Show us your guitars!

[stoo23]

Here's a Custom Stratocaster copy, I started a Long time ago and finally got around to finishing a few years ago.

Hand made 1 x piece Mahogany body, custom 'Aperio' neck, Stainless frets and 'Gotoh' Vintage style Staggered Locking tuners, 'Callaham' Tremolo, scratch plate & all stainless hardware/screws etc along with a 'Matched' set of 'Lollar' Blackface pickups
Took a long time to complete and was a labour of love and sweat but eventually turned out far better than I ever imagined

I'm not Really a 'Player' myself and had decided to try and finish it for my seriously good guitar playing great and dear friend, who just loved it the moment he first played it.
I lent it to him when he visited and stayed a few days and after about a month or so he called to say I had better work out how much I wanted because he wasn't giving it back !!!

 

[Valvetubehead]

Great collection!

Really interesting bunch of Stratocasters. And it looks like their pickup heights are really low. Curious what the preference is for that / type of setup you like?

I cut my teeth on setups looking at photos of Hendrix in guitar player & guitar world mags back in the late ‘80’s and early 90’s. He had them set pretty low, naturally I thought that’s how it’s done. I really haven’t seen a reason to change. They all have unique characteristics which I try to appreciate and play to. Believe it or not, my least favorite Strat is the ‘90 American Std Strat on the end… the MIJ’s and MIM’s just work for me. I rotate through them as fairly as possible. The Teles are mostly newer, 2011-20. On a couple of Strats I have a phase switch so I can reverse polarity on center pickup, and just use single tone pot for all of them, I copied what Ibanez was providing in the early ‘80’s Roadstar II’s. I really enjoy that mod.

 

[anmpr1]

Went to the Gibson Garage last year. Like a lot of hi-fi, I really can't relate very well to the high-end stuff. Featured a $50,000.00 custom shop LP hanging on the wall. Just hanging there. I was afraid to get near it. What if it accidentally fell of the hanger and I happened to be standing next to it? What would I tell Mark Agnisi when he came out of the back room and gave me 'the stare'? What could I have said? "Well Mark, it just jumped off the wall by itself..."

My guess is that whoever bought it probably won't even play it. Or can't. Maybe an attorney or cardiologist who just wanted something to hang on their wall.

I'm even less understanding about 'relic' guitars. Why pay top dollar for something that looks beat up? I'll never figure that out.

I'm more of a 'cheap but good' person. Something that feels right in your hands, and then if you need to upgrade, it's pretty easy. Pickups, wiring harness, the other hardware... a 'project' guitar is a personal thing you can bond with.

 

[Multicore]

Went to the Gibson Garage last year. Like a lot of hi-fi, I really can't relate very well to the high-end stuff. Featured a $50,000.00 custom shop LP hanging on the wall. Just hanging there.

I went to John Mann's Guitar Vault a few years ago and they had this $95,000.00 guitar. Just hanging there.

PRS Santana Electric Guitar - Pre-Production 1979 - Cherry Sunburst

Solidbody Electric Guitar with Mahogany Body, Maple Top, Mahogany Neck, Brazilian Rosewood Fingerboard, PRS/Mann Bridge, and Gibson P-90 Pickups - Cherry Sun...

www.johnmannsguitarvault.com

I don't think they were expecting to sell it. But it was just hanging there with the others.

 

[anmpr1]

I went to John Mann's Guitar Vault a few years ago and they had this $95,000.00 guitar. Just hanging there.

PRS Santana Electric Guitar - Pre-Production 1979 - Cherry Sunburst

Solidbody Electric Guitar with Mahogany Body, Maple Top, Mahogany Neck, Brazilian Rosewood Fingerboard, PRS/Mann Bridge, and Gibson P-90 Pickups - Cherry Sun...

www.johnmannsguitarvault.com

I don't think they were expecting to sell it. But it was just hanging there with the others.

It's a different thing, for sure. My guess is that if it has that kind of value (who knows what Mann would actually sell it for?) it's because it was evidently hand made by Paul as an early prototype. Is Paul that much of a 'rock star' himself? Beats me.

Contrast that with Les Paul's '52 'Number One' which sold for almost a million dollars. Les actually used it regularly, it being (supposedly) the first (or one of the first) LP ever made.

I was sort of surprised at Corbain's run of the mill Mustang, selling for 4.5 million. I really didn't have any idea that Kurt had that kind of importance and legacy.

I can't think of anything home audio related having any kind of similar appreciation. I guess Jerry's personal amplifier, and some 'generics' from the Wall of Sound rig. I found this with a search:

The Budman MC2300 sold for $378,000.00 at Sotheby's, despite a guide price of just $5000 - $7000. For reference, the auction featured seven other MC2300s (which McIntosh built and sold from 1971-1980 only) from the Wall of Sound that sold for between $25,200 and $94,500 each.

Other than those?

 

[computer-audiophile]

It's a different thing, for sure. My guess is that if it has that kind of value (who knows what Mann would actually sell it for?) it's because it was evidently hand made by Paul as an early prototype. Is Paul that much of a 'rock star' himself? Beats me.

Contrast that with Les Paul's '52 'Number One' which sold for almost a million dollars. Les actually used it regularly, it being (supposedly) the first (or one of the first) LP ever made.

I was sort of surprised at Corbain's run of the mill Mustang, selling for 4.5 million. I really didn't have any idea that Kurt had that kind of importance and legacy.

I can't think of anything home audio related having any kind of similar appreciation. I guess Jerry's personal amplifier, and some 'generics' from the Wall of Sound rig. I found this with a search:

The Budman MC2300 sold for $378,000.00 at Sotheby's, despite a guide price of just $5000 - $7000. For reference, the auction featured seven other MC2300s (which McIntosh built and sold from 1971-1980 only) from the Wall of Sound that sold for between $25,200 and $94,500 each.

Other than those?

This is fetishism in its purest form.

 

[anmpr1]

This is fetishism in its purest form.

Probably. I could almost understand it if the buyers actually played the instruments, with the idea that the original owner's 'spirit' is somehow connected to the guitar, and the new owner can somehow 'channel' and make use of it.

But in most of cases (I'm just speculating) and at these prices they'll probably just wind up in a glass enclosure, hanging on a wall, heavily insured, in some investment bankers Manhattan high rise apartment.

On the other hand, if someone like Joe Bonamassa owned them, he might take them on stage--he likes that sort of vintage historical thing, and his audience likes to see the old historic stuff. But Joe's pretty much an exception.

I wish I could get Eric to play my Squire Strat. Could that rub off? I need all the help I can get!

 

[Multicore]

Probably. I could almost understand it if the buyers actually played the instruments, with the idea that the original owner's 'spirit' is somehow connected to the guitar, and the new owner can somehow 'channel' and make use of it.

But in most of cases (I'm just speculating) and at these prices they'll probably just wind up in a glass enclosure, hanging on a wall, heavily insured, in some investment bankers Manhattan high rise apartment.

On the other hand, if someone like Joe Bonamassa owned them, he might take them on stage--he likes that sort of vintage historical thing, and his audience likes to see the old historic stuff. But Joe's pretty much an exception.

I wish I could get Eric to play my Squire Strat. Could that rub off? I need all the help I can get!

It is not necessary for the buyer/new owner of the object to have a fetish for the object. It is enough for the buyer to believe that others do.

As I understand it, quite a lot of fine art paintings are bought without display to the buyer/public. They remain in storage before, through and after the transaction somewhere in .ch. The prices of these canvases with paint on them can be very high. There exist what are functionally private banks that buy art, often new, on their own account and sell it to investors. The hardware remains in the vault. Which begs the question, why bother with the art given what normal private banks do? Idkfs but I think it's to do with tax advantages for the investor.

So as you see the buyer doesn't need to fetishise the object at all, or even see it, or know about it. It's enough to believe that someone else can create the fetish enough to sustain a market. So Sotheby, arch fetish priests that they are (like the private art banks), kinda screwed that one up.

In any case, @computer-audiophile , there's nothing wrong with fetishism, is there? Especially when it is in its purest form.

 

[Multicore]

This was my main guitar for about 36 years. Roland G-303. I used it with a Roland GR-300.

Ultimate Guitar just did a write up of Pat Metheny's G-303/GR-300 after their recent Rig Rundown with his tech.

It uses a unique proprietary 24-pin connector and multicore cable. The original cable, which I had, is unshielded Mogami and susceptible to EMI. With gain on you can listen to nearby AM radio. Wayne Joness (mentioned in the UG article) modified his gear to use Centronics shielded printer cables and connectors.

The guitar is very nice. Roland set up a joint venture with Fujigen to make them. Mine was modified with a Kahler Flyer tremolo bridge in the 1980s. You see plugged screw holes from a previous Bigsby.

 

[anmpr1]

It is enough for the buyer to believe that others do.

I don't follow the rock n roll scene that closely--I mean, who is the most popular and so forth. But I was surprised as Cobain's four and a half million dollar Mustang. Was he that influential a guitar player?

I could understand Jimi or Eric's Strat. Or the many famous Les Paul players. But Kurt Cobain and his Fender Mustang? Four Million?

 

[GD Fan]

Perhaps we'll see more of this phenomenon next month when Knopfler's guitars go under the hammer.

https://www.christies.com/en/events/private-and-iconic-collections/the-mark-knopfler-guitar-collection/what-is-on

 

[GD Fan]

Speaking of that Knopfler auction, I stopped by Christie's Rockfeller Center location today to scope out the traveling preview.

They had over 20 guitars, including some exceptional stuff. All showed signs of a good amount of use. Really cool to see them up close.

Here are a few examples.

 

[Multicore]

I posted this in the OK, what are you guys buying yourselves for Christmas? thread already but I'm posing the photo here too with some additional guitar nerd stuff.

Yamaha LS36.

In April I bought this Yamaha FG9 M, among the first to be sold in the country. I spent 10 months coming to terms with how such a superb instrument as the FG9, a next-generation technical achievement as far as I'm concerned, that represents an impeccable example of a dreadnought, was something I wanted to get rid of. Then on Thursday I drove to Long Island and left the FG9 there and came home with this. It was the right move. I'm delighted with the LS.

I made two videos, on Wednesday with the FG9, and on Friday with the LS36. Click the YouTube link in my .sig if you like. They include my playing and improvising. I want to thank @bluefuzz for helping me a couple of years back to better understand the acoustics of guitars. Both the videos focus for a minute on the upper bass response at and around what we called the wolf tone in that thread.

 

[bluefuzz]

I made two videos

Great stuff!

I agree, dreadnoughts are too big. The LS36 is definitely more to my taste soundwise, although æsthetically I have to admit I prefer the FG9. I'm not a huge fan of the profligate use of MOP and abelone inlay but there's no doubting it's lovely guitar. The silking on that soundboard is phenomenal!

With regard to loudness/volume, it's often deemed 'easier' to build a loud small guitar than a loud big guitar. Since your LS36 is so new, be prepared for it to get a lot louder. Though it may never get the thump of a dred, since it's a deep body, it could come close ...

I think you would enjoy something like my little Gibson L1 copy or the 1890s Howe-Orme posted earlier in this thread. The Gibson copy is probably my 'best' guitar. It's as light as a feather (1.3 kg including tuners and strings), incredibly responsive and plays like butter but has a definite 'attitude' (I like a guitar I have to fight with a little). The Howe-Orme is the size of a Martin Style-1 but seriously has the volume of a dred. There's no reason an acoustic need be more difficult to play than an electric even with 12s. That said I usually use 12s or 13s on my electrics too and I have the fingers of a little girl (and probably the strength of one) but I don't shred ... ;-)

I may have said this before but you really should try Martin Monel strings. They sound awful for the first week but after that you'll never want to use anything else. They also last for years. Instant Nick Drake.

Since aquiring my odd Gypsy guitars and attempting to understand what they're all about I've learned one thing: use a thicker pick! Get yourself a Wegen or similar. Once the initial shock of using a 3-5 mm thick pick wears off you'll have so much better control of the guitar not to mention vastly better 'tone' ...

 

[Multicore]

I'm not a huge fan of the profligate use of MOP and abelone inlay

Me neither but what can you do? The LS26 sounded like an all hog compared to the 36. The 26 has a spray poly finish while the ≥36 models have a gazillion hand applications of nitro that Yamaha is very boastful about. I don't know for a fact if that accounts for the difference in tone but I am sure it's true.

The silking on that soundboard is phenomenal!

Here's an even higher res image. Doesn't really help show the silking but more res is more res.

I may have said this before but you really should try Martin Monel strings.

I'm familiar with them. I hated them on my LJ56 but loved them on my Furch OM-MM. However, I since have used "silk and bronze" strings on the Furch, i.e. normal steel core with some silk between that and a normal PB winding. Yesterday I considered putting Martin monel on the LS36, since I had a set in stock, but then I opted for John Pearse #570C Silvered Steel, PB wound Slightly Light Customs (11, 15, 22w, 30, 42, 52). They are a blast. It sounds like a well-tuned Steinway concert grand, ffs. Stunning. A bit easier to play and bend than the stock Yamaha strings.

I added another video to the toobs of you (see .sig) demoing the strings on day 3.

I think you would enjoy something like my little Gibson L1 copy or the 1890s Howe-Orme posted earlier in this thread.

I'd love to get my hands on all of those. I read your post carefully when it went up.

12-fret guitars are largely out of fashion here in the USA, which is a pity. Eastman makes 12f parlors with 1 7/8" nut but their prices went up and I'm not going to drive a long way just out of curiosity.

incredibly responsive and plays like butter but has a definite 'attitude' (I like a guitar I have to fight with a little)

I'm not sure about fight, maybe, but if attitude is like a distinct personal character then yes. Putting myself in a situation of hazard, creating the space for and welcoming the unexpected has been central in my playing for over 40 years. If an instrument can surprise me it might inspire my next move. The FG9 was so remakably even in its tone and response that was likely the other reason I didn't get from the honeymoon to happy families.

There's no reason an acoustic need be more difficult to play than an electric even with 12s.

Right. Hence I concluded in the end that the FG9 was just intimidating me. It's like a Little David going off in my music room.

use a thicker pick!

Dunlop Flow Gloss 3.0mm is my goto these days. I can't say I notice a difference between that and same in 2.0. Since I was a kid I used the little "jazz" picks preferably 2.0 but I've grown nails since and need a bigger (not thicker) pick to keep the nails out of the strings when I'm using the pick. I've tried to steer clear of the quasi-obsessive pick nerd culture. (On the acoustic guitar forum someone started a thread "How wide is your pick for rhythm?" I answered, about an inch, give or take, is fine.) I suppose I should try a very thick pick at least once to see if the less acute tip makes a useful difference.

 

[Multicore]

Speaking of that Knopfler auction, I stopped by Christie's Rockfeller Center location today to scope out the traveling preview.

They had over 20 guitars, including some exceptional stuff. All showed signs of a good amount of use. Really cool to see them up close.

Here are a few examples.

View attachment 333780

View attachment 333781


View attachment 333782

Guide prices look like roughly what you might get for the model (in good nick) if it had no association with any deity.

 

[GD Fan]

Agreed. Not sure what they're thinking but my guess is most everything will exceed those estimates.

 

[Tremolo]

Antonio Marin Montero, Granada 1998, spruce front, brazilian rosenwood back, Rodgers tuners

 

[bluefuzz]

The 26 has a spray poly finish while the ≥36 models have a gazillion hand applications of nitro that Yamaha is very boastful about. I don't know for a fact if that accounts for the difference in tone but I am sure it's true.

In itself the difference in lacquer type dosn't make any difference to tone as long as it's thin enough. However, poly has a tendency to be sprayed on half an inch thick so as to hide any imperfections in the woodworking which will obviously kill a lot of the tone. Nitro will never build that thick alone and ages much more beautifully. The question is what is under the nitro. Due the fetishization of nitro many guitar makers claim to use nitro as a topcoat but often it is over a goodly layer of epoxy filler or similar

It sounds like a well-tuned Steinway concert grand, ffs. Stunning. A bit easier to play and bend than the stock Yamaha strings.

Yes I find Monels bend easier than some other types and often have that piano like tone when new. But I prefer them when they get a bit older, then you get to hear what your guitar really sounds like.

The FG9 was so remakably even in its tone and response that was likely the other reason I didn't get from the honeymoon to happy families.

The couple of guitars I have built using modern 'scientific' techniques have perfect intonation and a very even tone up and down the neck, but I have to admit I find them a little bit boring. My little Gibson copy was slapped together in a little over two weeks for the woodworking using only 'traditional' methods and it turned out a much better (to my tastes) guitar. Oh well ...

12-fret guitars are largely out of fashion here in the USA

I'm much enamoured of Fraulini guitars who builds astounding vintage style instruments.
...

 

[Bob from Florida]

Picked up a Takamine 1997 LTD a couple of months ago. Remarkable condition and excellent tone. Spruce top with Koa sides and back.