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New player - need "better than starter" electric


johnchop

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Is it possible to kill two birds with one stone? I swear I saw a movie once, or maybe it was Prince who had the car in the shape of a (playable?) guitar.

Eugenio Upright, 60th Anniversary P-Bass, USA Geddy Lee J-Bass, Yamaha BBP35, D'angelico SS Bari, EXL1,

Select Strat, 70th Anniversary Esquire, LP 57, Eastman T486, T64, Ibanez PM2, Hammond XK4, Moog Voyager

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https://www.proaudiostar.com/hagstrom-viking-semi-hollow-body-wild-cherry-transparent.html

 

Nice Hagstrom Viking available used for $500. I order a lot from pro Audio Star; a very reputable dealer, often with great discounts on new stuff too, and they pack things well.

Eugenio Upright, 60th Anniversary P-Bass, USA Geddy Lee J-Bass, Yamaha BBP35, D'angelico SS Bari, EXL1,

Select Strat, 70th Anniversary Esquire, LP 57, Eastman T486, T64, Ibanez PM2, Hammond XK4, Moog Voyager

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Thanks for the tips and well wishes.

 

In the meantime my upstairs AC died.

 

I don"t know which deity I failed to appease, but I"m going to take it as a sign that I should keep playing my acoustic and the right guitar will be available at the right time :D

 

I suppose buying used from a dealer with a return policy is an option.

 

I"m actually interested and in the super Viking (25.5 scale). Will have to play more 24.75' scale guitars to see how they feel. My initial feeling was 'cramped'.

I make software noises.
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It's a funny thing about scale length, as so many factors come into play. I find my 24" Jaguar feels less cramped than my 24.75" Les Paul, but overall I prefer 25.5" myself.

 

Sorry to hear about the A/C, but I think you've now exhausted your 'trouble comes in threes" at least?

Eugenio Upright, 60th Anniversary P-Bass, USA Geddy Lee J-Bass, Yamaha BBP35, D'angelico SS Bari, EXL1,

Select Strat, 70th Anniversary Esquire, LP 57, Eastman T486, T64, Ibanez PM2, Hammond XK4, Moog Voyager

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Thanks for the tips and well wishes.

 

In the meantime my upstairs AC died.

 

I don"t know which deity I failed to appease, but I"m going to take it as a sign that I should keep playing my acoustic and the right guitar will be available at the right time :D

 

I suppose buying used from a dealer with a return policy is an option.

 

I"m actually interested and in the super Viking (25.5 scale). Will have to play more 24.75' scale guitars to see how they feel. My initial feeling was 'cramped'.

 

Acoustic guitar will make you a better player, not as easy to "fake" things, it all has to be real. Has it had a professional setup? Every guitar could use that, at least once.

I switch from a 25.5 scale to 24.75 every now and then. I stick with one or the other for a while, it's kinda weird to swap back and forth all the time.

There are things I like about both scales.

It took a chunk of my life to get here and I am still not sure where "here" is.
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Thanks for the tips and well wishes.

 

In the meantime my upstairs AC died.

 

I don"t know which deity I failed to appease, but I"m going to take it as a sign that I should keep playing my acoustic and the right guitar will be available at the right time :D

 

I suppose buying used from a dealer with a return policy is an option.

 

I"m actually interested and in the super Viking (25.5 scale). Will have to play more 24.75' scale guitars to see how they feel. My initial feeling was 'cramped'.

I feel your pain!

 

Shortly before Thanksgiving 2020, our oven died. A few days later, we realized our microwave was on its last legs as well. Because of C19, there were slowdowns in parts & assembly factories delaying appliances of all kinds: we"ll be getting our new oven and microwave installed in about a week.

 

...but just after we got our power back on for good after the winter storm outages here in Texas, our dishwasher died! The thermal shock of hot dishwater hitting freezing cold steel popped a few welds. OH, and we"re also replacing 2 televisions. 2021 is getting EXPENSIVE!

 

Silver lining, though: most of this stuff that"s dying NOW we"ve had for many years beyond their expected lifespan. So in the long run, ebpven though it"s a P.I.T.A. that it"s all happening simultaneously, we"re probably still ahead of the game.

Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: âNinety percent of everything is crapâ

 

My FLMS- Murphy's Music in Irving, Tx

 

http://murphysmusictx.com/

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I switch from a 25.5 scale to 24.75 every now and then. I stick with one or the other for a while, it's kinda weird to swap back and forth all the time.

There are things I like about both scales.

 

This is why the PRS neck feels so perfect to me, it's the best of both 'standards'.

Scott Fraser
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Personally, I have 25.5', 25' and 24.75' scale guitars. It doesn"t affect my playing much.

 

I want to get one of those BMG Red Specials- not in the original color- and see what 24' scale feels like... And I"d love to win a baritone, too.

 

Edit: 'OWN' a baritone, not win. (Though winning one would rock.)

Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: âNinety percent of everything is crapâ

 

My FLMS- Murphy's Music in Irving, Tx

 

http://murphysmusictx.com/

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I pay more attention to the neck fretboard width, neck shape and neck thickness than I do to the scale length. I can play on just about any guitar for scale length. The feel of the neck used to take me a week or two to get used to when I switch guitars (i.e., my Gibson, Taylor, Takamine, Fender, Epiphone, Conti, acoustic, nylon, electric, etc.). I am now used to playing any these guitars. I don't care for V shape necks (Eric Clapton) and/or thick necks (Eric Johnson). I especially do not care to play on wide neck classical nylon acoustics. You just have to buy what feels best in your hand IMHO. :cool:
Take care, Larryz
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Personally, I have 25.5', 25' and 24.75' scale guitars. It doesn"t affect my playing much.

 

I want to get one of those BMG Red Specials- not in the original color- and see what 24' scale feels like... And I"d love to win a baritone, too.

 

 

I also have a baritone Tele with a Warmoth neck, I think it's 28.5" scale or somewhere around there. I love it. I do play differently on it.

I also have an Ibanez Gio Mikro, not sure the scale - 22", maybe 21!. The neck is too skinny, that affects how I play it. Plus I have it tuned Nashville tuning so I play it differently too.

Plus acoustic steel and nylon string guitars and a 12 string. I have fun with all of them, I like having different guitars!

It took a chunk of my life to get here and I am still not sure where "here" is.
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Re: scale length- there IS a difference in the overall sound and tone, as well as (and because of, among other things) string-tension and the distance between the frets; I look at scale-length as one of the factors that make the overall character of a guitar, along with bolt-on vs set-neck, brighter and darker tone woods, pickups, etc. etc. etc. Longer scale-lengths like Fender's most common 25 1/2" WILL give more high and odd-order harmonic overtones ("low keys on a grand piano"), a stringier, crisper, brighter tone, particularly on the wound-bass strings; shorter scale lengths like Gibson's usual 24 1/4" will give warmer tones with even-order harmonic overtones ("higher keys on an upright piano"), rounder, fatter tones, especially on the plain-treble strings. The differences in scale-length contribute a LOT to the differences in character between, say, a Tele or a Strat, and a Les Paul or ES-335.

 

I think it might have been Leo Fender who described chords played on a Fender scale-length guitar as being like a group of professional singers, while chords played on a Gibson scale-length guitar sounding like a family singing together- both great in their own ways with their own charms, but different. It may have been someone else who said that, but the point is made.

 

I like both shorter and longer, though I tend to gravitate most often to the shorter, going for that Gibson Les Paul type tone.

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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Ah yes, character, of course! I think most of us were discussing the playability aspects of different scale lengths though.

 

It is precisely because of the character differences, that I make sure that every instrument I have is a different scale length, selection of woods, etc. And it's also why I went from a mostly-humbucker collection fo electric guitars to an almost exclusively single-coil collection. As I like the guitar itself to define the primary character of the sound, I don't find much difference in humbuckers compared to single-coils (it's more subtle to my ears), and I tend to go for vintage sounds anyway so the downstream amping and pedals connect with me more when they're more rhythmic and dynamic than in the "metal" camp.

 

But you did a great job of explaining what contributes to the sound and how it does so. I hadn't really thought about the grand piano vs. upright piano comparison before! It's a great analogy, and one that I do tend to use when describing different basses (my main instrument). It's why I sold my Dingwall; I felt it sounded too much like a piano!

Eugenio Upright, 60th Anniversary P-Bass, USA Geddy Lee J-Bass, Yamaha BBP35, D'angelico SS Bari, EXL1,

Select Strat, 70th Anniversary Esquire, LP 57, Eastman T486, T64, Ibanez PM2, Hammond XK4, Moog Voyager

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Thanks for the tips and well wishes.

 

In the meantime my upstairs AC died.

 

I don"t know which deity I failed to appease, but I"m going to take it as a sign that I should keep playing my acoustic and the right guitar will be available at the right time :D

 

Right there with you. I'll spare you the list, but I'm reminded of Devo's line about "the sound of things falling apart."

 

Back to Guitars; I would support your initial reluctance to take a chance ordering a used Guitar online. I've never bought any Guitar, new or used, that I haven't held in my hands first, and if this is going to be your first Electric Guitar, you may as well be choosy, especially since you have other expenses cutting ahead in line. Try out a few different models, see how they sound and feel to you.

 

I would also agree the scale length is less of an issue than other neck dimensions (unless you have very short fingers), including Neck Radius.

 

The fretboard on a Guitar with a wide Neck Radius will feel relatively flat, a narrow Neck Radius can feel 'cramped", more like a Violin neck with frets. Most Fender Electrics have a 9.5 Inch Neck Radius, although a few models are as narrow as 7.5. Most Gibson/Epiphone Guitars have a 12-inch Neck Radius, although a few models are wider, up to 16 inches. Guitars with a Compound Radius (Jackson, for one) will start out around 12 inches near the nut, and flatten out to 17 inches or so, approaching the heel of the neck.

"Monsters are real, and Ghosts are real too. They live inside us, and sometimes, they win." Stephen King

 

http://www.novparolo.com

 

https://thewinstonpsmithproject.bandcamp.com

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It is precisely because of the character differences, that I make sure that every instrument I have is a different scale length, selection of woods, etc. And it's also why I went from a mostly-humbucker collection fo electric guitars to an almost exclusively single-coil collection.

I really want to get or build a good Telecaster- and I definitely want it to have a 25 1/2" scale-length; I also really want another Les Paul with P-90 "soap-bars" (and I've also been strongly considering a new Yamaha Revstar with P-90 soap-bar type pickups), and I most certainly want that guitar to have the approximately 24 3/4" scale-length typical of Les Pauls. With my 100% fingerstyle approach, I really find the difference, and really put it to use in coaxing the tones I want and using a guitar to it's strengths.

 

 

 

 

...I don't find much difference in humbuckers compared to single-coils (it's more subtle to my ears), and I tend to go for vintage sounds anyway so the downstream amping and pedals connect with me more when they're more rhythmic and dynamic than in the "metal" camp.

One of the reasons that I want a good Tele style axe is how a Tele (even a cheap knockoff!) and its single-coil pickups put through one of these HomeBrew Electronics "ComPressor Retro" (HBE CPR)* compressor-pedals is just MAGIC. My Les Paul- and guitar with humbuckers- put through that or any Ross or Dyna Comp style compressor-pedal is just 'meh' or worse, like polishing ones boots with an old Hershey Bar.

 

I suspect that the initial attack has a lot to do with that. Just one of the noticeable difference I find between single-coils and humbuckers. I love 'em both, though!

 

*(vintage Ross based, upgraded, much improved, quieter)

 

 

But you did a great job of explaining what contributes to the sound and how it does so. I hadn't really thought about the grand piano vs. upright piano comparison before! It's a great analogy, and one that I do tend to use when describing different basses (my main instrument). It's why I sold my Dingwall; I felt it sounded too much like a piano!

Thanks for the kind words! And the differences in character between Grand and upright pianos are due to the exact same reasons- string scale-length!

 

Guitars with a Compound Radius (Jackson, for one) will start out around 12 inches near the nut, and flatten out to 17 inches or so, approaching the heel of the neck.

I :love:LOVE :love: compound-radius fretboards! I can't believe that those aren't in the majority, instead of being relatively uncommon. Warmoth's 10" to 16" compound radius is marvelous; if I were able to get a completely custom made axe with a truly conical fretboard profile, I'd ask for 10" at the nut/1st Fret, and whatever would result in a nearly flat radius at the bridge-saddles, similar to that of a Classical guitar's bridge saddle- perhaps some ridiculously large/flatt-ish but still curved radius dimension, like, say, 30"r or so at the bridge... That's largely because of my playing fingerstyle all of the time, the flatter radius at the bridge end of the strings enhances fingerstyle playing. Larger/flatter r at the higher registers of the fretboard also practically eliminates "fretting out" or "choking" when bending strings.

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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I owned the RevsStar P90 edition for a while. It was pretty to look at. The P90's were so-so; better than Epi P90's or P94's but not as good as Made in USA Gibson Dogear P90's. Ultimately, as with my previous Pacifica not-quite-a-Strat model, I just don't like the feel of ANY of Yamaha's electric guitars. I might even sell my Yamaha high-end BB-bass as well, now that I have a 5-string passive G&L Made in USA bass.

 

There's no arguing that Yamaha guitars are great bang-for-buck though. Including their hard-to-find not-always-in-the-catalogue arch-top models. But those have such narrow nuts! And in general, I'm never completely happy with the pickups on any Yamaha electric guitar or bass that I have owned or played. The BB-basses (I despise the TRB basses, which are active and cheap), to me are a closer hit on the sweet spot than their guitars.

 

Interesting that you play finger-style on electric. I was in a band for a couple of years with a dude from Morocco who had formally studied flamenco music and preferred the wider range of dynamics available on an electric when playing sans plectrum. The guitarist in the jazz combo that I lead, is also mostly finger-style, and when he does use plastic it's the finger and thumb picks of bluegrass acoustic guitar players rather than a flat pick!

Eugenio Upright, 60th Anniversary P-Bass, USA Geddy Lee J-Bass, Yamaha BBP35, D'angelico SS Bari, EXL1,

Select Strat, 70th Anniversary Esquire, LP 57, Eastman T486, T64, Ibanez PM2, Hammond XK4, Moog Voyager

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Just out of curiosity, have you ever considered swapping out the pickups instead of selling the Yamahas? I ask because I personally got spoiled by the quality of the P90s in my Reverend guitars, so when I bought a Fret-King Esprit, I was a tad underwhelmed by its trio of Wilkinson soapbars. They were serviceable enough, but compared to the Reverends...

 

After a year, I eventually replaced the Wilkinsons with some Bareknuckle Stockholms and couldn"t be happier with the results.

Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: âNinety percent of everything is crapâ

 

My FLMS- Murphy's Music in Irving, Tx

 

http://murphysmusictx.com/

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Nope, because I didn't like the neck feel on them, and that means they were not very inspiring for me to play. But the RevStar wasn't nearly as cramped as the Pacifica or their arch-tops are, at least.

 

Bareknuckles are a good and safe sub on most guitars, for sure.

Eugenio Upright, 60th Anniversary P-Bass, USA Geddy Lee J-Bass, Yamaha BBP35, D'angelico SS Bari, EXL1,

Select Strat, 70th Anniversary Esquire, LP 57, Eastman T486, T64, Ibanez PM2, Hammond XK4, Moog Voyager

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It is precisely because of the character differences, that I make sure that every instrument I have is a different scale length, selection of woods, etc. And it's also why I went from a mostly-humbucker collection fo electric guitars to an almost exclusively single-coil collection.

I really want to get or build a good Telecaster- and I definitely want it to have a 25 1/2" scale-length; I also really want another Les Paul with P-90 "soap-bars" (and I've also been strongly considering a new Yamaha Revstar with P-90 soap-bar type pickups), and I most certainly want that guitar to have the approximately 24 3/4" scale-length typical of Les Pauls. With my 100% fingerstyle approach, I really find the difference, and really put it to use in coaxing the tones I want and using a guitar to it's strengths.

 

 

 

 

...I don't find much difference in humbuckers compared to single-coils (it's more subtle to my ears), and I tend to go for vintage sounds anyway so the downstream amping and pedals connect with me more when they're more rhythmic and dynamic than in the "metal" camp.

One of the reasons that I want a good Tele style axe is how a Tele (even a cheap knockoff!) and its single-coil pickups put through one of these HomeBrew Electronics "ComPressor Retro" (HBE CPR)* compressor-pedals is just MAGIC. My Les Paul- and guitar with humbuckers- put through that or any Ross or Dyna Comp style compressor-pedal is just 'meh' or worse, like polishing ones boots with an old Hershey Bar.

 

I suspect that the initial attack has a lot to do with that. Just one of the noticeable difference I find between single-coils and humbuckers. I love 'em both, though!

 

*(vintage Ross based, upgraded, much improved, quieter)

 

 

But you did a great job of explaining what contributes to the sound and how it does so. I hadn't really thought about the grand piano vs. upright piano comparison before! It's a great analogy, and one that I do tend to use when describing different basses (my main instrument). It's why I sold my Dingwall; I felt it sounded too much like a piano!

Thanks for the kind words! And the differences in character between Grand and upright pianos are due to the exact same reasons- string scale-length!

 

Guitars with a Compound Radius (Jackson, for one) will start out around 12 inches near the nut, and flatten out to 17 inches or so, approaching the heel of the neck.

I :love:LOVE :love: compound-radius fretboards! I can't believe that those aren't in the majority, instead of being relatively uncommon. Warmoth's 10" to 16" compound radius is marvelous; if I were able to get a completely custom made axe with a truly conical fretboard profile, I'd ask for 10" at the nut/1st Fret, and whatever would result in a nearly flat radius at the bridge-saddles, similar to that of a Classical guitar's bridge saddle- perhaps some ridiculously large/flatt-ish but still curved radius dimension, like, say, 30"r or so at the bridge... That's largely because of my playing fingerstyle all of the time, the flatter radius at the bridge end of the strings enhances fingerstyle playing. Larger/flatter r at the higher registers of the fretboard also practically eliminates "fretting out" or "choking" when bending strings.

 

Got me intrested in a compound radius neck for my Deluxe Player Srat. Next time I go to GC or my local store I'll see if I can find one to try. I looked online and found this, Fender neck is $620, Warmoth is $235 and $352 customized.

Jenny S.
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Nope, because I didn't like the neck feel on them, and that means they were inspiring for me to play. But the RevStar wasn't as cramped as the Pacifica or their arch-tops are, at least.

 

Bareknuckles are a good and safe sub on most guitars, for sure.

 

Fair enough!

 

I agree they a guitar has to FEEL right to BE right, regardless of the tone. If I hadn"t liked that Esprit"s ergonomics, I wouldn"t have bothered with the pickup swap.

Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: âNinety percent of everything is crapâ

 

My FLMS- Murphy's Music in Irving, Tx

 

http://murphysmusictx.com/

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Got me interested in a compound radius neck for my Deluxe Player Strat. Next time I go to GC or my local store I'll see if I can find one to try. I looked online and found this, Fender neck is $620, Warmoth is $235 and $352 customized.

 

I'll tell you what, Warmoth Strat necks with their Compound Radius (10" at the 1st Fret to 16" at the 22nd Fret) will NOT disappoint. They'll spoil you for other necks...

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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I understand the thing about yamahas necks. I don't mind the size but there is a difference that makes me wish they would attempt to model a fender neck or a Godin neck. I recently tried a Godin stadium 59. Desert green with stained maple neck and rosewood board.compemsated three barrel bridge , slanted pup selector, seymour duncan 59 in the neck and Godin raging cajon bridge single coil. And the high def revoicer. It was flawless. Played like it was made for me .

Perfect nut height perfect setup.

I do love me p90 pups. The chime and chunk combo.

I like chords, inversions and weird intervals so I love anything that has that and still can be raw.

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I understand the thing about yamahas necks. I don't mind the size but there is a difference that makes me wish they would attempt to model a fender neck or a Godin neck. I recently tried a Godin stadium 59. Desert green with stained maple neck and rosewood board.compemsated three barrel bridge , slanted pup selector, seymour duncan 59 in the neck and Godin raging cajon bridge single coil. And the high def revoicer. It was flawless. Played like it was made for me .

Perfect nut height perfect setup.

I do love me p90 pups. The chime and chunk combo.

I like chords, inversions and weird intervals so I love anything that has that and still can be raw.

 

 

I"ve been looking HARD at that Godin*- how does that HDR system sound to you?

 

 

 

 

 

 

* and others, if I"m honest

Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: âNinety percent of everything is crapâ

 

My FLMS- Murphy's Music in Irving, Tx

 

http://murphysmusictx.com/

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I owned the RevsStar P90 edition for a while. It was pretty to look at. The P90's were so-so; better than Epi P90's or P94's but not as good as Made in USA Gibson Dogear P90's.

Please go into detail about the differences between those Yamaha Revstar P-90's and Gibson P-90's, thank you... I'd appreciate it!

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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It's too long ago for me to remember if Yamaha grew their own (I think they did) or used the Seymour Duncan P90's. They were wound lower than Gibson USA Dogears, for sure. I just didn't feel they reacted as much to digging in as the Gibsons do. But I haven't used the different pickups on the same guitar, so there could be other factors. Yamaha tends to go for a pure sound (it's a design goal).

Eugenio Upright, 60th Anniversary P-Bass, USA Geddy Lee J-Bass, Yamaha BBP35, D'angelico SS Bari, EXL1,

Select Strat, 70th Anniversary Esquire, LP 57, Eastman T486, T64, Ibanez PM2, Hammond XK4, Moog Voyager

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The Yamaha Pacifica 611HFM (Amber Burst) per CEB's endorsement is now on the short list.

 

Seems to slot in the "inexpensive but not cheap" category very nicely and has the right features.

 

Yamaha guitars are sort of unobtanium at the moment but could be found in my local area.

 

Stimulus and a much more favorable tax return has taken the sting out of super non-fun expenses, so... soooon.

I make software noises.
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I know you want to try one out first, but Kraft Music does dependably carry Yamaha's guitars and basses. They might be the only ones.

 

Fortunately they come with thickly padded quality gig bags (I prefer cases and buy them when I can, but Yamaha's bags are tops).

Eugenio Upright, 60th Anniversary P-Bass, USA Geddy Lee J-Bass, Yamaha BBP35, D'angelico SS Bari, EXL1,

Select Strat, 70th Anniversary Esquire, LP 57, Eastman T486, T64, Ibanez PM2, Hammond XK4, Moog Voyager

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Nobody can tell you what to buy, nobody.

 

There is only what works for you, what feels right, what sounds right.

 

These are my own findings of the last time I tried playing guitars back to back in a store that has hundreds on their guitar wall.

 

Fender Strats, I do not like the feel of the necks

 

PRS, necks are worst than the Strats

 

Yamaha Pacifica, good quality, reasonably low cost, neck better than Fenders

 

Squier Strat, feels OK, next better than a Fender 5x the price

 

Gibson SG, it sounds pretty ugh

 

Epifone LP, balance good, neck good, tonal range very good

 

Gibson LP Studio, a no fuss guitar, better build than the Epifone, nice neck

 

Hence go into a store and try as many as you can at the price point you want to play.

 

It is all down to personal taste.

Col

 

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Indeed, although I've appreciated the input on stuff a relative n00b would need to consider.

 

In playing in store I realized two things: the ergonomics of strat bodies and mojo of the hollowbodies I tried just beat everything else.

 

And that I want a strat-style first AND a hollowbody down the line.

 

And that my budget was a little smaller than I planned, but that's ok, because there are some really excellent options between 500 and 700.

I make software noises.
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Stratclone would be what I"d go for. Nothing against Fenders & Squiers, I just don"t get along with their ergonomics. The clones are just subtly different enough that I prefer them.

 

So...Yamaha, Godin, Fret-King, G&L, Sterling by Music Man, used Carvins, etc. should all be good options in your price range. The 'metal oriented' brands like Dean, Shechter, Fernandes, ESP/LTD and others also produce their own versions, typically with higher-output pickups or EMGs.

Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: âNinety percent of everything is crapâ

 

My FLMS- Murphy's Music in Irving, Tx

 

http://murphysmusictx.com/

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