I get the opportunity to try out quite a few guitars. Some are good and some are not. I have found that when it comes to guitar models in the $100 - $500 range which are made by not so well known companies, most are substandard beyond even being playable. However, every once in awhile there is a gem that seems to come out of nowhere. In this case, my newest surprising acquisition came in the form of a CraigsList guitar that caught my attention recently.
This particular guitar is a copy of the ever popular Les Paul style guitar. The strange thing is that I can not seem to find any information about the manufacturer. This guitar is called the "Panache" and says San Antonio, TX on the headstock. I searched for a website for this company and came up with a single webpage that simply said "Coming Soon". Further research revealed that these guitars have been getting rave reviews from players who own real Gibson Les Paul's. Everything I read told me that this guitar had the sound, playability, and feel of the real deal. It also seemed that the price paid for these guitars was ranging from $150 - $350. The strange part is that nobody seems to know who is making them, or if they are really coming out of San Antonio, TX as the headstock implies. I use the word imply becasue it does not say “Made in San Antonio, TX”. There is nothing anywhere on the guitar with the country of origon.
Based on the reviews I read, I decided to get this guitar to check it out. I have to admit that I was very surprised by the quality. For a guitar in this price range it definitely went beyond any expectation that I had. I wouldn't put it on par with a LP, but it is a great guitar nonetheless, and at a fraction of the cost. The low E string had an intonation problem, but a simple setup would take care of that. Also, the tuning keys and one scratchy pot were the only hardware issues I found. The tuners seemed a little lackluster in quality and seemed to slip a little on the mid range strings. These are easily replaceable with higher quality machine heads. The scratchy pot will be easily replaceable if contact cleaner does not work to solve this issue. The pickups had great output, and overall the guitar sounded incredible. The action and playability were awesome.
I would be interested in finding out who is behind this instrument. Whoever they are, they are turning out a great guitar, especially if you take the time to do a few small and relatively inexpensive upgrades. I do have to admit that I have a hard time believing that a guitar company could be building a guitar of this quality in this price range in the United States. The mystery remains unsolved. If you have any further details or contact information for the San Antonio Guitar company, please feel free to pass it on to me.
I have been a fan of Fender® guitars since the beginning of my guitar playing journey. My first guitar was a butterscotch Fender® Telecaster® which worked well in the beginning but was just a little to limiting to the multitude of styles I desired to play. I traded the Tele® in for an MIM Fender® Stratocaster® which became my go to guitar for the next ten years. This guitar is still in my collection today, but in recent years I have upgraded to a couple more American made Stratocasters®.
Over the years I have watched Fender® and the new instruments introduced. Most of these instruments are upgrades of their timeless Tele® and Strat® lines. Every once in awhile however, Fender does introduce new models that stretch the boundaries of traditional guitar design. For instance, the introduction of their Stratacoustic(TM) and Telecoustic(TM) models from several years ago. These are not really my thing, but I do understand the concept, and they seem to be very popular with other players.
It was this year when I was putting up the Fender NAMM press releases when I saw a new product that really made me wonder what they were thinking. This new guitar is called the Acoustasonic Tele®. It is basically a chambered Telecaster® body that is made to sound like a regular acoustic guitar. I realize that electric guitars with piezo bridges for acoustic tones are not exactly new. The difference is that these are usually guitars that function as electric guitars with magnetic pickups, but have the option of dedicated or blended acoustic tones in addition.
The press release however states that this guitar has none of the signature Telecaster® tone. In fact it has one function only, and that is to sound like an acoustic guitar. It utilizes the increasingly popular Fishman® Aura(TM) system to create the full bodied sound of an acoustic. From what I can see, this guitar has no magnetic pickups for any kind of electric sound options.
I can certainly understand the use of an electric guitar with acoustic sound as an option, but if the guitar is only for acoustic sound, I think I would personally prefer to play a regular acoustic guitar. An electric with only acoustic sound makes about as much sense to me as if I were to see a player like Zakk Wylde on stage shredding on an acoustic guitar that sounded like a highly overdriven electric guitar. It would just be odd.
I am by no means trying to put down Fender® and I am willing to admit that this guitar may do well with other players. In fact, I may contact Fender® to see if they would send me one for review. Perhaps actually playing this guitar would help me wrap my brain around the concept and I would understand it better. I would be interested in any thoughts or comments from other readers. Does a product like this peak your interest, and can you see it as a long term product?
OK - 2009 was a dry year for me guitar wise. Maybe it was the economy but I just didn’t see anything I needed to add to my G.A.S. list. I’m thinking 2010 is going to be a much brighter year, since 9 days in I’m eyeballing the new Carvin catalog and trying to hide my wallet so I won’t buy the new California Double-Cut.
However, would like a DC6 - Deep Orangburst on Flame - Stainless Steel Frets - Tune-O-Matic String-Thru - Ebony Freboart with Dot Inlays - 2 Volume, 2 Tone, With Coil Splitters - Gold Hardware and Covered Pups.
While six string guitars have been the standard in both electric and acoustic guitar for decades, we have seen some interesting options made available over the years. A few notables include the Rich Bich ten string designed by Neal Moser, and the seven string electrics that became very popular several years ago. While none of these options have made inroads at throwing the king six string off the top of the hill, they have gained notoriety in niche musical markets. I would be remiss not to mention the experiments by many companies over the years in making one off models with extremely innovative and even bizarre string combinations.
I recently witnessed one of the most interesting string combinations for acoustic guitars that I have seen to date. This guitar is one of several 35th Anniversary models offered by Taylor Guitars, and boasts a nine string combination. This Limited Edition guitar is simply called the "XXXV 9-String". A "Grand Symphony" body with a Sitka Spruce top, Mahogany back and sides, and Indian Rosewood binding make this guitar a visual treat while balancing the tone and clarity to perfection which can be heard through the Taylor exclusive Expression System® pickup. The 35th Anniversary fretboard inlay adds a touch of class and lets everyone know you are playing a very special guitar.
Where this guitar really stands out from all others can be seen on the headstock where you will notice a slightly larger size to accommodate nine tuning keys. The string setup is as follows. Both the high and low "E" strings as well as the "A" string are single. The "D' and "G" strings are doubled an octave apart, and the "B" string is simply doubled. This setup adds a rich full sound to the mid range while maintaining the tonal stability without getting to deep in the lows, or too trebly on the high end. It is a well thought out setup where Taylor's quest for great sound remains at the forefront.
I have seen a nine string setup used before, mostly in the Nashville country scene, but the setup I have seen the most is a twelve string guitar strung with only nine strings. At times I have heard the nine string setup where the high "E" is doubled, and the "D" string is single, but in this configuration, I have always felt the sound was somewhat lopsided on the treble side. Even with the amount of instruments I have seen in my job at GuitarGearHeads.com, this is the first guitar that I have seen that is built specifically for nine string use, although I am sure they have been on the market before. I would love to hear from anyone who has the opportunity to play one of these special Limited Edition Taylors. I am willing to bet it sounds as good as it looks.
Like the twelve string, a guitar like this will end up for most players as a staple to add texture and dimension to a few songs in their repertoire. It will most likely not be an everyday, every song guitar, although there always seems to be a few players who can successfully define their sound based solely on a guitar like the XXXV 9-String.
Recently I received a set of Boxwood bridge pins from Planet Waves. This was perfect timing since I recently broke a bridge pin on my "Greg Bennett Rio Grande". I had a spare to use for the interim, but it was black in color while the originals were white. While it worked, it just didn't look right. I also had the problem with the old pins in that some sat very low against the bridge and were wedged very tight in the pin holes while others stuck out to much giving the bridge an overall sloppy finish.
The set of wooden bridge pins from Planet Waves consists of seven bridge pins and a single strap pin for the bottom of the guitar. The bridge pins are fairly standard and should fit just about any guitar. The addition of an extra pin shows the consideration Planet Waves show for the guitar player. You get one extra in case you break or loose one, or for the rare case that you may have a seven string acoustic. The addition of a strap pin makes sure that your guitar has an all around consistent look.
I started by removing the strings and old bridge pins from the Rio Grande. This became more of a task than I anticipated since some of the pins were so tightly wedged. I broke the heads on a few trying to get them out, and ultimately ended up scratching the bridge as can be seen in the final picture. This was partly from not having the proper pin pulling tool, and partly because I was getting frustrated. The scratches however do not look as prominent on the actual guitar as they seem in the picture. To avoid my careless mistake, I recommend that you protect the bridge wood with a cloth and make sure to have a quality bridge pin puller on hand.
Before Picture
Once I had polished the guitar and conditioned the fretboard and bridge with lemon oil, I installed the new wooden bridge pins with a set of D'Addario EXP coated strings. The pins went in easily but establish a firm fit. They also set on the bridge in an even consistent manner giving a very professional finish to the look of the bridge area. I really like the small offset ridge on the bottom of the pin head that makes it easier to pull these pins without marring the finish, although you should still be cautious and protect the bridge wood. On the Rio Grande, I had to opt out of using the strap pin because of the plug jack in the end of the existing strap pin. I saved it for future use along with the spare bridge pin.
After Picture
Since the Rio Grande is a beautiful guitar that consists of all wood construction including the inlayed ovangkol pick guard, the addition of wood bridge pins really complimented the overall look of the guitar itself. Wood being a natural product resonates better than plastic, so the use of wood for bridge pins makes sense not only in the look, but in the tonal aspects. I did notice an improvement in the sound of the guitar, although not hugely significant. Any advancement however is welcome when it comes to tone. This is a simple yet effective way to affordably upgrade your acoustic guitar. Check out these bridge pins at http://store.daddario.com/category/148546/BridgeEnd_Pins
Carved top guitars have always held a special place for me. There is just something about the contours of the top that give a guitar a classier look. That is not to say that guitars that are not carved tops don't appeal to me. In fact some of my favorite guitars for sound and pure playability are G&L ASAT models from both the US and Tribute series. What a great guitar it would be if I could just own the ASAT sound and playability with the classy look of a carved top body! Now that would put a smile on my face!
That is exactly what happened at the 2009 Winter NAMM show when we walked into the G&L booth. Hanging on the wall were a few new G&L Tribute models due to be released this year. The guitar that called my name was the "ASAT Special Deluxe Carved Top". A beautiful flame maple top that is available in two finishes (3-Tone Sunburst and Clear Gloss). Both are equally awesome in their visual appeal. Also available in the carved top models are the "L-2000 Carved Top" bass (available in 3-Tone Sunburst with Maple Fretboard and Clear Gloss with Rosewood Fingerboard), and the "L-2500 Carved Top" in Clear Gloss with Rosewood Fingerboard and Satin neck finish.
Something that kind of stood out to me is the fact that G&L Tribute Series guitars have to my knowledge always been copied off of the specs of their US model line. This is the first time that I know of that a G&L model has been introduced directly through the Tribute Series. If these guitars take off the way I think they will, I would look for them to be available in the US Line in the future with far more finish and custom options. They certainly got my attention, and I can't wait to see if I can get one for review in the near future. I just may have a new all time favorite guitar.
So, I open my e-mail today and see this sweet looking reissue of the 1962 Wilson. It’s got a Mahogany body and soapbar P90″s. Unfortunately, from the MSRP this little lovely looks like she’ll set you back a few greenbacks!
Check out Epiphone’s page on this beauty for the details!
So, I get the new Musicians Friend catalog - and as usual save it for later when I’m barbecuing on my deck with a cold brew. I mean what is better than new gear freshness and the smell of cooking meat over an open flame?
In this edition there wasn’t anything amazingly new - but something caught my eye that I had not seen before. The 5th Avenue Series by Godin. Apparently, the series just won Guitar Player Reader’s Choice award. Even better…it only has a street price of $699! That’s fantastic.
I have never been a real fan of guitars that are built to look like they have seen many years of abuse. Fender's Custom Shop Relic series has been around for awhile now, and at the NAMM Show they introduced their Road Worn Series which allows players with a more modest budget to own one of these time tested looking guitars. I had the chance to look at these guitars at the show in January, and I will admit that I can see the appeal of these guitars for a player who likes this style. My personal opinion however is that if I am going to have a beat up guitar, it is going to look that way through real aging and playing.
With this in mind, I would like to share an experience I had at the G&L booth during the same show. We stopped in to see our friends at G&L and look at their new offerings for 2009. While we were waiting, we decided to look around at the guitars on the wall. Each guitar had a tag next to it with model name and other relevant information. Every so often however was a guitar or bass which looked like a very aged classic, but these guitars did not have a model number tag or any other information. As we were looking at these guitars, I figured that G&L had pulled out some real and true classic guitars from the past and had peppered them throughout their booth a look back at the history of their guitars. I remember thinking that this seemed like a very nice touch, but never did it occur to me that these weathered looking guitars could possibly be a brand new model set that was being introduced as the "Rustic Series" by G&L guitars. I would soon find out that this was exactly what these guitars were.
After finding this out, I took a closer visual inspection of these guitars, and in all truth, these guitars are unbelievable in their attention to every last detail. The hardware has been tarnished so well that it leaves you believing that it must be very old. The wood showing where paint had been rubbed off looks incredibly aged making you think that the paint must have rubbed off years ago exposing the raw wood to the elements. The Rustic Series truly look like museum pieces that belong behind glass in a guitar hall of fame.
Later in the day while at the Fender booth, I took another look at their Road Worn and Relic series. While I will admit that Fender also did a good job on their guitars, and I give them credit for coming up with the original idea of a worn guitar look, I just do not find them quite as convincing as the guitars G&L is putting out. In truth, the Rustic Series had me actually thinking that I might like to have one of these worn guitars in my collection. To date, these are the most real looking of the used and abused looking guitars I have seen to date, and I really don't think anyone is going to be able to do better then this.
I would later learn that the reason these guitars did not have tags with model number and information was because they were a last minute addition to the booth, and tags were not made because they originally were not going to be there. This actually worked in the favor of G&L since the lack of this information is the key that fooled me.
If you’ve ever used a guitar tablature program to transcribe anything - you know how tedious it is.
I’ve always wanted to be able to just play and have the notes automatically be interpreted and noted, requiring only tweaks from me to correct mistakes, etc. What’s also cool is to be able to emulate ANOTHER instrument through VSTI (like Bass, Cello, Saxiphone, Clarinet, Banjo, Mandolin, etc.).
Advances in software have made this possible if you owned a MIDI capable guitar like one of the Godin’s or Gibsons with this ability - or a guitar retrofitted with HEX pickups. However, what I really want is to be able to play ANY guitar (read that as “not having to buy another guitar just for MIDI”). I’m sure there are other solutions out there, but I noticed a cool little device from Sonuus - distributed by Peterson Strobe Tuners - that is a Universal Guitar-to-MIDI Converter.
I have to admit - as long as it has good accuracy this may be just what I’m looking for:
