EdwardMarlowe

And you try and tell that to the young people of today....

Certainly we're living in a golden age for cheap pedals to try.... When I started back in 91, there were a couple of very cheap and nasty pedals avaialble - Annyone remember Arion distorition pedals?, and then it was a jump up to DOD and Boss prices - Boss were pricey comparably for me then; DOD seemed to keep their prcies down over the years, but by 93 when I bought my first pedal - a EH-Sovtek Big Muff Pi - £45 was still a fair spend for someone not working full time (more than half a week's wages in my then student job!).

That's the birdy. I remember an ad in Guitarist (UK) about 1993 ish for a "Dallas Arbiter Fuzz Face" from one of the big stores in London, selling them for £39. No ideaif that was a new run or NOS or used or what, but I wish I'd bought some of them then! All i recall is they were the original size, and silver. New production models were later red, beofre the mini-seriescame out. Only pedal thqat looked cool on a board were the 1990s/eearly 00s Roger Mayer 'rocket' shaped pedals. Not sure if those are still around?

I must watch that video in full later on. Skimming the intro, I suspect I'm on the same page as that guy - I've always been dubious about the idea of paying a fortune for high end effects when actually as long as there's a basic levle of build quality / reliability, the only significant difference between boutique and mass market, "cheap" pedals is subjective taste regarding the sound. Best bargain I ever got was one of the original 1994 Electro Hamonix-Sovtek Big Muff Pi pedals - the green one with the battery operation (no slot for an adaptor). Still got mine, mint, in the wooden box it came in. I paid £45 in 1994; I gather I could sell it for anywhere between £400 and £500 now. I wish I'd bought half a dozen of them back when!

Roland have done well with them. I 'd love too to try one of those Award Session BluesBaby amps that claim to get the tube sound but are all solid state. One of the most interesting ideas I've seen in recent years has been the Vox 'Nutube' technology. Be interesting to see how that takes off.

Yeah, I have a TW15 full size I bought nearly twenty years ago for £150. I'm assuming it's not the same guitar as the one they're currently selling for RRP £700, but it's a hell of a guitar, all solid, for rally not very much money at all. I remember the Baby coming out not long after the Taylor Baby (ironically, I was torn between the Tanglewood TW15 and the Taylor Big Baby until I got a deal on the TW at half hte priceo f the Taylor.... never regretted it.). It's a shame they've dropped off the electric, but may it was just too much competition. They are supposedly "Britain's best selling acoustincs", though, so...

Boss / Roland are generally on the money with modelling. I also really rate the Vox Valvetronix stuff (especially the early, blue cloth ones). The only downside to a good modeller, imo, is if you won't get the benefit from it all. I'm gonig to sell my Vox AD120VT (the AC30 sized one) for the simple reason that I just don't need the variety it offers... these days, if I was puttnig serious money into an amp for gigging and recording, I'd actually be looking more at the Rooland bluescube type range: all the benefitsd of modelling, but with a simpler format. But that's just me - give me something that sounds like an old, tweed Fender and I'm happy. If you want the range, a modeller is a great way to get there.

Never owned one, but tried the Behringers and they do seem to be a decent knock-off of the obvious Boss models if that's what you're after.

Very nice. I have a vague memory of seeing that version of the logo onthe first Tanglewood I ever encountered: a £100ish acoustic a friend at school owned in.... I think 1990ish. The modern logo was around by the time I bought my bowlback electro acoustic in 1994. You won't see many with the headstock that's on this one; I'm pretty sure Gibson went after them for that! If their website is anything to go by, they've more or less givne up on the electric guitar market now, with just one model of electric bass and three (hardware wise) vaguely Strat-type but original designs. Not to my tastes, but there you are. Clearly it's been their acoustic ranges that have taken off, and it does seem the acoustic world is a bit more open to new ideas than the electric world. so. Another model worth looking out for a vintage one if you like Teles was their Quomaster, a short-lived Tele model based on Francis Rossi's famous Tele. A Toploader (like Page's 56...), which appealed to me at a time as I'd have lokely instally a bigsby. They sell for £100-£150 usually. I've also seen a very nice burst '62 Custom' version with string-thru traditionsal bridge, though I';m not sure that was a Quomaster (as seller claimed) rather than a different Tanglewood T type model. I have heard that at one time they were looking hard at donig a high end line of electrics to go along with the "Master built" acoustics, but while the sample guitars turend out great, the retail price was gonig to e too high for what they could sell the brand at the time.

TBH, I never thought that was an especially bad idea.... All done and said, I'd rather have some sort of outboard device that could do all that but built into a string winder, but ti seemed to me it got more back lash than it really deserved purely as an idea. I suppose it's the case that few of us change tunings al that much, but...

In the words of Avid Merrion, "a little bit of sex we came out." Utterly stunning. I have a real soft spot for the SG despite never having owned one. I'm definitely asolid-colour guy these days, but that it jusat the most unique and interesting flame top I've ever seen. Took me a second at first to realise it was the wood and not a really clever graphic of actual flames. The piece de resistance is the through-neck. Oddle enough, I was only recently toying with a daydream of a thru-neck SG Junior style! This is stunning stuff. Love an SG.... weirdly, I think the thing I love most is the selector switch being down among the other controls - feels so much more natural than the LP one, all up out of the way...

Lefty player here. Great idea for a gift - at the least, your brotehr will have a bit of fun with it. If he really takes to it, you'll have given him a new hobby that will be a source of joy for years to come. Thomann are a good idea - I've not bought directly from them (yet), but they have an excellent customer services reputation and they are also based in Germany. so if ever there's a warranty issue, that would suit for your brother. For acoustics, I can absolutely recommend Tanglewood as a brand for very good left handed provision; the Harely Benton parlour acoustics at about £200 look great on Thomann. If you look to an electric, I'd be looking to what music he likes - what do his favourite guitar players play? For Fender Types, the Squier range, especially the "Classic Voice" guitars, do have some cracking lefty models. If you were looking in the £500ish range, the Fender Player series catersquite well for we lefties as well. For Gibson types, I think the best starter models tend to be from the JHS brand "Vintage", though the JUnior DC and Junior SC models from Thomann's in house Harley Benton brand are also gorgeous. An acoustic will probably be the most affordable way to start off as you can get something really quite nice for about £200, and you don't have to start with amps and cables and such that can quickly add another couple of hundred to the start position. You'll read a lot in descriptions about 'solid top', 'all solid' and 'laminate'. This refers to the wood the guitar body is made from. The general accepted wisdowm is that all-solid is best, as the real wood changes and 'brethes' over time, and the sound improves as it matures. An all-laminate guitar won'tg do that - the sound will always be the same as it starts off. Which is not necessarily a bad thing, if that start-sound is already great. Although laminate guitars are usually cheaper, some very expensive semi-acoustic guitars use it as it is less prone to feedback - horses for courses. A solid top is a common compromise - the benefits of the top (which is whre the main effect on the sound is, arguably, as that's hat the bridge anchors the strigns to at the body end) with the benefits of the laminate (cheaper - also often more stable than soid wood can sometimes be). Seriously tempted by one of these myself - https://www.thomann.de/gb/harley_benton_custom_line_clp_15me_lh.htm More options: https://www.thomann.de/gb/lefthanded_acoustic_guitars.html

Assuming it's all original, I'd agree - Vintage Modified. Anod to the guys who bought late 60s CBS Strats and then added their own HBs to the bridge for a HB tone back in the days when aftermarket pups first became a thing, and fatter or squeal-free Single coils hadn't yet come around. To my eye, the older style maxchnie heads are a point to note in identifyling the model; I'm sure I've seen a HSS Standard Squier with the big headstock in recent years, but they didn't have the vintage-style machnie heads, rather the squarer, modern ones. People often modify the pickups on Squiers, but unless there's a realproblem, it's rare to see 'em switch out the machine heads. (If anything, I think folks are more likely to switch to modern or locking ones than this vintage style, though personally I think these are the best loooking Fender ever did).

Could be a custom if it's a bolt on neck. Also could be an early / budget model - I'd expect this style of guitar to almost always have a Floyd Rose... if my old eyes don't deceive me, that's a classic Fender six-screw type trem. I think a lot of cheaper guitars early on stuck with that type of trem to cut out the licensing fee on a FR copy. Which is not by any means to say it's not a great guitar, just probably less quick to return to tune if you're big on the divebombs! Personally, if I were gonig SuperStrat I'd prefer this sort of bridge, saves so much time in restringing! Worth maybe contacting Dean by email to see if they can point you in the right direction?

Yeah. Unless it's a stupidly rare sixties model worth over a grand, *don't* buy an epiphone with neck issues. A Fender at half price with a smashed neck, well, you can always buy a good neck and bolt it on. A set neck is all kinds of hell to replace, and any Epiphone from the "budget Gibson" era is unlikely to be worth that levle of fix, alas.

You don't think Gibson were trying to hold back vibrato bridges in general, given they're not really celebrated for them?

The lever is basically like blocking a Fedner trem, but instantly reversible. I do think it adds slightly to the sustain/ tone acoustically, though I'm not sure it does much for the plugged-in sound either way. Oddly enough, though, I used to have a Chinese Squier Strat Std that was a nice enough guitar, but when I blcoked the trem with a synthetic wine cork, it just sang. Night and day of a difference.

I've never owned one, but I like the concept. The Steinberger Spirit I have has a little lever that achieves the same thing. I guess maybe they didn't catch on more because trem systems became much more stable over time (my 1994 US Std Strat has the Fedner 2 post, and it takes seriosu abouse to go out), so there wasn't a perceived need for it? I guess if you don't want the option of the trem on a guitar it can always be blcoked a la Clapton, so they became a solution in search of a problem. Just my theory, anyhow.

Could be lessons to be learned from Gibson - they introduced a range a few years ago aimed cmored at female players - if memory serves it was mainly LP styles, and they were known as "the Vixen" and "tghe Goddess" - model name,s I think. Subtlty would definitely help here.

Funny thing is that I was just as happy with my Epi as a Gibson, but aesthetically I think i would still have preferred the Gibson headstock shape. I don't think I'ds ever discount an Epiphone on that reasona alone, though that said it does seem odd to me that Gibson woul go so long with a headstock so obviously different when there's so much more competition for the Epi brand now. Mayb'e that's the reason for the change, as the one they've gone for now does look more like the Gibson one, even if still different. I can't imagine wanting to make my Epi look like a Gibson more directly, but then I guess it comes back to what you want. I remember seeing the Bootleg Beatles' "George" using a painted Squier for the psychadelic Harrison Strat; that made a lot of sense where the guitar is efectively a prop to be played for one number only... Eventually I would also like to buy a bunch of second hand parts and build myself a Hendrix Strat (his last guitar, the black 68). I'm in two minds about whether I'd put a Fender logo on that. Not interested in counterfeiting, more about the look, given that I can't afford to buy an additional, right-handed guitar with the correct spec for a bit of fun. If I can find someone who will custom order the transfers, I might play around by getting something that *looks* right but is worded differently when you look closer (bit like Tokai did way back when).

THe Tanglewood is likely to be pretty good at that price. And yes, it will be solid. Tanglewood acoustics tend to be surprisingly good for the money at the lower price levels; I've not had a chance to try their much more expensive high enders.

The one downside I think about guitar playingb isa how negative guitar players tend to be when ticomes to new ideas. They all claim to be rock and roll and open minded.... yet they're the absolute worst at accepting any nerw concept. Any former Harmnoy Centrallers here rememer when the Variax was release and so, so many of them fell over themselves to be the first to sneer "enjoy your toy" at anyone who consdiered buying one? Yeesh. Whiel my own preferences are, I fully admit, mostly rooted in the 50s, I still love to see new ideas come out. Though I can't imagine owning one (save if I had *massive* money, then I'd buy one purely to play blues and country rock on), I do still enjoy seeing the craftsmanship gonig into thel ikes of a Dean ML. So, in the spriti of positivity, what new ideas have you seen in electric guitar world that you really like and would love to incorporate into a guitar you might own? I'll put up a roasted maple Fender neck for starters. I'd love a nice, solid-colour Strat with one of those. It'd also look pretty damn cool on an acoustic guitar...

So, uh ,yeah.... Couldn't find an existing thread on this. What's the vibe on the forum? Personally, I've always thought Gibson were mad to notp ut the "proper" headstock on the Epi models that are budget versions of the Gibson. I don 't think the "conterfeiters" argument holds up as theyseem more than capable of managing it without Gibson's help. Equally, given the price difference, who - I mean seriously - who in the market for a 1500-2K Gibson Les Paul would think 2oh, wait, I'll just buy that £400 Epiohone instead, bec ause it has the right headsatock shape"? Way I see it, Gibson always just shot themselves in the foot by making the Epi stocks more different - or, to put it better, less accurate than 99% of the budget models out there. I don't beleive for a minutred anyone who really wants and can afford a Gbison would buy an Epi instead if they had the same headstock, yet I know anecdotally of many people over they ears who've bought Tokai, Vintage, or whatever instead of an epiphone because the Epiphone, no matter how legit, is still, at the end of the day, a copy... and a less accurate looking one for the headstock shape than many others. Seems Gibson are now putting on the 2020 Epis a newer headstock which is a touch closer the Gibson, though still visibly and immedfiately different. I'm wondering how this is going to affect the marekt for used Epis too. I have a Korean (1998) Epi LP Std with a flamed heritage cherry burst top that I'm considering selling. For a long time, I've thought a selling angle might be that it's aesthetcially much closer the Gibson than the later Epiphones, though I wonder whether the new headstock will be more desirable? Or is mine now more collectable? I'm intrigued by Gibson's thinking. The Epiphone Elitist range was the last time I remember them doing something that I noticed really shook up the range. Shame those didn't last, though I do recall at the time thinking they'd made a mistake by putting quite an ugly heastock on them instead of the Gibby shape, and by badging them as Epiphones. Surely they shot themselves in the foot by making "expeisnve Epiphones" rather than "MIJ Gibson"? It's interesting Gibson have run shy of something like that with Fender's Japanese and then Mexican operations having been so succesful for so long. Gretsch are another interesting one in that they use the same brand all through the range, with the different series 2xxx (China), 5xxx (Korea) and 6xxx (Japan) in different price bands and qualities, yet they don't seem to need the "protection" of a "Wrong" headstock or budget brand to distinguish linesand keep selling the top end. Will Gibson change its operation after its recent money woes? Is this move with Epiphone the start?

Like a lot of kids I did the classic 'start on a cheap and crappy second hand acoustic' to convince my parents I'd stick at it long enough to be worth investing in a guitar and an amp (and the subsequent noise...). My first acoustic was a £30 used Kay; my first electric a second-hand Marlin Loner (I think - looked like a Jackson, HSS, it was right handed so I Hendrixed it, only right handed guitar I ever owned thus far). I thik I paid £70, from memory, for the Marlin and a 10watt solid state Sound City branded amp. After a year or two I replaced the amp with a 'Park Son of Marshall', which I'm sure cost sometging approaching £100 from memory, and wasn't bad at imitating the Marshall sound. Starting on an acoustic does build up your finger muscles and it's also nice to appreciate both forms, but I think things have changed these days. That said, the quality of what you can buy for sub £200 these days (my starter £100 in 1991 is worth £216 and change in today's money) is ridiculous compared to back in the early 90s (which in turn was light years from the early 70s). Nowadays, I'd suggest that if Little Johnny really wants to play electric, start him on one. Something like a Squier Affinity or a Harley Benton Strat or Tele new is a great starting place; if the beginnier is more Gibson oriented, the Vintage brand SGs aree pretty bloody stunning for relative buttons new (I'd buy one of those over the Epiphone every time). Better bargains to be had used if there's someone in the household who knows guitars or has a friend/relative who can help out, though if the budget can stretch to new for the guitar, it'd be nice to start with something new, especially if it's a big Christmas or birthday present. Amps-wise, things are so, so much better than the days when I was a beginning in 90/91. Back then, it was a cheap (and often nasty) solid state every one started on. now there are soem fantastic sub £100 modelling options, and if you're going to go tube, there's the like of the Harley Benton Tube 5 for someting around £120. Pedals-wise, no need to jump for boutqiue stuff, or even pricier items like back when. I've bought a clutch of pretty imrpessive little mini-pedals at twenty quid a pop on average over the last couple of years. Sound just as good as (if sometimes *different* than) much more expensive pedals. I realise I'm working here on the assumption of a kid starter. I'd say the same for an adult, boradly, except if you're surer you'll stick to it it might sometimes be worth spending a touch more. These days, though, many absolute beginner instruments are as good or better than a lot of what I used to see being played out professionally by bands who had yet to hit the big time back in the 80s.

Yes, definitely, try them all - good place to start is with a mixed gauge pack of Dunlop Tortex - https://www.ebay.co.uk/itm/6-Dunlop-Tortex-Standard-Guitar-Picks-Any-Combination/270999292863?epid=0&hash=item3f18d10bbf:g:TNUAAOxyBXNSUcTI I like Tortex becasue they hold their shape, thouygh if you just want to strum hard, the greater flexibility (but lack of 'snap back to shape') of nylon might suit. I started out with .46s, figuring them would help me avoid breaking strings, and they strummed easy. As time went on and I learned how to better control how hard I hit the strings, I moved up to heavier picks - 1mm, then 1.14mm. Another option you might like to try are the Dava Control picks https://www.davapick.com/ Tend to be al ittle bit more expensive which is worth bearing in mind if you're in the habit of losing them all the time, but... The design of these allows you to vari the effective stiffness of the pick by varying how you hold it, giving the effect of playing with a variable pick thickness. Some models have Delrin tips - the kind of plastic that many picks like Tortex are made from. I'd say invest a tenner in a range of these - couple of Davas, a few cheap nylon Jim Dunlops, a few Trotex, try 'em all, and see what wiggles your wire. The chances are that you'll find your tastes vary a bit as you ecome more confident on the instrument.