Fred_C

Caev, Is the buzz a setup issue? I've heard good things about the Thomastic-Infeld "Jazz Swing" set (heaviest gauge is 12-50). Enjoy the concert!

For several years I used a Sabine MT-9000,Tuner/Metronome. The metronome function was very sophisticated. It did triplets, accented beats and all sorts of rhythms. It had a blue light (strong beats) and a red light (weak beats) and also functioned as flat/sharp indicators. It went tic/toc. I've never used a metronome that beeped. I would think that would be distracting.

Wow!

Sounds like a good time, Caev. Two questions: 1. Is the Allman Brothers band defunct? 2. How's that hollow body axe working out for you? Are you lovin' it?

@Shark, Exactly.

He IS discussing an alternative method of monitoring/controlling tempo. Stick to discussing recorded music, artists, music history and birthdays. It is in those areas that you exhibit a significant level of expertise.

No comment.

"To thine own self be true and thou canst be false to no man". -Wm. Shakespeare

Because I'm a guitarist, not a poet. I couldn't write a song if my life depended on it. "We all steal. Steal, but don't copy". - Ella Fitzgerald "If you copy, that means you ain't got nothing to say". - Billy Holiday

@Eric, I completely understand your desire to add your own ideas into an arrangement. IMO this is not "hubris" nor is it "arrogance", it's "musicianship"! My acoustic Blues teacher, Jerry Ricks insisted that I play the music of Doc Watson, Mississippi John Hurt, Blind Blake et.al. exactly note for note, because the technique was contained within the tune. However, when we played electric blues, the emphasis shifted to improvisation. Of course, my Jazz Teachers emphasized creativity. In every case it was about applying theory and technique in the service of music. I strive to "sound like me". Afterthought: Blind Blake's stuff is a bitch to play. Real knuckle busters!

I agree w/WF. I only played in a band for one year. In 1968 I played rhythm guitar for the "Sanskrit Staircase". We were a "cover band" and played music by everyone from the Stones to the Temptations and always interpreted the music rather than playing note for note. I even convinced the band to cover "Key to Love" from the John Mayall "Beano" album. We played fraternity and sorority parties. I quit the band when some of the guys started doing drugs (I don't mean smoking a joint). It was the 60's.

When I PRACTICEI, I work on stuff that I don't know. When I PLAY, I play stuff I do know. Sometimes, the two concepts overlap. For example, I PLAY an arrangement of "Misty" that is technically quite difficult and complex. Although I can play through it without any mistakes, I try to constantly polish it, making it flow, making it musically satisfying.

I owned a Guild Bluesbird AAA for a couple of years. It was designed on the LP formula of a solid maple top on a mahogany body. Somewhat different in that the body was "chambered" rather than solid. So, it was considered a "semi-hollow" design. Ditto the Carvin Sh550 I owned. Both guitars were essentially shaped like a LP. Both were gorgeous instruments And both were under $2K. If I were interested in a Les Paul, I would probably buy an Epiphone for around $700, upgrade the pickups for around $250 and wind up with a nice LP for around $1K. On a related topic, there are several videos on YouTube which compare an Epi Sheraton II with an ES335 and videos detailing the Epi ES335 PRO. It looks and sounds really nice. I have no interest in owning a $4K+ Gibson.

Hey, it's your money.

Good point.

+1.

AFTERTHOUGHT: If I were to purchase a "high end" instrument, it would probably be a Heritage.

Scott, Thank you for your excellent response. I absolutely agree with all of your observations. I concur wholeheartedly regarding Gibson. They appear to not care about shoddy craftsmanship at all. In addition they are exhorbitantly priced. In general, I don't think that a Gibson is a good "Value Proposition". I have gotten to the point where I would prefer an import costing $1500-2000. For that money, I could own a well-crafted, visually beautiful, sonically breathtaking, stage worthy instrument. In all fairness, I should mention that there are a lot of Gibson players on the JGF who love their instruments. Well yeah, they're playing L-5's, Byrdlands, Super 400's and the like. Hell, if I could afford to spend $8,000-10,000 on a guitar, I had damn well better be happy with it!

Bro. Larry, Congrats again on your beautiful new archtop. I hope it brings you many years of enjoyment and may it motivate you to learn as much as you can about playing our chosen instrument, the guitar

I have become a true believer regarding electronics upgrades (pots, caps, and especially pickups). I have witnessed the sonic miracle that a pickup upgrade can provide.

Peerless are fabulous guitars. They made archtops for Gretsch, Epiphone & a few others before putting their own name on headstocks. Very fine instruments, but if you want to step up a notch in price & quality, take a look at some Eastmans. Scott, I absolutely agree that Eastman makes a very fine guitar. Peerless archtops go up to around $2500. Isn't this about what an Eastman costs? Both companies are "building to a price ppint" and at any given price ppint, compete with each other. While at GnU I played a Peerless Gigmaster Jazz and an Eastman AR371. BOTH of these instruments were the manufacturers' take on an ES175. Both instruments cost around $1,000, both were excellent quality and NEITHER sounded like an ES175. They both had their own sonic character. I should mention that playability was excellent on both. I finally decided on the Peerless Monarch 16 at $1400. IMO, the level of performance was worth the incremental increase in price. "Different strokes for different folks". Be well and play well, my friend.

Yea. I love the beautiful, complex tone of a hollow body archtop too. Man, you're going top shelf! I thought you were looking at the "Entrada". Is the "Heirloom" pressed or carved? I feel confident that you are going to love your Peerless. They really do make fine guitars. Looking forward to reading your first impressions. BTW: My Monarch 16 is also solid wood (Spruce/Maple) pressed, not carved. GORGEOUS ARCHTOP!!! P.S. What kind (brand, set) of strings are you playing? I've been playing D'Addario EPN115 Pure Nickel 11-48 on my hollow bodies add D'Addario EXL115w 11-49 wound 3rd on my Sheraton.

I don't know why you bother.

Bro. Larry, Peerless is a family owned and operated company in Korea. They make very high quality instruments and are very reasonably priced. My Monarch 16 is absolutely gorgeous. It is unique because it was designed by Lou Del Rosso, the owner of Guitars-n-Jazz in Summit, New Jersey and is only available from Guitars-n-Jazz. Like many Jazz guitars, only has one pickup in the neck position. Interestingly, it is a mini-humbucker and remains stock. The tone is so beautiful that I have not felt the need to upgrade. I have no idea what brand of pickup it is. I can unhesitatimgly recommend Peerless guitars. They are beautifully crafted, with tone and playability rivaling the best (and more expensive) instruments available. They are highly respected on the JGF and I would buy another Peerless in a heartbeat. I'm guessing that you're thinking about the Conti guitars which are made by Peerless. IMO, an excellent choice. Let me know if you have more questions.

Bro. Larry, I kinda'wish I could afford a new instrument, but everything I want is $1300-1800 and that expenditure would only buy "different" not "better". I DON'T NEED ANY MORE GUITARS! I would be spending money for no other reason than to spend money. I am very happy with my guitars. I think I can hear my Peerless Monarch 16 calling to me from a guitar stand across the room. I'm gonna'go play now. I believe that when I "play", I play stuff I already know. When I "practice", I work on stuff I can't play.