ezbass

Great to see Richard Thompson get a mention.

Great score. Yamaha don’t make a bad instrument at any price point IMO.

Welcome back. BC is a problem because it’s so busy, it’s easy to forget that GC is here too. Fortunately, this has led to a more laid back, slow burn vibe here, but does mean less traffic.

That stealth neck attachment is brilliant.

I would have been inclined to return the guitar, Yamahas are normally solid as a rock, whatever price point they are and loose electronics sounds like someone has been messing around with it. Was it new?. Assuming that there are no shorts in the circuit, neck and middle will always be lower output than the humbucker and perhaps the slightly higher rated pots may be contributing to that. As to the tone issue, perhaps the taper is incorrect. As you can tell, I'm no expert and this is the best I can come up with.

Of course, how could I forget BM? Many, many years ago, Lonnie Donegan released an album with various guitar players guesting on it. You didn’t need to check the sleeve notes to see which track BM was on.

Looks like it’s been inspired by a Klein.

And I cannot lie,, All you other brothers can’t deny, Etc… From the up coming single, Brian May Got Back.

There’s a thread that was started for this kind of thing, only two posts, unfortunately. There’s also this section of the forum, only one thread, however. https://www.guitarchat.co.uk/forum/34-tutors-available/

Monty Montgomery puts his acoustic guitar through a tubescreamer to rather good effect, albeit using the onboard piezo. A fuzz pedal may be a distortion step too far though. The only way to find out is try.

Eric Johnson and Steve Morse have very distinctive tones, as does Ritchie Blackmore (or at least he did, who knows these days?).

I need a wagging finger emoji

I think @Dad3353 and me might have an issue with that statement.

Went to a shop to buy my recent purchase, a hundred mile round trip. I took my two acoustic guitars with me to compare to the two I’d short listed. I then traded one of them in. I could’ve done this online, but then sending one back and selling the one that became surplus to requirement would have been a pain. I’ve bought online a few instruments online, but I do prefer a shop. Whilst I was buying my guitar, another guy bought a Fender Jazz Bass, so they had a pretty good start to their day.

I agree, it’s a kazoo.

I was always a fan of the Kahler, definitely preferred it over the Floyd Rose.

I like Passenger, his songs are often rather quirky and weird. A friend of mine went to one of his gigs and was chatting with him, a really nice bloke apparently.

Day two. Restrung yesterday, as well as putting some lemon oil on the board and bridge plate (the frets did not suddenly sprout out ), lowered the bridge a shade and tightened the truss rod. However, after a good bit of playing (it is new after all), I noticed some things that needed a little attention. Therefore, this morning, off came the strings again and I polished the frets with a micro mesh cloth, as the frets were ever so slightly gritty when you moved a plain string from side to side, not terrible by any means, just not perfect. I was a bit concerned about the D & G string tuners not reacting as they should, but a clean out and lube of the nut has sorted that out. The finish on the inside of the sound hole was a bit bobbly and a quick rub with some 800 grit paper has fixed that too. I also took the bridge down about 0.5mm again for an even lower action. All back together again and even better than it was. The corners cut are understandable for a guitar that sounds this good (the most important bit) at this price point, so I have no complaints.

Very nice. All a bit different too. It's hard to see, but is that a Kahler on the Guild?

Photos please .

It's never appealed, don't know why. A baritone ukulele, on the other hand, always has me thinking.

New guitar day thread here Sorry to disappoint those who wanted me to buy the Yamaha.

Having been beset with dreadnought GAS for quite a while, I delved into what I actually wanted despite being wowed by a Yamaha trans-acoustic . It had to be 24.75” scale for comfort, mahogany back and sides for that nice midrange (I have a rosewood folk sized guitar for that deeper tone, very much suited to fingerstyle) and sound good of course. Research led me to the ‘inspired by Gibson’ range by Epiphone. These are built from solid woods, more attention detail and a very thin, semi-gloss finish. The two in the running were the J45 and Hummingbird. I trotted off to Dundee with the two acoustics I already own for comparison (no point buying something that does the same as you already have), pretty sure that it would be the Hummingbird, which I’d gleaned from the YouTube videos I’d watched. I started with the J45 and was immediately mightily impressed, it knocked spots off my run of the mill Epi EJ200 and I thought I may have been hasty in my preconceptions. Then I played the Hummingbird, within one strum I knew that this was what I was looking for. It had the same playability as the J45, combined with a wonderful, vibrating feedback from the back of the guitar, but with a really sonorous low end lacking in the J45 (which is designed not have this apparently). I played a few things on it and compared it to the EJ200 and my Simon & Patrick Rosewood Folk Pro, but it was unnecessary, I was hooked from the get go. Yes, it needs a little setting up and a string change (kudos to Kenny’s for not even blinking when I asked if they’d throw in a set of strings and for their sterling service altogether), but I think we’re going to be very happy together. What’s that I hear you say Very well…

If it had been 24.75” scale length, it would be with me, but it’s Martin 25.5”. I prefer that normal, Gibson scale on an acoustic, the EJ200 was 25.5” and didn’t feel as comfortable as my other hollow box, which is shorter.