in the neck and frets, and the HRW pickups are a big improvement. Much clearer sounding and the tone pot taper is perfect.
  22. 48 years playing guitar. I just use the Tech 21 amp. There's enough parts kicking around the place to assemble a bolt-neck partsocaster in a pinch (I've used lots of Fenders over the years), but this is my main guitar for everything I need to do on once-in-a-while gigs playing Jazz in resturants, or other things that I get invited to. I used to be in the AFM for about 20 years off and on, but all the Pop and Showtunes concert hall stuff dried up along time ago around here. I play all styles, but nothing much pays any more around here at the club level. I might get an orange version if something happened to this one. Orange is more usually the Gretsch color on 6120's, and the Blue sunburst might be hard to find again. When I got this one I had already had a couple Anniversary model Gretches, a Tennesee Rose '62FT, and a 5120. I just wanted a Nashville 6120 because it's "The Gretsch" now, whereas the double cutaway Country Gentleman was the popular model when I was in High School (1960's).
  23. I usually love Fender CS '51 Nocaster sets and have used them a lot, but they humbuck when combined. Can't do that on an Esquire. No, it doesn't replicate a Nocaster bridge pickup, but it does sound real good in my experience, and does not hum. I once tried a Seymour Duncan Classic Stack on the bridge of an ash Tele and didn't like the sound at all. Too dark and sustain wasn't there. This SCN has much better highs and sustain. I'm satisfied with the sound of it for this guitar. But I should point out that it's an ash body with a maple neck, steel saddles, and has a 1 meg vol pot. YMMV
  24. I've played guitar (mostly Telecasters) for about 50 years. Had 'em all. I keep a nice archtop (a Heritage H575) around for tuxedo jobs, and a couple of cheap beaters (including this Esquire) for biker bars. I always wanted an Esquire ever since I saw a bound sunburst version in the late sixties. They have a mystique to them, especially when the ashtray is on. They just don't look functional somehow, but they are! Probably was the inspiration for the Marauder. I'd say the neck is my favorite feature. It's just right for me. I doubt I'd need to replace it as I tend to stay away from live volcanos just out of habit, but I'd get another one of these if by chance a volcano erupted in my living room and took out this one.
  25. I've played guitar since 1960 and have blown through a ton of gear. This 620 is my Rock and Blues guitar (and the little bit of Country I fake sometimes). I also have a Heritage H575 for Jazz and Bigband jobs, and a cheap Jay Turser semi-hollow for knocking around in biker bar gigs. I don't get a lot of calls anymore but still enjoy playing the odd gig and jamming with friends and at parties. I consider that I have two GREAT guitars, the Rick and the Heritage. Everything else is an also ran compared to these two particular guitars now. Fenders, Gibsons, Gretsches, and Guilds have all had their season with me, but they don't seem to make the great ones anymore. Rickenbacker still does! The 620 is plenty versatile and Ricks are in a class of their own: an acquired taste in their sound perhaps, like a Gretsch, but a really well made old school quality guitar.
×
×
  • Create New...