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EdwardMarlowe

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EdwardMarlowe last won the day on April 10

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  1. Idly google while procrastinating a hefty marking task this afternoon, I chanced across Munson Guitars based in Norfolk. https://www.munsonguitars.com/ Mostly a little too 'modern' for my tastes, but they look really nice. £1300 or so and upwards, list of custom options. What caught my eye and I thought some folks might want to know round here is that not only do they ensure all their models are available left-handed (the owner is a left handed player), but there's a really cool bit on the website where it encourages left handed players to play left handed - and offers a 5% discount on all left handed guitars across their range. If I had the money available to spend on a guitar, I'd be very tempted to jump on one for that reason alone. Impressive! I was originally going to leave the thread at that, but thought it would be cool to have a thread dedicated to markers who produce nice, left-handed guitars, as there seem to be a few of we southpaws around these parts...
  2. Me, I'd love to see a high quality, solid body electric guitar.... made from plywood. I've come back to the material after years of looking down on it as a green, sustainable wood that actually looks great in the sort of furniture that appeals to me (mid-century modern; I hope to move house in the next few years, and my intention is to give it a very late 50s and earlier aesthetic). This has made me look back on the era of affordable, plywood guitars. When I first took up guitar in late 1991, plywood was the norm. Then Yamaha hit the marketing triumph of selling the Pacifica 112 with a natural finish to emphasise that they were solid wood, and everyone else soon followed suit. As I've come to find the ply aesthetically pleasing, I've come to wonder whether a truly great guitar could be made from it - an extension of the "tonewood is a superstition and nothing more" philosophy, I suppose. I'd love to see someone with crazy money have a Strat made from ply by Fender's custom shop, and then play it off against the one-piece, exotic swamp ash types. Of course it's not in the industry's interests at present to do something like that in case it undermines years of marketing expensive woods, but I can't help but wonder if necessity will bring it round again one day, perhaps from the environmental perspective. I mean, twenty years ago who expected bamboo guitars would be available now?
  3. JUst spotted this after I posted: yes, it's very hard indeed to go past Vintage for a new guitar. Even these days when I'm looking at selling off a lot of what I have and buying just a few, nicer pieces, I'd still consider them. Hells, if they were better at donig left handers in their 'relic' type, I'd have a couple of those already.
  4. Worth seeing what the kid's favourite players are and what they play; at that early stage, having a guitar you feel cool posing with can make a big difference in keeping 'em sticking with it, imo. An SG could be a good option there. I'd be inclined to buy carefully at the budget end with the guitar, and spend more money on the amp and maybe a couple of cool pedals - some of those £25ish Chinese mini pedals all over ebay, they can be very cool. If an SG style is what works, I'd be looking at the Vintage range. Their SG type - the VS6 - is phenomenally good for the money. A fair bit cheaper than Epiphone, and an Epi beater imo (qualifier: I've not had a chance to try the new headstock Epiphones). They have models from about £150 for the standard one up to some fancier vintage styles for £350ish. The RRPs are a fair bit higher than you'll find in a guitar shop. The vintage range takes some serious beating. The cheaper, Korean made Tokais can be worth a look too.
  5. I started with 9 when I first played electric. I moved up to tens because I kept snapping the high e on a 9, and I liked that the 10s overall provided that bit more fightback. I've tried a lot of string brands over the years; as a non-pro and not gigging or playing out at all these days, I find whatever is cheapest works well enough for me. IMO, the chief thing with strings is to find a brand that works well for you in terms of durability and that don't snap all the time and whatever. Beyond that, I'm not convinced there's any difference made to the sound (unless a la Eric Johnson your dna has enough canine that you can hear a difference!). For my money, Ernie Ball, Rotosound, D'addario, Dean Markley... all decent, go for the cheapest one. I remember I stopped buying Dean Markleys years ago for no reason other than that I took offence at the tedious sexism in a lot of their advertisements, but the strings themselves were decent enough.
  6. This is really coming together!
  7. I have always worked on the basis of avoiding prescriptive fingering, and used whatever works... the most important point, surely, is how it sounds.... (unless, of course, you're in a tribute band and a particular physical movement is highly characteristic of the player you're performing as).
  8. Not seen that particular brand before, but it does greatly resemble the Agile / SX types that were all the rage back in my Harmony Central days. Nicer headstock than many of the Far-East made guitars that are in the Gibson arena but seeking to avoid legal threats from the same. I don't think I've seen exactly that shape of fretmarker before. Clever choice - in the Gibson stylistic vein, but not one they have ever used, to my knowledge anyhow. I rather like it. Body shape looks quite close to the original save for the blunter horn.
  9. I can't imagine Simple Minds will ever be forgiven where I hail from for daring to be "outsiders" with a view on "our problem"! That and Belfast Child was ,in the end, just a bloody awful song, bless them.
  10. Yip, as said above, exactly like a five string bass - more low notes. As to Vai - technically a very gifted musician, though TBH not a player I take any pleasure in watching/ listening to. The Shred thing always left me cold. It's hugely impressive from a skill point of view, but as art it stirs nothing in me.
  11. Nice. At one time I toyed with the idea of buying a used Tom De Long sig model and Hendrixing it; I'd definitely change the HB, though - possibly for a HB sized p90. I have a lot of love for the concept of a single pup guitar, though I don't current have one given the rarity of left handed models. Every time I see something like this, though....
  12. Fender used it a lot on the Mexican line, at least until the "upgrades" that took the Standard to the Player Series. I think they're alder now, but the Standard models were poplar for years on end. I have a feeling some of the Squier range were poplar at a time when they switched from plywood to solid, though last I looked many of them were now Agathis (something in the mahogany family, I believe). Leo of course didn't much care what wood he used as long as it was available and hit the build budget; the first Teles were pine, then ash then alder... Course, the wood in a sense matters much less with a Fender style, given many of their pickups are mounted either in steel (Tele Bridge) or in plastic (Strat guard)... Basswood is another, softer wood that gets used a lot in the Far East. As I recall, a lot of Japanese guitars, including many Fenders, are basswood. It used to be particularly popular for a lot of Japanese and Korean superstrat types. I think it was prized for being light as well. Nuno Bettencourt had guitars in his sig line made from it - if memory serves, he was quite a tiny guy, so a hefty Les Paul would not have been histhing so much..
  13. Yeah, that's the absolute best bit imo. If they did the right combination of effects for me and I were to get involved in a gigging project again I'd be well up for a few of these.
  14. I used to want All The Pedals. I've still got every pedal I ever bought - including a 1994 Sovtek-Electro Harmonix green Big Muff Pi, in the original wooden box, which I gather is now worth about ten times the £45 I paid as an undergraduate! Also have a DOD Phasor (vintage style, blue metal box), Boss BF3 Flanger, JD Crybaby, an of-brand OD pedal, a 90s eras Guyatone Tremolo... I've recently collected a knock-off Klone in a mini-format, a mini-Spark, and a couple of others. I'd like a classic verb (though most of my amps to date have it, I'm looking to sell them all and buy a small tube amp Champalike), and something approximating a tape-echo. In recent yeas, I've rarely pulled the pedals out - I've not played for anyone other than the cat (an even harsher critic than me) in years, and my main amp for some time has been a Vox AD120VT with built in F/X. My approach to playnig has also shifted; I find I don't care for loads of bellsand whistles now - I'll keep all my pedals because I might one day (doubtful, I'll be 50 in 2024...) be worth recording as a player, and it would be nice to use the odd effect. Mostly, though, in terms of what I want to play now it's all old school rock and roll via psychobilly; if ever I had the time and thought I wouldn't shame myself, I'd love to have a fun, for-kicks gigging band that sounded like the Ramones if they'd formed in 1959 and been taken under the wing of Vince Taylor... I've been sort of idly building up a new gorup of pedals with that in mind - the notion of having either a pedal (direct to pa) type preamp or a tube (or good sounding alternative) amp that gives me one, good sound (the reason I'm ultimately going to part with the Vox is I just don't use it's capacity; all I want is one, good clean / edge of break-up tone in the amp), a trem pedal, reverb, echo and a couple of different dirt pedals (an overdrive and a boost). I might well pick up a fair few different od pedals, especially given how many fun, cheap pedals there now are on the market. With that backdrop.... My fantasy pedal 'board' would be as follows: One small, strip (approx 12") with seven buttons on it. There'd be an on/off mains switch, and a mute which connected to a tuner, inbuilt (dial and needle, not a digital tuner). Each of the remaining five buttons would connect to a circuit inside which digitally reproduced a single effect. This could then be plugged into a laptop, on which I could use software to choose an effect to assign to each button, and then tweak the parameters to give me what I want (e.g. to get a decent slapback echo sound, or a useable overdrive, without having to buy a delay pedal where I'm paying for a whole capacity I'll never use). The sounds I'd want would be: 1] Clean boost 2] Classic od / crunch 3] slapback echo 4] Tremolo 5] Reverb There should also be a line out (with built in preamp) that cam go direct to the PA. No pots or settings on the box itself, just on/offs, though perhaps there could be an advanced version which allowed these sounds to be tweaked live on the fly by the sound man. That would be my holy grail unit. That and a good lead to plug between it and the guitar; if I ever played live I'd need nothing else.
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