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You mention 'fast position and chord changes'. My single piece of advice would be to solve this issue by doing things slowly. Slow is the new fast. Slow is the fastest way to do fast. Whatever it is you're wanting to do, do it slowly, preferably with a metronome, or whatever you use for tempo, but set it to slow. Do whatever it is you are wanting to do, slowly, for a while (two, three weeks..? Every day, for ten-fifteen minutes..? Slowly..!). Once it can be done, slowly, well, up the tempo a little. No, just a little (60 bpm becomes 65 bpm, for example...) do this, regularly, for another 'while', and once you've become proficient at it, up the tempo a tad more (65 becomes 70..?). Repeat; if, after a 'while' it's still not smooth, clean, easy, go back down a tad with the tempo and repeat. It is useful, and recommended, to start from the original 'slow' tempo now and again, for a day or so, working back up to one's current tempo, as a refresher. Always with the metronome, or whatever you use for tempo. This is the way to obtain whatever speed one wants, and is the guaranteed fastest way. Is there a downside..? Yes, it requires a large bucketful of Patience. Those without this essential accessory will not achieve their goal, so be sure to have that bucket, and keep it well topped up. It is of no advantage to do this for hours on end, nor too many times a day, but if time permits, a couple or three sessions of 10-15 minutes (no more...) may be permitted. The key is in the regularity (every day...), in the keeping the tempo slow (hence the metronome or equivalent...) and the Patience. It cannot, and never does, fail. Douglas

I don't think I've posted here before - I'm a member of basschat.co.uk, but after playing bass for decades, lately I've been singing and playing mandolin and octave mandolin. I don't actually play guitar, though I have a couple of guitar-shaped objects in my collection - an acoustic guitar bodied octave mandolin, and earlier this year a local guitar builder converted a copy of a Gibson SG to mandolin for me. I'm currently working towards a Rock School grade 2 acoustic guitar exam... with a mandolin!

Six months ago I bought my Hohner acoustic guitar when I decided it was about time I started to play again, I then purchased an Epiphone Gibson Les Paul Studio 2. This week my wife brought home an acoustic classical guitar that was going to be sent to the tip. I soon realised that it's previous owner had restrung it incorrectly with the strings fitted in the wrong order, there is also a little damage to it but I figured for the price of a set of strings it was worth messing about with. Three days on and aside from the new strings taking a while to stretch its not a bad little thing to mess about with, and I have been trying a few of the easy classical pieces that I used to play. All very basic stuff ( probably aimed at primary school leve) but I am enjoying it!

And...it's finished!!!! The 'last few jobs' always turn out to be a 'myriad of final jobs. Anyway, all sorted. I'm passing it across to Alex tomorrow - I will try and get him to do a bit of recording at one of their band practices but, in the meantime, you'll have to trust me when I say it sounds great . Although it is just a small wiring change and no hardware change, I've opted NOT to go for the P-rails standard wiring system which gives: Full series humbucker; parallel humbucker; P90; Rails. I've used that system in a number of my own gigging guitars and I found that: - the fact that both pickups are always in the same configuration for the four options is actually, ironically, quite limiting. I was always hankering for, such as, 'neck pickup full series humbuck for the depth, mixed with bridge pickup in split coil mode to add a bit of extra treble and dispel any muddiness' and similar - I also never, in practice, used the rails by themselves...not enough ooomph - and I never, in practice, used the humbuckers in parallel...not enough depth I talked that through with Alex and, for kickoff, we decided to have a standard split coil option for both pickups where the operating coil in each case was the P90. So he can go full series humbucker with 3 way options, P90 with 3 way options and one (either) pickup P90 and the other series humbucker. It's a 30 minute job to change the wiring to the 'P-rail standard' options if he wants to try that in the future. Anyway, here are some of the arty-farty finished pics: Thanks again for watching this develop and your kind remarks along the way

i used one continuous oak board (easy cuts) to make this: lots of sanding, some stain, etc. I used the scraps to create supports for the bottom side (given the stomping): i used a 1 3/8" hole saw to cut an opening for wires. i then took that plug and split it in half to make posts, to wrap the excess wire: on the underside, i used wire ties, tacked into the wood, to secure the power lines: in the far corner above, you can see i velcroed the transformer onto the underside. then, velcro on the top, and on the pedals, and a $6 leather handle: then, rubber feet on the bottom, and wire it all together. PS this is not representative of my pedal setup, this is just for testing! i'll post the actual rig soon. it's made it through 6 gigs. hopefully more to come (we have about a dozen lined up!). what i'd change- it doesnt stand on it's side, probably because of how heavy pedals are. to put a stand plate on one side would mess with the aesthetic. what i'm thinking of adding- maybe a shoulder strap so i can make one trip from the car to the studio. i can send plans if anyone wants.

And she’s done! Strung with D’Addario 12-56. Just need to let the settle in and then add the dots to cover the bolts. It sounds lovely acoustic and plugged in.

Is that what's meant by 'air guitar'..?

Son(16) is a fan of King Gizzard and the Lizard Wizard. Cheap Squier Bullet Strat from Cash Converters and a Most-Marvelous Inter-Fret Job by @Andyjr1515 fella who sits (slumps!) at the bar in the BassChat Arms... (Blah! Blah! and Pics in a BassChat Tech&Repair post) https://www.basschat.co.uk/topic/496955-microtonal-fretting-microwhat-but-sorry-not-on-a-bass/?do=findComment&comment=5264843 When 12TET and 20 or so frets just arn't enough... go 24TET and over 40 frets to play with!

Just about finished my telecaster build from parts. Waiting on a jack plate one i bought was wrong size. I will no doubt fiddle with intonation feels sounds ok atm, neck relief is set at the heel so will play around and then make adjustments when i change strings. Bridge sitting high but action is low. Pickups are Custom shop Texas Special Switch gear and bots, pick guard from Axesrus Body and neck i bought from ebay Fender tuners, fender neck plate. Wd Bridge (pretty sure its WD) I chucked some Slinkys on it. Messing around with a bit of rhythm "sympathy for the devil" and i like it, twang and then some. Will see how it bends and stuff later.

Thanks everybody for your answers and contributions. Made some interesting reading, and some great model photos. Just before Christmas, I privately bought a Marshall amp. The owner asked if I would also take his old black and white Strat off his hands too for a meagre £30.... It was an exact double of the one in my original post with identical headstock and weight. Well...you can guess the rest! Cheers again for all of your input.

I think HB are great value guitars and worthy of modifying too...here is a Youtube video showing what I do to them:- Infinity Mirror Guitar v3 with hot rail pickup.

I've recently bought a HB PB50 bass. I rolled the fingerboard edges and gigged it last week. £105. unbelievable

And bringing it up to the present state of play... To balance the purple of the headstock and fretboard, I added a slice of purpleheart to a cut block of ebony and carved the beginnings of the bridge. I also cut the fretboard end to where it will meet the soundhole: Next, I turned my attention to the decoration around the soundhole. Although you have to be a bit canny to maintain the accuracy, I actually find the Dremel radius accessory reasonable for this job: I used a 1mm bit to cut a circle at the centre and wrapped some 1mm b/w/b purfling into it after running a teeny bead of glue onto the bottom edge. After scraping the excess purfling off, I drilled an offset radius tool spike-hole that will be used to put in a second, larger offsett ring (you can just see the pencil check marking offset and outside the installed ring): And then another radius tool spike-hole in between those two to be able to cut - using a 3mm bit - a mid radius to create an offset channel for some curved abelone that, all being well, would fit in between the two other rings. It worked!! And finally, the radius tool spike back to the original hole, but at a slightly smaller radius to now cut right through and create the sound hole : And that's how far I've got so far. It's dinky, isn't it!!!! : Next job is the bracing and 25 foot radiusing of the top. Other pesky distractions mean that it is likely to be into next week before I get to that - but when I do, I'll be sure to post the progress

And here it is!!! Set up is lovely, and it was practically in tune (I will have to get used to the locking tuners). Frets feel like a tiny polish on top needed, but playing in will deal with that. Neck is gorgeous, and I love the firemist colour. Either a very, very almost imperceptibly tiny ding on the headstock, or a miniscule imperfection on the headstock finish, but that's the sort of thing it'd get in a few days' use with me, so.... Overall, a stunning piece. The gig bag is surprising good, much higher quality than I expected, and the 25th logo inside it is a nice touch. Highly recommended. I still hope they do 5his soec in the CC colours going forward, as a DLX model.

@Richards Guitars... I am one of several Moderators of this fine Forum; this task has been very simple for several years past, as the folk here are a great bunch. We enjoy the occasional bout of banter (whilst remaining civil, naturally...) between friends that are used to each other's little ways and foibles; nothing wicked or hurtful. If there is any doubt as to any posts here, there is, top right of every post, three little dots (...), from where it's easy to create a Report. Every Report is brought automatically to the attention of the Mods and Admin, and what rare issues that do crop up are handled with serious and diplomacy. Feel free to avail yourself of this function at anytime (this goes for all that read this, naturally...). This site is an extension of Basschat.co.uk, which has been active for many decades now. Here, things tend to be a little slower-paced, but there is a healthy cross-over from one Forum to the other (many here are members of both...). This leisurely pace suits us fine, so don't be surprised if some replies to posts come only after a few days. I'm usually here sporadically several times each day, but then again : I'm retired, so... Glad to have you aboard; meanwhile... Have a wonderful day. Douglas

My loyalty sale HB DC Jnr. At £128, it cost less than I've seen tgem go for used.... I did wonder if QA might be a little more flexible at this reduced price, but the sole flaw I can find is that one of the screws on the back of the bridge is cery slightly angled. As with the MR Classic, the bridge feels a little cheap but perfectly functional; I'm not anticipating replacing it in the foreseeable. In the medium term, I want to add a totey guard for a Johnny Thunders vibe. I'm halfway tempted to switch the knobs for dice knobs as well. Overall, It's ridiculously impressive for the money. Great set uo out of the bix just needed tuning. Not a sniff of fretsprout or a sharp fret anywhere. This is what impresses me most at this sale price. Back when I started playing in 1991ish, the most basic, plywood Strat type cost more than this new (even without taking inflation into account), and wasn't always as good as this. I'd put it on a par with the Epiphone model. To really go a step up, I'd need to be looking at sonething like Maybach or a Gibson; the problem with those is that it always felt inherently 'wrong' to me to take what is by design a simple, budget instrument and inflate it to "luxury" level. The one thing that I'd like to see Thomann do better is to get the TV yellow colour right. I *might* have paid full rather than sale price over this one for that (throw in stainless steel fretsand it would be a given), but all other things being equal, if it was just the colour I wouldn't replace this one with another for that, which auggests it's not really that big a deal.... Thomann dodo a small range of "tribute" guitars, basically unofficial quasi sig models.... if the MR Classic is a great base for a Johnny Ramone tribute, this and the Fat version should surely provide a great option for a nod to both Johnny Thunders and Mick Jones circa 1976/77 especially. One thing I'm really impressed with, as on the MR, is the neatness of the finish around the headstock, where the black facing meets the colour on the rear.

I believe it's a First Act Delia. Reminds me a bit of a Hofner Verithin (sp?).

Well, on the final furlong. Basically, the finishing is finished and now just have to do the shielding, fretwork, electrics and final assembly/setup. The final stages of ebony sand-only and alder/maple Tru-oil slurry-and-buff is coming out nicely:

The quick answer is yes I am happy and have become even happier as my skills have developed. I guess in retrospect I should have asked more how would a more expensive guitar reflect in feel and my playing. I was lucky enough to come across a rather nice Epiphone Les Paul Studio electric guitar for what I have been advised is a reasonable price, there is not a mark on it. The same guitar tech that checked the acoustic changed the pick up switch for me and he is suitably impressed with my purchase. And bonus a work colleague gave me this little amp.

I spent some time this morning with the guitar strung up and on a strap for me to 'fit' the neck profile to suit Alex's style of playing. Basically, he played, I then scraped material off the neck haunches and then he tried it again. This was repeated over an hour until it 'felt right' for him. We can do further tweaks once it's finished and he can play it with amp/etc but it's probably close enough for me to start the final sanding, which I started this afternoon. As folks who have watched other builds will know, I often use some Tru-oil slurry and wiped to act as a grain filler and also as a reveal coat... to spot dints and lumps or sanding marks that are difficult to see on dry sanded wood. The good thing is that it also lets bot Alex and me see how the final colours and grain are going to turn out to be. I think it's going to be quite nice:

Well family stuff and domestic 'projects' largely clear and so I'm back to the build I'm not quite at the final furlong stage, but certainly getting closer to it. Next jobs were to finish the rough carving on the back and getting ready to sort the control chamber hatch. For the carve at the back, because it's curved, I am mainly using the larger of the two round-bottomed Ibex thumb planes and also the gooseneck card scraper: Don't let anyone tell you the Ibex planes are toys - they really are precision planes: Those curly shavings are rock maple and ebony! I used a bottom bearing rebate router bit to follow the chamber and mark the outer edge of the rebate - but the curve of the back makes it difficult to get an even depth of cut and so the rebate was cut to final depth using carpenters mallet and some sharp chisels. Done, ready to create the paper template and cut the hatch:

Couldn't resist doing a full mockup. In elapsed time (some pesky family commitments getting in the way ) this is probably around 4 weeks away from finish but, from the front view, it's getting pretty close. In the third pic, @Matt P, I also gave the top half a wipe with a damp cloth to show what the final colour will be. Seeing this, I'm certain tru-oil slurry and buff satin finish is the way to go :

So why are the body wings so deep? Well - because the body cross section is going to have some curves. Mind you, that will mean a LOT of carving - and I will creep up on the final shape and let the guitar show where it wants to go... Here comes in play one of my favourite hand-tools - the Veritas Pull-shave. I think it's designed for scooping out wooden chair seats, but it's ideal for this kind of job: But I also use the block plane, razor planes and cabinet scrapers. Off and on over a few days, it's starting to take shape. Carve here is probably 50% done for the body. In between carving sessions, I also added frets to the (still unglued) fretboard:

I cut the top ebony around the pencilled line of the fretboard end which allowed me to lay the fretboard on the angled neck and position the top. I drilled a couple of positioning holes in the middle of the pickup positions which, with the addition a couple of kebab sticks will stop the top from floating around as it's being clamped when the glue is applied: That meant I could check that the neck angle is going to be correct for the height of a standard tune-o-matic roller bridge: And so what about the end of the fretboard that is hanging in mid air? Well, of course the offcut from the neck blank when I cut the neck angle in the first place is going to be the correct angle. So I will be able to cut a short ramp from this (ignore the odd shaped headstock in the background - that's not connected with this project ) I will also be adding a demarcation stripe of maple between the alder and ebony: And so, with the kebab sticks positioning everything until the clamps were all on and then removed before the glue set, the clamps can now go on! :

This is going to be a through-neck and so the first thing to do is, generally, to sort the neck. 'Sort' means choose the timbers, assemble the laminates, incorporate the neck angle into the blank, calculate the headstock angle, calculate the body depth and the neck depth... ...but you can't calculate the neck depth until you know exactly what the fretboard thickness is. So, actually, that's where I started - by radiusing the ebony fretboard blank using the excellent G&W router jig: Then fifteen minutes sanding with a sanding block removes the router marks: So now I can do all the neck calcs and cut the maple/ebony/maple blank: The neck angle is around 3 degrees, starting from where the top body 'horn' meets the neck, and I generally opt for a 10 degree headstock angle.

Please accept my sincere and humble apologies! To make up for my schoolboy error, please accept 2 for the price of 1, the Epiphone and the Hohner acoustic I bought back in February. Now I am shopping for an amp, as per my post elsewhere on the forum.

I just picked up a BOSS ME-50 through Facebook marketplace for only £70, it’s a beauty . I’ve only just started to explore its capabilities but, so far I’m impressed. Like most things bought second-hand, it needed a good clean

Hi Douglas! I end up upgrading the pickup to the Kent Armstrong Handwound Body-Mounted PAF Jazz Humbucker Pickups and also changed the string to Thomastik-Infeld GB114 Jazz Guitar Strings: George Benson - Nickel Flatwound. Very happy with the result and thought to just share with you! Thanks for your response

Thought I’d add some full length photos and the headstock.

15 years after getting my Martin parlour, which is in the first post of this thread, and 3 years after saying in that post I’d get it restored, I finally did and just got it back The out of place full size bridge was replaced with the proper smaller pyramid style - it’s a bit scarred now because of that, but it is over 180 years old so I can live with that! To make it look less scarred would have compromised the original finish, rosette and vibe. It’s also got new tuners, cracks were fixed, and the back was French polished. Feel blessed to be a custodian of this one. Would love to know it’s stories.

So I got a chance to get this stung up and wow what a difference. It’s been really interesting hearing it before and after I drilled the holes in the well. Before it sounded a little muted or muffled and like it was being choked, or struggling, but now sounds a lot more open. I wouldn’t say it gave it more bass response, but certainly made it sound more controlled. It was also very heavy in the lower mids but the holes have created a little more clarity in the top end, so overall a lot more balanced.

Neck carving and finalising the transition on the heel. Going for the acoustic look but of course bolt on.

Here it is, about to get treated to a good clean and some new strings. Setup seems spot on but I’ll check it all and set the pick-up heights to suit. The overall finish is superb - not just for the price but for a guitar of any price. The binding is lovely and clean with no gaps or flaws that I can see and the fret ends are super smooth (the frets need a good polish though). It needs a good clean up and some oil on the fretboard and I may swap the volume and tone knobs for black ones at some point but I do think I’ve blagged a real bargain for once

@Matt P Hi, thanks for the advice much appreciated. I made several enquiries by phone and email with mixed response, I have to say that some places were better than others at responding and will comment no further on that other than I recieved what I consider truly excellent service from Hobgoblin music. They are an outlet largely for anybody looking for instruments used particularly in the folk world, a couple of phone calls to discuss what I wanted and needed and within 24 hours of placing the order I had a case delivered to my ho,e address. Unfortunately my nearest music shop is now about an hour away so I do tend to rely on Internet searches otherwise I could end up driving around the south of England if I can't find what I need in one particular place. That said that is exactly what I did when I bought my guitar as there was no substitute for actually holding a selection of guitars to get the feel before buying. Back to my original point I now have a Viking case for my guitar which is an absolutely perfect fit and should keep it safe, whilst this case is not armoured or expensive, and I wouldn't want to use it I an aircraft hold for example, it will provide more than adequate protection for storage at home and the occasional trip out and about.

I will do a build diary to document this when i get started, but am going to do a neck only p90 build. Going to use a humbucker size p90 so I don't need to increase the size of the rout on the body I have and to keep it flexible for the future. Will keep you updated.

You lads are really kind, thanks so much.

Last night I decided to check the new neck out. I have had issues with necks sent in the past when they had a new guy working their production line. He recycled a discarded ebony board, basically flipped it over and glued the slotted side to the new neck and reslotted the blank front face then attempted to disguise the fret slots showing on the side with black dye - which I discovered after I cleaned the wood with meths. I didn't actually agree to them using a used ebony board either. It's a bit sneaky. However, using a set square on the frets revealed something more serious. The frets are inline with the square when checked from one edge but not when checked from the other. This basically means the frets are trued to one edge of the fingerboard rather than the centre and this will produce a guitar which can't be intonated accurately. So I got back to them and they've agreed to build a new neck. This could only happen in China but this supplier is honourable so it means mistakes can be corrected. It's the second time this has happened though. Once is a bit of a howler...but twice...? Still, it gives me an opportunity to correct a few other things, like asking for a little more flame on the maple. I also found a supplier of custom glass pieces. Normally he does optical glass but he's got 19mm thick glass which is enough for a sanding block for fret levelling. I use a steel beam already but glass is...well, one better...er, innit? And I'm determined to up my fret levelling game in these builds so I can sort out my other guitars too.

An excellent guitar, being sold by a well-respected member of our Forums. A no-brainer, indeed, and at a real bargain price, too. Jump on it; you won't regret it. (Good call, EZ...).

After a few days child-minding the said special little people, I'm back in the cellar For the bracing, I am using my home-made 25 foot radius dish although, for this build, will dispense with the Go-bar deck - I should be able to get away with just clamps and cauls. The bracing pattern is going to be pretty basic X-bracing with the standard-recommended tightly vertically-grained spruce. I've taken a bit of a guess at how much to scale them down. I started with the X-brace with gluing the cruciform and then sanding the bottom curve on the radius dish: This was glued to the top with a long caul keeping the curved brace bottoms pressed against the radius dish while the glue cured : After that was set, it was time to add the other braces and sound bars. All of the braces will be chiselled to create the nodes, etc, once it has dried overnight: And here it is ready for tomorrow's chisel and tap-tuning work :

I'm not going to replace my fingers

Well, today was the big day and she loved the guitar (though she seemed to be more excited by the Batman car Lego set ). The guitar looks great and the pale blue colour goes really well with the vintage look of the Mooer amp. The only flaw I can see with it is a slight gap in the neck pocket, on the top side, but it doesn't affect the playability and she'll not notice it. The amp is great fun. It has chorus, delay, reverb, flanger and vibrato. She loved the sound of the flanger. It sounds good too. There are clean, overdrive and high gain presets (plus bass and acoustic) and a bunch of amp models.

I mallet-tapped the outline of the rugby-ball jack plate with a variety of radius chisels and then used a small chisel to start creating the rebate: Once it was all level, I rounded the sides, drilled the hole with a 20mm forstner and popped a drop of tru-oil to match the alder before doing a trial fit: And after a couple of experiments, I had a go at the ebony. The great thing about ebony is that it will sand/polish to a good finish. What I didn't know was whether the brown streaks would behave in the same way. They do This is after around an hour, progressing through around 15 grades of emery/micromesh from 180 grit up to 8000. Nothing else - just sanding through the grades: There are a couple of dints that I will lose by repeating the process, but this will be pretty much how the top will finish up.

I wonder how you would go about stringing it... Stagg S-FS285S Guitar : Amazon.co.uk: Musical Instruments & DJ

Or more to the point making progress that I am very happy with! As explained elsewhere I have recently picked the guitar up after far too many years away from the fret board, so I consider myself a beginner. It has taken a couple of months but this weekend has seen the latest moment of joy when I can see I have made steps forward. I have gone through the pain with the fingers (and still am) as well as all the other joys of developing stunning techniques and rhythm etc, but I feel this weekend it has all come together somewhat and I actually played through a whole series of chord progressions without watching my left hand, and it sounded okay - not too many buzzes or Duff notes! There are two things in particular I can largely attribute this to firstly daily practice of at least 10 minutes each day and guidance from @JLGTuition, I have no links with @JLGTuition, I am purely a very satisfied member of his Facebook group. That aside the feeling of achievement and progress that i have made is extremely satisfying, I will never be a world class player and am purely playing for my own pleasure, but to play the guitar is a great thing to be able to do IMO even to my limited abilities.

For interest, and not to muddy the waters too much, this is what is generally meant by the north and south of coils on a drawing. However, the reason they are called 'North' and 'South' rather than the easier to understand, 'Top' and 'Bottom' is because (by general convention, but very occasionally not), the top pickup has the North side of the magnetic field to the strings, and the bottom of the pickup has the south side to the strings. To definitvely find out which is which, hold a compass above the poles - if the N points to the pickup that is south to the strings, if the S points to the pickup, it is north to the strings.

Yes, this is normal for many guitars. The pick-ups have been designed to follow the curve of the fretboard, so as to have the same height between magnet and string. Is it important, or critical..? Not at all; it's just the way that particular manufacturer thought would sound (or sell..!) better. The traces of rust are normal, too, as the pole pieces are made of ferrite (so iron...) material. A brisk rubbing with a Scotch-brite pad, or a brass wire brush will remove it, and applying a little varnish (clear nail varnish..?) over them will help keep them rust-free. It's purely a cosmetic thing, though; personally I just accept it and leave 'em alone.

Just got a Fender pedal from Daniel. Well known over on the dark side, but my priviledge to start a feedback thread here. Deal done friday, arrived saturday am, perfectly packed, original box, lights up like a Christmas tree when you plug it in. Probably sound OK too. Deal with absolute confidence. 5 Stars.

Another vote for the Tele, good call there, I would would say that it’s nigh on impossible to go wrong with a Tele. @Skinnyman’s suggestion of selecting a shop that does pre despatch set ups is certainly worth looking into. Whilst I agree with Dad up to a point about addressing your social anxiety (and you should, the more you get out there, the easier it becomes, take it from someone who was so painfully shy, I wouldn’t ask for directions and would rather be lost), a guitar shop is potentially a high pressure situation and a number of outlets will hassle you to ‘see how you’re getting on’, they are, after all, hoping to make a sale and some shops are better than others at being helpful rather than pressuring the customer. Another thing about ordering online, is that you have long distance selling regulations on your side and can send it back within a week or so, if it’s totally wrong for you. Regarding set ups, I was on my 5th guitar before I ever had a set up, so don’t overthink that aspect too much. Given your acoustic guitar experience, you already have a good idea of what you find comfortable. Best of luck and don’t forget to keep us updated with your new purchase, with photos if possible. Also, don’t forget to try and get ‘out there’ more, small steps to start with, but followed by bigger ones and then long strides and feel free to share that experience here too, you’d be surprised at how much support a forum can offer, with all sorts of things.

Hi Everybody. If any of you guys need a good quality strong double wall box to send your Electric or Acoustic guitar you have sold online or to send to a repair guy, I have some available here. https://blackcountryboxes.co.uk/collections/guitar-shipping-boxes They're in my opinion very good quality ( single wall ones are not worth bothering with in my humble opinion! ). We're a very small family business but take pride in the quality of our boxes and customer service. Cheers guys and I hope the mods on here don't mind me posting! Trying to offer a genuine service at a reasonable price to fellow guitar enthusiasts. Cheers John Burns

I’m very impressed. The overall finish is superb. Fret edges are beautifully chamfered smooth, action is low but with no buzzing or rattling anywhere. There’s obviously a difference in the quality of the components but there’s really not much difference in terms of construction between this and my £3k Taylor. At any price, this is a nicely made guitar. I like the dark finish and the satin feel of the neck. It comes with d’addario EXP strings and I’m not a fan of the feel of them - I might stick a set of Elixirs on. Apart from that, I’m well pleased with this.