***OFFICIAL*** Guitar Guys Thread -- all axes, all the time (1 Viewer)

[bigbottom]

Ah, thanks. It was a little confusing given the name.

By the way, in case it's not readily apparent, the reason why tuning is more difficult on a guitar with a tremolo/floating bridge is this. String tension affects the bridge angle, which in turn affects tuning. If you were to tighten all of the strings, thus increasing string tension, the bridge would be pulled slightly forward. If you loosen all the strings, the tremolo springs in the body pull the angle of the bridge backward. Basically, the trem springs and the strings tension cancel each other out.

So imagine you tune your high E-string. It's now in tune. You move to your B-string. It's a little flat, so you tighten the string a touch. Same with the G-string - a little flat, so you tighten the string. And so on. After tuning up the low-E-string, you go back and check your high E-string. It's flat again. And the B-string is flat too! That's because when you tightened the string tension on the other strings, it brought the bridge forward a touch, relieving the string tension on the first two strings you tuned (making them go flat). So when you have a floating bridge, you typically have to do multiple passes to get every string in tune.

 

[Jayrok]

Ah, thanks. It was a little confusing given the name.

By the way, in case it's not readily apparent, the reason why tuning is more difficult on a guitar with a tremolo/floating bridge is this. String tension affects the bridge angle, which in turn affects tuning. If you were to tighten all of the strings, thus increasing string tension, the bridge would be pulled slightly forward. If you loosen all the strings, the tremolo springs in the body pull the angle of the bridge backward. Basically, the trem springs and the strings tension cancel each other out.

So imagine you tune your high E-string. It's now in tune. You move to your B-string. It's a little flat, so you tighten the string a touch. Same with the G-string - a little flat, so you tighten the string. And so on. After tuning up the low-E-string, you go back and check your high E-string. It's flat again. And the B-string is flat too! That's because when you tightened the string tension on the other strings, it brought the bridge forward a touch, relieving the string tension on the first two strings you tuned (making them go flat). So when you have a floating bridge, you typically have to do multiple passes to get every string in tune.

yeah, I get that and it would be annoying to me. If you broke a string it may throw all of the tuning off.

I read about the Tremol-no device if you wanted to be able to configure the bridge to go from fixed to floating, or even dive only. Even if you don't use it in the fixed bridge mode, you could tighten it when changing strings to at least help in tuning. But I think I'd rather just block it and call it a day. I don't care for the tremolo bar anyway and don't see me using it. But if I do get a strat that may only come with the tremolo bridge, I'd just block it as you suggested.

 

[bigbottom]

Ah, thanks. It was a little confusing given the name.

By the way, in case it's not readily apparent, the reason why tuning is more difficult on a guitar with a tremolo/floating bridge is this. String tension affects the bridge angle, which in turn affects tuning. If you were to tighten all of the strings, thus increasing string tension, the bridge would be pulled slightly forward. If you loosen all the strings, the tremolo springs in the body pull the angle of the bridge backward. Basically, the trem springs and the strings tension cancel each other out.

So imagine you tune your high E-string. It's now in tune. You move to your B-string. It's a little flat, so you tighten the string a touch. Same with the G-string - a little flat, so you tighten the string. And so on. After tuning up the low-E-string, you go back and check your high E-string. It's flat again. And the B-string is flat too! That's because when you tightened the string tension on the other strings, it brought the bridge forward a touch, relieving the string tension on the first two strings you tuned (making them go flat). So when you have a floating bridge, you typically have to do multiple passes to get every string in tune.

yeah, I get that and it would be annoying to me. If you broke a string it may throw all of the tuning off.

I read about the Tremol-no device if you wanted to be able to configure the bridge to go from fixed to floating, or even dive only. Even if you don't use it in the fixed bridge mode, you could tighten it when changing strings to at least help in tuning. But I think I'd rather just block it and call it a day. I don't care for the tremolo bar anyway and don't see me using it. But if I do get a strat that may only come with the tremolo bridge, I'd just block it as you suggested.

Apologies if my post came across as elementary and patronizing. It's just that the whole concept was lost on me in my earlier years. I figured that so long as I wasn't using the tremelo, there wouldn't be any additional tuning issues.

 

[Jayrok]

Ah, thanks. It was a little confusing given the name.

By the way, in case it's not readily apparent, the reason why tuning is more difficult on a guitar with a tremolo/floating bridge is this. String tension affects the bridge angle, which in turn affects tuning. If you were to tighten all of the strings, thus increasing string tension, the bridge would be pulled slightly forward. If you loosen all the strings, the tremolo springs in the body pull the angle of the bridge backward. Basically, the trem springs and the strings tension cancel each other out.

So imagine you tune your high E-string. It's now in tune. You move to your B-string. It's a little flat, so you tighten the string a touch. Same with the G-string - a little flat, so you tighten the string. And so on. After tuning up the low-E-string, you go back and check your high E-string. It's flat again. And the B-string is flat too! That's because when you tightened the string tension on the other strings, it brought the bridge forward a touch, relieving the string tension on the first two strings you tuned (making them go flat). So when you have a floating bridge, you typically have to do multiple passes to get every string in tune.

yeah, I get that and it would be annoying to me. If you broke a string it may throw all of the tuning off.

I read about the Tremol-no device if you wanted to be able to configure the bridge to go from fixed to floating, or even dive only. Even if you don't use it in the fixed bridge mode, you could tighten it when changing strings to at least help in tuning. But I think I'd rather just block it and call it a day. I don't care for the tremolo bar anyway and don't see me using it. But if I do get a strat that may only come with the tremolo bridge, I'd just block it as you suggested.

Apologies if my post came across as elementary and patronizing. It's just that the whole concept was lost on me in my earlier years. I figured that so long as I wasn't using the tremelo, there wouldn't be any additional tuning issues.

Oh no apology is necessary and I didn't find it patronizing at all. I've played acoustics for a few years now but don't have much experience with electrics and I didn't know the difference between a floating and a fixed bridge. My electric doesn't have a tremolo bridge. So I didn't understand why a tremolo bridge would be harder to keep in tune. I appreciate your insight and it prompted me to read further on the subject.

If I had bought the guitar I posted (or a strat) I wouldn't have noticed the trem bridge and would have probably learned it could be frustrating to keep it in tune... the hard way.

 

[villa]

Picked up a Martin 000-MMV recently, still blown away by how nice this is for the price!

 

[bigbottom]

Man is this a beautiful Tele. A new line using reclaimed pine from an old barn. The rosewood neck is sweet.

http://www.fender.com/series/special-edition/reclaimed-eastern-pine-telecaster-rosewood-fingerboard-dark-stain/

Whoa.Still say Tele is the coolest electric.

Absolutely love that. Always been a big Tele admirer from afar, though I never owned any Fender guitar. This is what I'll buy if I ever do... so sweet...

Back looking at this. Would like to add a Tele to my collection and this may be it. We have an artist endorsement deal with Fender (not free gear, just a deeper discount) so I should get a good price on it if Fender distribution still has one available. Hmmm.

 

[Otis]

Man is this a beautiful Tele. A new line using reclaimed pine from an old barn. The rosewood neck is sweet.

http://www.fender.com/series/special-edition/reclaimed-eastern-pine-telecaster-rosewood-fingerboard-dark-stain/

Whoa.Still say Tele is the coolest electric.

Absolutely love that. Always been a big Tele admirer from afar, though I never owned any Fender guitar. This is what I'll buy if I ever do... so sweet...

Back looking at this. Would like to add a Tele to my collection and this may be it. We have an artist endorsement deal with Fender (not free gear, just a deeper discount) so I should get a good price on it if Fender distribution still has one available. Hmmm.

Damn, that's awesome. You have no excuse -- treat yourself and pull the trigger here. We'll need to hear you play it.

 

[Britney Spears]

Man is this a beautiful Tele. A new line using reclaimed pine from an old barn. The rosewood neck is sweet.http://www.fender.com/series/special-edition/reclaimed-eastern-pine-telecaster-rosewood-fingerboard-dark-stain/

Whoa.Still say Tele is the coolest electric.

Absolutely love that. Always been a big Tele admirer from afar, though I never owned any Fender guitar. This is what I'll buy if I ever do... so sweet...

Back looking at this. Would like to add a Tele to my collection and this may be it. We have an artist endorsement deal with Fender (not free gear, just a deeper discount) so I should get a good price on it if Fender distribution still has one available. Hmmm.

Baller status.

 

[Otis]

Man is this a beautiful Tele. A new line using reclaimed pine from an old barn. The rosewood neck is sweet.http://www.fender.com/series/special-edition/reclaimed-eastern-pine-telecaster-rosewood-fingerboard-dark-stain/

Whoa.Still say Tele is the coolest electric.

Absolutely love that. Always been a big Tele admirer from afar, though I never owned any Fender guitar. This is what I'll buy if I ever do... so sweet...

Back looking at this. Would like to add a Tele to my collection and this may be it. We have an artist endorsement deal with Fender (not free gear, just a deeper discount) so I should get a good price on it if Fender distribution still has one available. Hmmm.

Baller status.

BB, if you're looking at these, might as well look at a couple of the custom shop models too.

This rosewood guitar looks pretty freaking cool/different too: Link

Bunch of cool other tele models here

Though the one originally posted here still may be my fave of the group...

 

[bigbottom]

O- that Rosewood custom shop is a beauty. But even with the discount, that guitar would be way outside my budget.

 

[Otis]

O- that Rosewood custom shop is a beauty. But even with the discount, that guitar would be way outside my budget.

I don't see a price. They're expensive huh?

 

[bigbottom]

O- that Rosewood custom shop is a beauty. But even with the discount, that guitar would be way outside my budget.

I don't see a price. They're expensive huh?

$7400 MSRP.

 

[Chaos Commish]

I love the pine tele, BB, but it's a rare choice for tonewood because it is so soft. It supposedly performs/sounds as good as any, but it will dent easily. I still love Jdog's buddy's work. The little touches of craftsmaship are beyond anything Fender does. That's about 4500 as I recall.

 

[Britney Spears]

If was rich and could get a custom Tele, it would definitely have a bigsby. Coolest looks around IMO. I played one and have been in love since.

The one I am (very) slowly making will have one.

 

[bigbottom]

I love the pine tele, BB, but it's a rare choice for tonewood because it is so soft. It supposedly performs/sounds as good as any, but it will dent easily. I still love Jdog's buddy's work. The little touches of craftsmaship are beyond anything Fender does. That's about 4500 as I recall.

Yes, absolutely gorgeous. Alas, no discount and well over my budget.

 

[Chaos Commish]

If was rich and could get a custom Tele, it would definitely have a bigsby. Coolest looks around IMO. I played one and have been in love since.

The one I am (very) slowly making will have one.

I really have to scrap the body I put so much work into and start over. I'm too stubborn to give up and even if I get it all right I'm going to know where the flaws are hidden. Yup, just typing that did the job. I'm going to start on a new blank while watching some futbol, right now.

I think you'll approve of these.

 

[Apple Jack]

Roy effing Buchanan. Such great tone.

https://www.youtube.com/watch?v=FMcjPZgK9GM

 

[bigbottom]

I've officially run out of things to buy. Birthday came and went with an offer to get myself something. Been racking my brain but haven't come up with anything. Sure, I could certainly buy something just to have it, but I can't seem to find anything that would displace any piece of my current gear for practice or performance.

I did find this guitar, which is cool as ####, but I just can't justify the pricetag.

 

[bigbottom]

Still searching for my ultimate couch guitar. Looked at the Little Martin and Baby Taylor. Most forum searches for reviews comparing those two also mention the Art & Lutherie Ami as a good bang-for-your-buck option. Art & Lutherie is a Godin company, same as Seagull and I love my Seagull S6. Made in Canada. The Ami is a 12 fret parlor.

Incoming new to me guitar. Should be here today.

HNGD!

 

[bigbottom]

Man is this a beautiful Tele. A new line using reclaimed pine from an old barn. The rosewood neck is sweet.

http://www.fender.com/series/special-edition/reclaimed-eastern-pine-telecaster-rosewood-fingerboard-dark-stain/

Whoa.Still say Tele is the coolest electric.

Absolutely love that. Always been a big Tele admirer from afar, though I never owned any Fender guitar. This is what I'll buy if I ever do... so sweet...

Back looking at this. Would like to add a Tele to my collection and this may be it. We have an artist endorsement deal with Fender (not free gear, just a deeper discount) so I should get a good price on it if Fender distribution still has one available. Hmmm.

Damn, that's awesome. You have no excuse -- treat yourself and pull the trigger here. We'll need to hear you play it.

As an update, had committed to buying one, but they were limited edition and Fender no longer had any in stock. No discount was a deal breaker.

 

[bigbottom]

I've officially run out of things to buy. Birthday came and went with an offer to get myself something. Been racking my brain but haven't come up with anything. Sure, I could certainly buy something just to have it, but I can't seem to find anything that would displace any piece of my current gear for practice or performance.

I did find this guitar, which is cool as ####, but I just can't justify the pricetag.

I always wondering if guitars like that are more form than function. Nothing wrong with owning art though.

Ive heard the Steelcasters and they sound pretty sweet, but the pricetag is absolutely a form over function thing.

 

[chet]

Just negotiated purchase of a Collings D2H BbAV. I should get it early next week.

Rock on!

eta: PICS

 

[chet]

I am now in a buy one/sell one phase. So, I am going to sell my Taylor 610ce LTD from 2001. Early stages right now but if there's any interest from someone on this board, I'd offer a good deal. I don't have pics yet but I will soon.

Orig list price was $3,438

Here are some specs:

Fall 2001 Limited Edition, D-size, gloss natural finish, spruce top, amber stained quilted maple back and sides, 14-fret maple neck, white-bound ebony fretboard with pearl artist series inlays, 1-3/4" nut width, 24-3/4" scale, ebony bridge, tortoise plastic pickguard, white-bound body, abalone top trim and rosette, white-bound ebony headstock overlay with pearl "Taylor" and artist series inlays, gold Grover Rotomatic tuners, factory Fishman Prefix Stereo Blender pickup / mic / preamp system, on consignment, with OHSC.

Not mine but same model.

It's not mint but is in good shape. A few dings on the top. Beautiful back--the quilted maple looks like flowing honey.

I am going to have my friend/guitar teacher look it over to ensure I represent it correctly.

Taylor price list from 2001.

 

[bigbottom]

Sweet guitar, but I really prefer the Taylor Grand Auditoriums to the Taylor dreadnoughts for my purposes. Any chance you have a Gibson acoustic on the market?

 

[chet]

Sweet guitar, but I really prefer the Taylor Grand Auditoriums to the Taylor dreadnoughts for my purposes. Any chance you have a Gibson acoustic on the market?

Nope. Never owned a Gibson.

The "new to me" Collings referenced above arrives tomorrow.

 

[Kiddnets]

Hey all - always been interested in learning to play the guitar....but alas I dont have a ton of time, talent, and money to invest - lol

seriously I can probably get a reasonable guitar for Christmas in the $200-$300 range - any recs?

Once I get it whats a reasonable game plan on how to get started for a guy starting from scratch with zero talent.

Any advice to get up and running without getting to frustrated....

Thx!

 

[jdoggydogg]

Hey all - always been interested in learning to play the guitar....but alas I dont have a ton of time, talent, and money to invest - lol

seriously I can probably get a reasonable guitar for Christmas in the $200-$300 range - any recs?

Once I get it whats a reasonable game plan on how to get started for a guy starting from scratch with zero talent.

Any advice to get up and running without getting to frustrated....

Thx!

You can get a decent guitar in the $200 to $300 range. Heck, if you want an acoustic beater, those go for $125 used on Craigslist. The best way to learn guitar is from an instructor, but there are so many good instructional videos on YouTube that's not a bad way to start.

 

[Patrick Bateman]

You guys are in to some high end guitars. I bet you hang all hang out at TheGearPage!

 

[Apple Jack]

Fun song to play that also doubles as great finger-picking exercise. Odd he doesn't mention that he's tuned up a half-step.

http://www.youtube.com/watch?v=zPJ_3dLtUH0

 

[jdoggydogg]

Hey all - always been interested in learning to play the guitar....but alas I dont have a ton of time, talent, and money to invest - lol

seriously I can probably get a reasonable guitar for Christmas in the $200-$300 range - any recs?

Once I get it whats a reasonable game plan on how to get started for a guy starting from scratch with zero talent.

Any advice to get up and running without getting to frustrated....

Thx!

You can get a decent guitar in the $200 to $300 range. Heck, if you want an acoustic beater, those go for $125 used on Craigslist. The best way to learn guitar is from an instructor, but there are so many good instructional videos on YouTube that's not a bad way to start.

I concur. I will say if going acoustic to go with the upper end of that range. Very discouraging fighting a bad acoustic.

I always recommend starting with a beater only because even if you get good and play guitar for years, a beater always comes in handy if you go camping.

 

[satch]

Buddy of mine has a custom GS and it is a stunning guitar. That 918 is gorgeous as well. That said, if it were me, I'd go with a cutaway. Awkward to play those upper frets without it.

Happy hunting!

p.s. I know the custom will have to be ordered, but if you go non-custom, I'd strongly suggest that you actually play it before you buy. When I bought my Taylor, I played a BUNCH before I found the one. The tone was gorgeous. And as it turned out, it was used. I think that made the difference as the wood had aged 10 years already. You work in the city and there are a bunch of music stores stocked with higher end guitars. No reason to drop $3k on an acoustic you've never played before. Electrics it doesn't really matter, but with acoustics, even Taylors, it does. My unsolicited 2 cents.

I recently acquired a used, mint Taylor GS-7. Rosewood back and sides, cedar top, ebony fretboard. I absolutely love it. Honestly, the best sounding acoustic guitar I've ever heard, and it's beautiful aesthetically as well. Love the 1 3/4 nut as I'm playing exclusively fingerstyle these days , and the action is just incredible which comes as no surprise. Couldn't be happier or more impressed with this instrument. Literally, the very first strum caused me to look up at the original owner and say, "Wow, that sounds beautiful". For reference, prior to owning this guitar I was playing a Martin M-36 and a Martin 000-15M. No desire to start a Martin vs Taylor argument, but I think it's worth noting that this guitar is much more musical and enjoyable to play than either of the Martins.

 

[Otis]

Buddy of mine has a custom GS and it is a stunning guitar. That 918 is gorgeous as well. That said, if it were me, I'd go with a cutaway. Awkward to play those upper frets without it.

Happy hunting!

p.s. I know the custom will have to be ordered, but if you go non-custom, I'd strongly suggest that you actually play it before you buy. When I bought my Taylor, I played a BUNCH before I found the one. The tone was gorgeous. And as it turned out, it was used. I think that made the difference as the wood had aged 10 years already. You work in the city and there are a bunch of music stores stocked with higher end guitars. No reason to drop $3k on an acoustic you've never played before. Electrics it doesn't really matter, but with acoustics, even Taylors, it does. My unsolicited 2 cents.

I recently acquired a used, mint Taylor GS-7. Rosewood back and sides, cedar top, ebony fretboard. I absolutely love it. Honestly, the best sounding acoustic guitar I've ever heard, and it's beautiful aesthetically as well. Love the 1 3/4 nut as I'm playing exclusively fingerstyle these days , and the action is just incredible which comes as no surprise. Couldn't be happier or more impressed with this instrument. Literally, the very first strum caused me to look up at the original owner and say, "Wow, that sounds beautiful". For reference, prior to owning this guitar I was playing a Martin M-36 and a Martin 000-15M. No desire to start a Martin vs Taylor argument, but I think it's worth noting that this guitar is much more musical and enjoyable to play than either of the Martins.

Congrats. Sounds like a keeper.

 

[bigbottom]

Buddy of mine has a custom GS and it is a stunning guitar. That 918 is gorgeous as well. That said, if it were me, I'd go with a cutaway. Awkward to play those upper frets without it.

Happy hunting!

p.s. I know the custom will have to be ordered, but if you go non-custom, I'd strongly suggest that you actually play it before you buy. When I bought my Taylor, I played a BUNCH before I found the one. The tone was gorgeous. And as it turned out, it was used. I think that made the difference as the wood had aged 10 years already. You work in the city and there are a bunch of music stores stocked with higher end guitars. No reason to drop $3k on an acoustic you've never played before. Electrics it doesn't really matter, but with acoustics, even Taylors, it does. My unsolicited 2 cents.

I recently acquired a used, mint Taylor GS-7. Rosewood back and sides, cedar top, ebony fretboard. I absolutely love it. Honestly, the best sounding acoustic guitar I've ever heard, and it's beautiful aesthetically as well. Love the 1 3/4 nut as I'm playing exclusively fingerstyle these days , and the action is just incredible which comes as no surprise. Couldn't be happier or more impressed with this instrument. Literally, the very first strum caused me to look up at the original owner and say, "Wow, that sounds beautiful". For reference, prior to owning this guitar I was playing a Martin M-36 and a Martin 000-15M. No desire to start a Martin vs Taylor argument, but I think it's worth noting that this guitar is much more musical and enjoyable to play than either of the Martins.

Awesome! And your experience sounds similar to mine. After playing a BUNCH of Taylors, the guy put one in my hands, I strummed it once, and I said something like, "wow." Pretty much gave away any leverage I might have had to negotiate a discount.

 

[Limp Ditka]

Was playing my buddy's Taylor acoustic last night. Think it's a 916ce Grand Symphony. The thing is like a piece of art

For a guy that has a crappy Ibanez A/E at home, there are always a bunch of those 'wow' moments while playing it.

Also has a 12 string Martin that we were trading off with during our session.

 

[satch]

Recently picked up a new Fender '68 Custom Princeton Reverb. I really couldn't be more satisfied, as this amplifier produces heart melting, gorgeous tones and has a classy retro look that I find incredibly appealing.

http://www.fender.com/series/vintage-modified/68-custom-princeton-reverb-120v/

At 12 watts, it oozes warm, lush, shimmering clean tones at practical volume levels, which is someting I've really learned to appreciate with experience. If you can achieve a beautiful clean tone at low volume you'll be able to capture the tone you want at any volume necessary. In the unlikely event (for most of us) you're playing a venue where 12 watts isn't loud enough, simply mic the amp. In most cases, 12 watts is plenty, allowing you to crank the amp's volume, squeeze the tone out of the tubes, and use the guitars volume knob to dial in your sweet spot. Turn it up for a smooth, thick overdriven tone, roll it back to clean it up.

The cleans on the '68 are incredible. Unlike some fender amps the '68's tone is not overly bright or sterile for lack of a better word. The cleans from the '68 have a lush, warm character to them. With the fantastic on board reverb and gorgeous tremelo, the '68 has a musical voice, as opposed to simply amplifying sound. Clean headroom gives way to overdrive as the volume approaches 4 and beyond. This is where you'll find vintage, classic rock, overdriven blues tones. Again, when playing in this volume range, simply dialing back your guitar's volume knob and adjusting the tone knob to taste provides an incredibly satisfying array of tones. Layer on some reverb and/or tremolo and you'll find yourself creating some of the most beautiful tones you've ever heard. In addition, the '68's circuitry was specifically designed to take pedals very well. A delay compliments the amp nicely, as would a tube screamer.

As you can tell, I'm thoroughly impressed with the '68 Custom Princeton Reverb. It affects the way I play guitar in a good way, as I'm more inclined to let the amp breathe life into each note, chord, or phrase. I'm not in any hurry to play more notes, because the amp makes the ones I'm playing sound so good. Between the gorgeous tone of the amp, and it's vintage look, feel, and vibe, I think I'm in love with a '68 Custom Princeton Reverb. Just don't tell my guitar:

http://www.fender.com/series/american-deluxe/american-deluxe-stratocaster-maple-fingerboard-sunset-metallic/

 

[Otis]

Recently picked up a new Fender '68 Custom Princeton Reverb. I really couldn't be more satisfied, as this amplifier produces heart melting, gorgeous tones and has a classy retro look that I find incredibly appealing.

http://www.fender.com/series/vintage-modified/68-custom-princeton-reverb-120v/

At 12 watts, it oozes warm, lush, shimmering clean tones at practical volume levels, which is someting I've really learned to appreciate with experience. If you can achieve a beautiful clean tone at low volume you'll be able to capture the tone you want at any volume necessary. In the unlikely event (for most of us) you're playing a venue where 12 watts isn't loud enough, simply mic the amp. In most cases, 12 watts is plenty, allowing you to crank the amp's volume, squeeze the tone out of the tubes, and use the guitars volume knob to dial in your sweet spot. Turn it up for a smooth, thick overdriven tone, roll it back to clean it up.

The cleans on the '68 are incredible. Unlike some fender amps the '68's tone is not overly bright or sterile for lack of a better word. The cleans from the '68 have a lush, warm character to them. With the fantastic on board reverb and gorgeous tremelo, the '68 has a musical voice, as opposed to simply amplifying sound. Clean headroom gives way to overdrive as the volume approaches 4 and beyond. This is where you'll find vintage, classic rock, overdriven blues tones. Again, when playing in this volume range, simply dialing back your guitar's volume knob and adjusting the tone knob to taste provides an incredibly satisfying array of tones. Layer on some reverb and/or tremolo and you'll find yourself creating some of the most beautiful tones you've ever heard. In addition, the '68's circuitry was specifically designed to take pedals very well. A delay compliments the amp nicely, as would a tube screamer.

As you can tell, I'm thoroughly impressed with the '68 Custom Princeton Reverb. It affects the way I play guitar in a good way, as I'm more inclined to let the amp breathe life into each note, chord, or phrase. I'm not in any hurry to play more notes, because the amp makes the ones I'm playing sound so good. Between the gorgeous tone of the amp, and it's vintage look, feel, and vibe, I think I'm in love with a '68 Custom Princeton Reverb.

Awesome write-up, thanks. I always wanted to splurge for a Twin Reverb, but you make a great point for regular guys like me playing in my living room, there's no practical need for that power. This sounds like a pretty fantastic alternative.

Once I get my electric up and running again (badly needs a setup since putting it down a year ago and then a new kid, house move, construction, etc.), I'm going to seriously consider this.

Congrats, play it well.

 

[satch]

Recently picked up a new Fender '68 Custom Princeton Reverb. I really couldn't be more satisfied, as this amplifier produces heart melting, gorgeous tones and has a classy retro look that I find incredibly appealing.http://www.fender.com/series/vintage-modified/68-custom-princeton-reverb-120v/

At 12 watts, it oozes warm, lush, shimmering clean tones at practical volume levels, which is someting I've really learned to appreciate with experience. If you can achieve a beautiful clean tone at low volume you'll be able to capture the tone you want at any volume necessary. In the unlikely event (for most of us) you're playing a venue where 12 watts isn't loud enough, simply mic the amp. In most cases, 12 watts is plenty, allowing you to crank the amp's volume, squeeze the tone out of the tubes, and use the guitars volume knob to dial in your sweet spot. Turn it up for a smooth, thick overdriven tone, roll it back to clean it up.

The cleans on the '68 are incredible. Unlike some fender amps the '68's tone is not overly bright or sterile for lack of a better word. The cleans from the '68 have a lush, warm character to them. With the fantastic on board reverb and gorgeous tremelo, the '68 has a musical voice, as opposed to simply amplifying sound. Clean headroom gives way to overdrive as the volume approaches 4 and beyond. This is where you'll find vintage, classic rock, overdriven blues tones. Again, when playing in this volume range, simply dialing back your guitar's volume knob and adjusting the tone knob to taste provides an incredibly satisfying array of tones. Layer on some reverb and/or tremolo and you'll find yourself creating some of the most beautiful tones you've ever heard. In addition, the '68's circuitry was specifically designed to take pedals very well. A delay compliments the amp nicely, as would a tube screamer.

As you can tell, I'm thoroughly impressed with the '68 Custom Princeton Reverb. It affects the way I play guitar in a good way, as I'm more inclined to let the amp breathe life into each note, chord, or phrase. I'm not in any hurry to play more notes, because the amp makes the ones I'm playing sound so good. Between the gorgeous tone of the amp, and it's vintage look, feel, and vibe, I think I'm in love with a '68 Custom Princeton Reverb.

Awesome write-up, thanks. I always wanted to splurge for a Twin Reverb, but you make a great point for regular guys like me playing in my living room, there's no practical need for that power. This sounds like a pretty fantastic alternative.

Once I get my electric up and running again (badly needs a setup since putting it down a year ago and then a new kid, house move, construction, etc.), I'm going to seriously consider this.

Congrats, play it well.

I too considered a Twin Reverb. So glad I didn't get one. They sound great but are big and weigh a ton, a real hassle lugging one up/downstairs or getting in/out of a vehicle. Also, they are ridiculously and unnecessarily overpowered. For those reasons, used Twin Reverbs are commonly found on craigslist. You can get equally sublime, if not more so, tones from a Princeton Reverb in a much smaller, much lighter, much more practical, and nicer looking (imo) package.

 

[bigbottom]

Recently picked up a new Fender '68 Custom Princeton Reverb. I really couldn't be more satisfied, as this amplifier produces heart melting, gorgeous tones and has a classy retro look that I find incredibly appealing.

http://www.fender.com/series/vintage-modified/68-custom-princeton-reverb-120v/

At 12 watts, it oozes warm, lush, shimmering clean tones at practical volume levels, which is someting I've really learned to appreciate with experience. If you can achieve a beautiful clean tone at low volume you'll be able to capture the tone you want at any volume necessary. In the unlikely event (for most of us) you're playing a venue where 12 watts isn't loud enough, simply mic the amp. In most cases, 12 watts is plenty, allowing you to crank the amp's volume, squeeze the tone out of the tubes, and use the guitars volume knob to dial in your sweet spot. Turn it up for a smooth, thick overdriven tone, roll it back to clean it up.

The cleans on the '68 are incredible. Unlike some fender amps the '68's tone is not overly bright or sterile for lack of a better word. The cleans from the '68 have a lush, warm character to them. With the fantastic on board reverb and gorgeous tremelo, the '68 has a musical voice, as opposed to simply amplifying sound. Clean headroom gives way to overdrive as the volume approaches 4 and beyond. This is where you'll find vintage, classic rock, overdriven blues tones. Again, when playing in this volume range, simply dialing back your guitar's volume knob and adjusting the tone knob to taste provides an incredibly satisfying array of tones. Layer on some reverb and/or tremolo and you'll find yourself creating some of the most beautiful tones you've ever heard. In addition, the '68's circuitry was specifically designed to take pedals very well. A delay compliments the amp nicely, as would a tube screamer.

As you can tell, I'm thoroughly impressed with the '68 Custom Princeton Reverb. It affects the way I play guitar in a good way, as I'm more inclined to let the amp breathe life into each note, chord, or phrase. I'm not in any hurry to play more notes, because the amp makes the ones I'm playing sound so good. Between the gorgeous tone of the amp, and it's vintage look, feel, and vibe, I think I'm in love with a '68 Custom Princeton Reverb. Just don't tell my guitar:

http://www.fender.com/series/american-deluxe/american-deluxe-stratocaster-maple-fingerboard-sunset-metallic/

Man, Fender should hire you to write copy! That is an awesome review. Re: the bolded, for those of you who may have a concern about the power, it's standard practice at any venue with a PA that you'll be mic'ing your amp. That's what enables the sound guy to mix it. I play exclusively with a 30-watt amp and have never turned it up past half-way. 30 watts was good enough for this stage. And if you're playing a place that doesn't have a PA, chances are it's a smaller room and 12 watts will be more than enough power for what you need.

 

[bigbottom]

I too considered a Twin Reverb. So glad I didn't get one. They sound great but are big and weigh a ton, a real hassle lugging one up/downstairs or getting in/out of a vehicle. Also, they are ridiculously and unnecessarily overpowered. For those reasons, used Twin Reverbs are commonly found on craigslist. You can get equally sublime, if not more so, tones from a Princeton Reverb in a much smaller, much lighter, much more practical, and nicer looking (imo) package.

Pretty much everyone I know is downsizing their rigs these days.

 

[OC Zed]

I too considered a Twin Reverb. So glad I didn't get one. They sound great but are big and weigh a ton, a real hassle lugging one up/downstairs or getting in/out of a vehicle. Also, they are ridiculously and unnecessarily overpowered. For those reasons, used Twin Reverbs are commonly found on craigslist. You can get equally sublime, if not more so, tones from a Princeton Reverb in a much smaller, much lighter, much more practical, and nicer looking (imo) package.

Pretty much everyone I know is downsizing their rigs these days.

Are all of those guys of the same age (a little older and don't feel the machismo loud/size thing anymore) or have you noticed younger guys also doing the same?

The biggest regret I ever made was trading in an original Mesa Boogie Mark I when I was in high school for a JCM 800 100 watt 2x12 combo (this was before everything cost an arm and a leg. It was such a dumb move, but I learned my lesson at least.

 

[bigbottom]

I too considered a Twin Reverb. So glad I didn't get one. They sound great but are big and weigh a ton, a real hassle lugging one up/downstairs or getting in/out of a vehicle. Also, they are ridiculously and unnecessarily overpowered. For those reasons, used Twin Reverbs are commonly found on craigslist. You can get equally sublime, if not more so, tones from a Princeton Reverb in a much smaller, much lighter, much more practical, and nicer looking (imo) package.

Pretty much everyone I know is downsizing their rigs these days.

Are all of those guys of the same age (a little older and don't feel the machismo loud/size thing anymore) or have you noticed younger guys also doing the same?

The biggest regret I ever made was trading in an original Mesa Boogie Mark I when I was in high school for a JCM 800 100 watt 2x12 combo (this was before everything cost an arm and a leg. It was such a dumb move, but I learned my lesson at least.

Younger guys to a bit lesser degree, but, yeah they're downsizing as well. I can't remember the last time I saw even a half stack on stage at anything beyond a major venue. Boutique amps are becoming all the rage and they tend to come in smaller packages. Of course, keep in mind that I'm not running in headbanging musical circles.

 

[bigbottom]

P.S. Here you go, Zed.

 

[Otis]

P.S. Here you go, Zed.

Drool worthy. But $2k feels like a lot.

Zed I feel your pain. In college you may remember I had my PRS paired to a Mesa Boogie 50 Caliber combo I picked up used somewhere out in Virginia or Maryland for a song. Best amp I ever had, and selling it was the most foolish gear move I ever made.

 

[Otis]

Recently picked up a new Fender '68 Custom Princeton Reverb. I really couldn't be more satisfied, as this amplifier produces heart melting, gorgeous tones and has a classy retro look that I find incredibly appealing.

http://www.fender.com/series/vintage-modified/68-custom-princeton-reverb-120v/

At 12 watts, it oozes warm, lush, shimmering clean tones at practical volume levels, which is someting I've really learned to appreciate with experience. If you can achieve a beautiful clean tone at low volume you'll be able to capture the tone you want at any volume necessary. In the unlikely event (for most of us) you're playing a venue where 12 watts isn't loud enough, simply mic the amp. In most cases, 12 watts is plenty, allowing you to crank the amp's volume, squeeze the tone out of the tubes, and use the guitars volume knob to dial in your sweet spot. Turn it up for a smooth, thick overdriven tone, roll it back to clean it up.

The cleans on the '68 are incredible. Unlike some fender amps the '68's tone is not overly bright or sterile for lack of a better word. The cleans from the '68 have a lush, warm character to them. With the fantastic on board reverb and gorgeous tremelo, the '68 has a musical voice, as opposed to simply amplifying sound. Clean headroom gives way to overdrive as the volume approaches 4 and beyond. This is where you'll find vintage, classic rock, overdriven blues tones. Again, when playing in this volume range, simply dialing back your guitar's volume knob and adjusting the tone knob to taste provides an incredibly satisfying array of tones. Layer on some reverb and/or tremolo and you'll find yourself creating some of the most beautiful tones you've ever heard. In addition, the '68's circuitry was specifically designed to take pedals very well. A delay compliments the amp nicely, as would a tube screamer.

As you can tell, I'm thoroughly impressed with the '68 Custom Princeton Reverb. It affects the way I play guitar in a good way, as I'm more inclined to let the amp breathe life into each note, chord, or phrase. I'm not in any hurry to play more notes, because the amp makes the ones I'm playing sound so good. Between the gorgeous tone of the amp, and it's vintage look, feel, and vibe, I think I'm in love with a '68 Custom Princeton Reverb. Just don't tell my guitar:

http://www.fender.com/series/american-deluxe/american-deluxe-stratocaster-maple-fingerboard-sunset-metallic/

Man, Fender should hire you to write copy! That is an awesome review. Re: the bolded, for those of you who may have a concern about the power, it's standard practice at any venue with a PA that you'll be mic'ing your amp. That's what enables the sound guy to mix it. I play exclusively with a 30-watt amp and have never turned it up past half-way. 30 watts was good enough for this stage. And if you're playing a place that doesn't have a PA, chances are it's a smaller room and 12 watts will be more than enough power for what you need.

If Biggie needs less than this for the gigs he's playing (in real venues), then this makes good sense to me. Sounds like 12 watts is fine for us armchair musicians.

I'm really gonna have to look into this further.... starting to get the bug again....

 

[chet]

A friend told me about a line 6 guitar (I didn't know they made guitars) that can change to a banjo, mandolin, alternate tunings etc. Anyone know more?

 

[bigbottom]

A friend told me about a line 6 guitar (I didn't know they made guitars) that can change to a banjo, mandolin, alternate tunings etc. Anyone know more?

My guess is that it works like a digital trigger. Peavey had a self-tuning guitar that likely worked similarly. The pitch of the note was not actually created by the strings. Rather, the placement of your fingers on the strings would trigger a digital version of the sound. that way, your strings didn't have to actually be in tune to sound in tune. I'm guessing that's how this Line 6 guitar would work. You can assign alternate tunings, or mandolin or banjo sounds to the strings and then trigger those sounds when you play them.

 

[bigbottom]

Found it. It's a Line 6 JTV 69 Variax. Here's a video. The latter part of the video shows some of the acoustic modeling and alternate tuning. Pretty cool technology.

 

[OC Zed]

P.S. Here you go, Zed.

Such a great amp. Mine had the same leather (a bit more beat up), but with a graphic EQ on it too. I think it only cost me $300-400 way back when. Oof.

FWIW, I ended up buying a Mesa Boogie Studio Caliber 22 watt 1x12 after law school at some pawn shop in the Village. It's been sitting in my closet for most of the past 15 years (I don't play much anymore), but it's a heck of a little amp and can still be bought used for far less than most MBs.

 

[OC Zed]

P.S. Here you go, Zed.

Drool worthy. But $2k feels like a lot.

Zed I feel your pain. In college you may remember I had my PRS paired to a Mesa Boogie 50 Caliber combo I picked up used somewhere out in Virginia or Maryland for a song. Best amp I ever had, and selling it was the most foolish gear move I ever made.

That was a great set up.

 

[bigbottom]

Found it. It's a Line 6 JTV 69 Variax. Here's a video. The latter part of the video shows some of the acoustic modeling and alternate tuning. Pretty cool technology.

Here's another video of a different Variax guitar - banjo sound near the end.

https://www.youtube.com/watch?v=ngaBmMd8aqA