Leaderboard

Hi all if I tuned down half step… where would a capo go if I wanted to get back to standard tuning? The first fret?

In all honesty, I haven’t actually played a jaguar before! But I have numerous guitars both electric and acoustic that have similar or even shorter scale length (which all suit me well since I’m not a very tall person) so I’m confident I’ll enjoy the feel of a jag. One of my 2 main guitars on tour is a Mexican tele and it’s brilliant. It’s got bare knuckle pups and electronics as well as better tuners but build quality and woods are just as good as my vintage and custom shop strats. But I do definitely prefer the classic jaguar with lead and rhythm circuits and individual pickup switches as opposed to the new stripped back player series ones. If I found a Mexican one for sale with standard layout I would really consider it

Considered Mexican? I spent years selling Japanese and Mexican reissue Fenders in London, the difference was so negligible or random between track country. Some Jap gear that gets rave reviews, while being good, is sometimes hyped up far too much. Have you played a Jaguar btw? Just checking you’re cool with the smaller scale length? Some players find a Buzz Stop is really helpful on models with a vintage style bridge, as it stops strings popping off the saddle if you hit hard. The Mex one is definitely Alder btw, could be nice with a good set up and new pups - https://www.fender.com/en-GB/electric-guitars/jaguar/player-ii-jaguar/0140580518.html

Taking up any musical instrument is a permanent learning journey, there’s always something new to take on board, be it a scale, chord, technique , whatever. However, as Dad says, it should be enjoyable. When I first picked up the guitar as a youngster, I was taught some chords and I had a book or two, but what I did most of all was learn tunes that I liked and wanted to play and I didn’t get too bogged down with scales and theory. This may not have been the wisest course with regard to musical proficiency but, 50 years on, I’m still playing and playing tunes that give me pleasure, not what some book, course or latest internet craze tells me to. What makes you smile, when you’re playing? Do that more and the other things you want to learn, but give you trouble at the moment, will become easier. You may not ever perfect everything to your personal standards (who does?), but you will perfect some things and that’s not bad.

Just browsing the web the other night and came across this and on looks alone I knew I had to have it. I watched the youtube reviews which were all really positive but was still cynical as I had fallen for the reviews on the Lava ME guitar which I though was a pile of trash. Anyway I pulled the trigger and bought from Andertons knowing I could send it back if it didn't work out. The guitar arrived the next day. It came in a lovely padded quality gigbag so first impressions were good. I got the guitar out and it was stunning ( I know this bit is subjective !) with the flip paint job and headless roasted neck. I tuned it up and it had been set up perfectly, the action was fantastic and intonation correct. I bumbled through setting up the app which controls it - the manual is very brief and does not give you anywhere near enough info, however from what I'd seen on Youtube I got it working. I played it through a newly revalved and Celestioned up HTR-1 amp using the wireless dongle straight into the amp. The guitar has fanned frets which I'd never played on before, but within minutes I didn't even notice them. So I've put it through its paces over the last couple of nights and it is truly phenomenal. The presets are brilliant and infinitely adjustable - none of the widdly robot sounds that you get on multieffects as filler. The modelling guitar feature definitely changes tone - whether it replicates a '58 LP I'm not sure but just scrolling through the models I could get some lovely tones. Volume and tone knobs are really responsive .The guitar has a built in looper/ drum machine which worked well - I subsequently stumped up for the wireless footswitch to make it work even better and was that impressed with the tones and flexibility even ordered the Prime P2 to use with my other guitars. In summary, this guitar might even be the best one I've ever bought and there have been lots , customs , Fenders, Gibsons, Ricky's - but none of them had ever been set up this well or had the OMG factor this one has Anyways it's nice to report something this good rather tha being underwhelmed.

I've just bought a Cordoba Stage and love it - absolutely stunning looking in the edge burst finish. It was this or the Tim Henson but YT reviews suggested the neck was more to my liking on the Cordoba and I couldn't live with the marks on the matt black finish on the Ibanez TH

I bought the files. I couldn't bring myself to pay someone else to customise a guitar to suit me, while having to explain what that is. Then getting the knowing looks of "that isn't stock". So I bought them, did it and its fine. Subsiquently, I have bought a cheap Yamaha acoustic who's string height would have been appropriate for an aircraft carrier deck. I used the files to turn that into the most playable guitar I own!

I'd suggest that any reasonably-popular guitar, made by any reasonably-popular maker, from any reasonably-popular supplier will be fine for any beginner. There can always be a flaw in any manufactured item; guitars are no exception, but they are rare. If any guitar purchased could be vetted (played by...) a decently competent guitar-playing buddy, to check that it's all working (and it will be...), there's little chance of anything seriously wrong happening. What some reviewers might describe as 'absolutely terrible' could be really insignificant details, that don't affect playing, and wouldn't be noticed by most folk. Any described as 'absolutely fantastic' could, by the same token, have been written by someone paid to give a glowing review. Ideally, you should try out any instrument yourself, or with a competent chum, in a reputable store, and decide what's good for you and your budget. If you must order through the web, there is ample protection against bitter disappointment, and, of course, the normal legal guarantees for any faults. I short, trust yourself more, and go for whatever you like the look of, that will inspire you to learn and play, and is in your budget, from any reputable source, the closer to you the better. If we all gave a list of what's 'great' and what's 'rubbish', you'll not be more advanced. It's all good, as long as it inspires you to learn and play it. Hope this helps. Douglas

Yes, exactly.

I agree with this too. I have had both US and Jap models as well a custom shop one too, but get bored with instruments quickly so have always had a high turnover of buying and selling. I defaulted to Mexican in the end. I found the build quality just as good and to be honest I found it more consistent too. I have found some USA (and MIJ) built shockers and passed on them, but not found any poor instruments in the Mex range. Again, my suggestion is just choose the one you like the look of. The electronics can be changed easily and cheaply if necessary.

This is good to know thanks! Thats a shame about the electronics, especially the pickups. I’ve just noticed that the 2024 FSR model jag I was looking at actually comes stock with all US electronic components, compared to the 90s model that doesn’t. Annoying, they’re from the same shop and neither listing states the body wood type. Build quality is the most important factor here though. Good to hear that you praise the Japan guitars in that sense.

I know nothing about Jaguars specifically, but from my own experience, the Jap strats are 90% of the US instruments. I prefer some of the more vintage appointments (neck profile in particular and different colours) compared to the generally more modern US versions. But they are let down slightly from cheaper electronics. When I was gigging much more regularly I had electrics fail on 3 different Jap strats, and ended up replacing all the pots and pickups for US ones. But the build quality and feel was top notch. As a disclaimer, I actually really like basswood as a body type, I find it more airy and lighter than alder ones. So I would say, get one you like the look of (cause you can't really change that) and if you need to spend the extra £100 on replacing the wiring loom.

Ooh, you’ve asked the wrong question for me as I’m a Gretsch fanboy. Worst thing I ever did was let my old customised Streamliner. If it were me, I’d get a Electromatic 5420, with a Bigsby (well set up, they’re pretty stable and definitely add something to the sound of the guitar) you don’t have to use it, but it’ll be there if you fancy a wobble.

I'm rather a fan of hollow-body guitars, but the Gretsch range has never really appealed to me. I can't speak for any modern, current, models, but 'back then' ('70s...), the ones I came across didn't inspire me much at all, with a rather limited tonal range, electrified, and not much tone at all as an acoustic. I found them to be extraordinarily heavy and clumsy, too, compared to other arch-tops or acoustic guitars. I suppose if one just has to have that particular sound, they don't have much competition, I certainly won't be scouring the small ads to find one. What is it that draws you to them, and what models are your present guitars that you're willing to sacrifice..? At the risk (nay, certainty...) of sounding like an old frump, I'm not a fan of tremolos on any guitar, and definitely not the Bigsby version. Heavy, clumsy, detrimental to the tone and robustness of any arch-top guitar sound-board, it's a deal-breaker for me. Do they mess much with tuning..? They certainly don't if they're not fitted..! Again, it's a matter of what one wants to play, and I've never wanted to play in any style that uses such an effect, soooooo... Not for me, thanks.

correct!

Yep, sounds like a partially pinched harmonic to me. You may find that part of the thumb or finger, holding the pick, are choking off the note and creating a false/pinched harmonic. This can be used to good effect, if you want it and that’s your thing, Billy Gibbons and Zakk Wylde are noted exponents of the technique.

Spoken like a true bass player. My favorite amp for bass is the Markbass Littlemark tube 800...... and you can't hear the tube!

You are right of course! you noticed it, I didn't thanks

Not sure it would be my style, but great concept, particularly for practice and for covers band players. Looks like they do strat styles too, so might be worth checking out. Just like the Line 6 Variax range but one step further. Does it work just off the app? Would it still work after the app or device is no longer supported? As far as I know the Variax line will work happily using the standard sounds even if it hasn't been updated.

Thanks Dad3353 for replying to my questions! Does that help you say? Help? you have opened my eyes and helped me see a lot more than I hoped! I realise of course, that my Chord Progressions "should" improve with time and Practice, you've made me see that I am trying perhaps to change Chords too quickly?, that explains why my fingers end up in a Reef Knot! I have decided to practice more slowly, deliberately, and therefore more accurately untill I can change chords as easily as from EM to Am! You have given me plenty to think about and learn about Intervals, I realise that understanding them is a great skill for a Guitar player to posses, and the explanation you provided is Food for Thought for me and I intend to devote a bit more time to study Intervals, which are I believe, a vital aspect for a Guitar player or any Musician to understand. Thank you

Changing from one chord to another comes with practise, the slower the better to get there faster. Take some regular exercise time (5-10 minutes every day without fail...) to finger the chord, then change to the next one, looking only for accuracy, not speed. Slow but sure is the way forward. This applies, whatever chords you're going from/to. Intervals..? Easiest to imagine from a piano keyboard point of view, but it's exactly the same principle for all instruments. Take as a starting point the note 'C' on the piano. An interval describes the distance to the nexrt note played. From 'C', for example, playing the next 'C' on the keyboard gives an interval of an octave (there are eight notes in Western music, so 'octa' for eight...). From the first 'C', if we play the 'B' below the octave 'C', that an interval of seven (written in Romain as 'VII'...). Next interval from the 'C' to the next one down ('A'...), we have an interval of 'VI' (Yes, six...). Keep coming down from our first 'C', we play 'G' (interval 'V', of five...), then 'F' ('IV'...), 'E' ('III', or three...), 'D' ('II'...) and back to 'C'. Any note from 'C' can therefore be designated an interval ('VII' gives us 'B', for example...). This is easy enough to visualise on a keyboard, as it's only the white notes, and from 'C'. The same 'logic', can be applied, however, if we had chosen to start with 'D', except, in order to play the same intervals as with 'C', we have to use some black keys. 'D' octave is easy enough, but a semitone down from 'D' (the same interval is 'B' starting from 'C'...) will be 'Db'. I'll leave you to work out what the other interval are, starting from 'D'; it's a good exercise to hammer home the understanding. Do it again for other starting notes, too, for fun. It works in the same way for guitar, of course; on the open low 'E' string, the 'VII' is the Eb at the eleventh fret. Play an 'E Major' scale on that string and you'll see how it works. Does this help..?

I need to make some more room quickly so up for sale is the Eastman T386 semi-hollow that I bought from Guitar Galleries in Beverley a couple of years ago. Condition is immaculate and Eastman build quality is well known. Comes with original Eastman hard case. Priced at just £625 to move quickly - available to try here in Nottingham or PM to discuss meet/drop-off options. Thanks for looking

Check out Justin Guitar. He has loads of very good YouTube videos and also has a website with a community on it where you can post recordings for critique.

As @ezbass says, they are probably playing the same chord (a chord is just made up of a fixed group notes), just on a different place on the neck. Each chord can be played in several different ways, using the same actual notes, but just using different position on the neck, the same as bottom string and top string are both the note of E so can be interchanged even though they sound different. This is one of the benefits of the guitar, the notes are repeated multiple times on the fretboard so a player can choose in which order he plays the notes of a particular chord, or just in a position that he favours. It is common with 2 guitars to play different positions (inversions), usually one in the lower registers and one higher up so that the sound doesn't get too muddy.

The guitarists are simply playing inversions of the same chord. For instance, player 1 plays A, D & G open shapes (no capo or barre). Player 2 can play inversions of those chords using a finger barre or a capo on the 5th fret and play E, G & D shapes. Same chords, different positions. If player 1 has downtuned to Eb, player 2 can either also downtune, or place the capo 1 fret lower to achieve the same effect. Check out the CAGED system for more info.

excellent stuff Ha ha Good one you’re probably right.

Looks vaguely like the PRS S2 Vela. Not a fan. As @Dad3353 says, if there isn't any innovation, what else does it bring to the party? I am definitely in camp F as far as guitar design goes so prefer something not LP looking, but rather than bringing out a re-hash of a mediocre design, why not try something new? I appreciate it is a pretty saturated market and they must get incredibly frustrated with people just wanting 80 year old designs and there must be people who hanker after 40 year old designs from the 80s. There is a retro market for the Japanese designs that had it covered back then and you can get a great Matsumoku built 80s model for a quarter of that price. Although I am not old enough to remember, just imagine the astonishment when the Flying V came out in the late 50s... what a thing to re-capture...!!

Never looked like a Gibson to me. Looked and still looks like a guitar designed by committee.

Thank you, it’s been a long time since picking up a guitar, much appreciated

Brian... Guitar plugs into 'Input', 'Output' plugs into amplifier. Tips..? The answer's a lemon : suck it and see. I always start, with anything unknown like this, with all the settings at '12 o'clock', turn the amp up with caution, then try each knob and listen (yes, whilst playing the guitar of course, you fool..! ). You won't break anything doing that.

Done

im a 17 year old student, iu have self taught myself the guitar for 14 months and have not been able to put it down. my favourite songs to play are freebird and eruption

done

Done.

I have an Alvarez hybrid, which, although traditional in depth, has a cutaway and the neck joins the body at the 14th fret. I like it, YMMV. https://www.guitarguitar.co.uk/product/170306308317008--alvarez-artist-series-ac65ce-classical The tattooed guy, from Polyphia is Tim Henson. The music the band play may not be to be everyone’s taste, but man alive he has some serious chops.

Cordoba do a range of 'modern' shaped stage nylons. I looked at these too as I like the idea of a nylon acoustic, but also don't like the traditional look. They get great reviews but I didn't get round to trying one. https://cordobaguitars.com/stage/ I did try one of the Ibanez FRH though and it was very nice actually but I didn't like the balance when seated. It is really thin, just like an electric and it was nice to play standing, I just wasn't convinced by the seated ergonomics for me personally and I would play it seated for a lot of the time. But the neck felt closer in width to my regular guitar than it did a wide flat classical board, so it depends what you want it for. I also have a Fender Highway Acoustic which is also really thin, and again, don't like the seated position, but I play that standing for the most part and it is really comfortable. So maybe I should give a thinline nylon another go.

As I said, I have tried different sized tremolo blocks of steel and brass and couldn't tell the difference (sorry if that was unclear on my post). I can't tell the difference either between a floating or fixed/blocked tremolo either, I only do it for convenience as I don't use the trem.

Fender "Classic" series 50s Strat Daphne Blue, with correct single ply 50's scratch plate. Made in Mexico. Mint condition Very light action as supplied with 9s Bought new by me from GuitarGuitar. Still have receipt. Barely played. Never been taken outside our smoke free home Vintage-Style Single-Coil Pickups Deliver Truly Classic Fender Tones Lightweight Alder Body Offers Sonic Balance & Enhanced Resonance Comfortably Smooth Soft ''V'' Maple Neck & Fingerboard Synchronised Tremolo Bridge Provides Classic Pitch Shifting Effects Includes Fender Deluxe Gig Bag Willing to post about £20 - £30 I reckon Any questions etc please ask

Matthew 7:24 points out that guitarists cranking up their Marshall stack to 'eleven' and banging out a bit of Zeppelin: 'Will be like a wise man who has built his house on the rock'

I wonder if @Frank Blank would be interested in buying it...