milod

I think you'll find the EJ a lot bigger than a classical in terms of feel. It's a far different instrument in every sense. It's "long scale" and the nut is narrower a bit as is standard for Epiphones than the Gibson version. According to what I'm seeing, the new Epi cutaways do have a solid top. OTOH, I'm personally not convinced that if run with the pickup operating through a board or AE guitar amp that there's a useful difference. A solid top will age and in theory at least, improve "tone" with age. You pay your money and take your choice depending on how and what you play and what you expect - as well as your personal playing geometry involved in interfacing your body's geometry with that of the guitar. The J200 style and shape was marvelous as played by Rev. Gary Davis - I got to watch in person at fairly close range - but not an instrument I'd go for - and I started on a classical too. Although I have some dreads, my actual favorite "play out" flattop is the even less expensive but not as showy, is the PR5e; for electric the 175. Both are more "classical guitar" in size - and better for me to play with my quite short arm reach. But that's why I always mention playing geometry. m

Cupla points... First: http://www.jldguitar.net/warped_tops/fixtop.html Second... I'm not so sure that a laminate top on 12s may not be a better idea than solid wood, especially if they're not engineered much better than the six-string designs they're modeled after. I have a really cheapie Rogue 12 I added a mag pup to soon after I got it, and it's tuned to standard pitch. Lousy piece in some ways, but played through an amp it does fine, and the neck actually ain't bad at all. Third... I've never had that good luck with silk and steels on a 12 even though my preferences are for very light strings. Finally, IMHO anyone who gets a decently engineered 12 may want to consider mostly playing it either as an electric with an add-on soundhole mag pup, or if it's an AE, as an AE. I think it allows a bit more flexibility of playing, tunings, etc. I do tend to detune a 12 to D standard 'stedda E standard. One of my "trade regrets" is a Hagstrom solidbody 12 I had back in the '70s, purchased used but... far better than it was credited to be. m

Yeah... I look at it and think... Wow. Then I think, "I wonder what Gary Davis would have thought of it..." Too big a box for me to be comfortable with but then... so are my two dread 12s. This ... wow. m

I does look well-designed and crafted. So, I'd add, was the old Stella available in the early '60s. That was my first 12. Trapeze tailpiece stedda a bridge/tailpiece that would by nature have a degree of torque to exert on the top. 12s are interesting creatures. Yeah, I think too many were under-engineered at the time when there was a lot of demand. m

kidblast nailed it. No need. m

My current "oldest" guitar in terms of when I bought it is a Guild s100c - an SG clone of the early '70s that at the time was considered "better" than Gibson SG. At the time there were no nearby Gibson franchises (still aren't), so I got the Guild. The SG "type" is IMHO the best solidbody design period. Some have complained they're neck-heavy. Never was a problem for me. Mine has done solo fingerstyle jazz type gigs, and in bands country, rock and whatever... and just with just a few adjustments to the electrical stuff on it. And it always has worn 8-38s. Epi has been producing some awfully nice electrics across the price spectrum. Yours is about as "pretty" as any of the family. The SG inherently is easy to do a setup on, and inherently resistant to humidity/temp concerns regardless that mine has plenty of finish spiderweb that's typical for what it's been through. I think that if you're really into this sort of guitar, it can make good sense to have more than one of the type, but with different "feel" (each guitar is a bit different from others regardless) or pup/pot characteristics. Enjoy... m

Okay, I'm a "how it plays" guy. If you really like the way it plays, and since it is pretty and rather unique... I don't understand why one might think of swapping. Some years ago my lady wife and I came to her agreement. Her point was that she was sick and tired of me griping continuously about swaps I'd made and guitars, amps and other sorts of items often swapped. Ergo, she said, it was a matter of if we needed a swap, we couldn't afford it. Since then I've more than quadrupled my "herd," and not a swap. I'll admit that she didn't have to bend my arm on that; and also that most of the "stuff" I'd be likely to swap were things she also understands and has in her own "herd" - although she only really has one bass and amp if she didn't use my bigger amps. For what it's worth, that little pact that was more with myself even than with her (she made good sense), has brought me better instruments for less cost. And with a lot less griping a few years later when I realized I'd not really done myself any good. So, unless you don't like the relatively rare SG you have, I'd say keep it. And if you do like it, why swap it for another that may or may not better suit what you're doing and have a neck as much to your liking? m

I've known more than a few folks who had their lives saved by a year or more in jail or the pen. Drugs and booze cause more problems than just those brought by the immediate ingestion effects on the individual involved. One hopes that getting folks out of the whole "rhythm" of that stuff helps - and often it does. Unfortunately, it doesn't always help. Good luck on the new mill, though. m

The diff? Bling mostly. And the Bigsby 'stedda a stopbar tailpiece. Personally I don't like any whammy. My cherry Dot has more bling as it is than I'm particularly comfortable with. But it's on sale with a heckuva deal, it appears. m

I have two recent Dots. No need at all to change the pups. I've considered some of the Gretsch-style pups but never got around to it. There's no need for anything in the same class of HBs as noted above. I s'pose a case can be made for p90s or old-style "Gretsch" pups - but no need at all to replace 'em with anything similar in concept. m

KS... Yeah, the "joyriding and destroying the car ain't grand theft" clause, formal or informal. That's kinda followed in communities with large minority populations around here too - usually near reservation communities. m

Cupla things to think about... 1. do you know the specific charge? Are the police "finished" with the vehicle in their investigation? Have you checked it for possible drugs/paraphernalia? 2. You might find out more at the courthouse. Supposedly the "probable cause affadavit" should be a public record in most U.S. states, and that would define a minimum of what it is she is being charged for - even if there is no other paperwork such as an actual charge. But there should be some official charge also within several days of arrest. The "probable cause" likely would tell more about the arrest. m

I hate to say this, but I'd say that the young woman - at 25 you should be long past being considered a child - could benefit from a few years or more in prison. Prison is not a good place anywhere, but it's better than a graveyard. It offers a possibility of rehab if a person wants, or a more rapid ticket to the graveyard or more years in prison. Yeah, I sound cynical, but let's face it, a lot of us on this forum have been making our own way long before age 25. From my experience watching such stuff, it's hard on parents regardless, but I'm convinced that the pen is better than the grave. The drug/booze combo can lead to a lot more than what you're seeing; it's an "escape" that damages everyone. Good luck on the engine and whatever else. If you haven't talked to the prosecuting attorney, it wouldn't be inappropriate to do so. I'd say you may or may not want to file civil action for the damage that by most current criteria would consider your vehicle "totalled." You don't want to be a community "bad guy" in a small town, so that may play a role in any comments or involvement in charges. Different states have different criminal laws for such a theft. If her rap sheet is coming into a third felony or more, it may bring also a "habitual criminal" charge such as in my state. Frankly that may be the best to save her life and probably someone else's as well. m

I've played 12 strings of one sort or another for around 50 years - but seldom as a "main" guitar. Usually I'd de-tune it to D (standard) 'stedda E (standard). Worked well capo up 2 frets. And I still used the lightest strings I could find. Some of the older 12s had a floating bridge and tailpiece as on an archtop. I tended to trust that more than the prettier pin bridge, but... Down to 2 12s now, one a standard AE with solid top and lam back and sides, and one an all-lam acoustic I added a mag pup to. Both pretty well built cheapies - and I bought cheapies on the assumption that something's likely to go wrong. I've a hunch that especially the lam top may last better. Thing with detuning a bit, regardless of string gauge, is that to keep any decent action I think you're going to want to ensure your technique is more parallel to the top, and that keeps the buzz down. Back in the mid '70s I almost could have been said to be playing mine more as an autoharp where there's no choice but to play parallel to the plane of the strings. My understanding is that Kottke plays with his 12s detuned one way or another, and I figure he's pretty good at playing the thing. BTW, sometimes I envy guys in more crowded areas where there are more guitar options. Then again, I'd probably not have the cash for gasoline were I to have those options - and instruments. <grin> m

Another... Love it or hate it - try singing harmony in fifths - a capella.

In an oldmanmood looking at some of the material here I'd never seen... a few familiar ones. Ignore the first 3:15 of the first vid, and hop forward to the second piece on it, "Play One More" ... any picker who had somebody waiting at home will recognize the lyric. This is when Folk/country and pop were kinda combining and the Tysons were among leaders of the charge. Again, any saloon picker will likely recognize stuff in this one. Were I at home I'd cut it apart but... It's for those late teens through 30s pickers mostly, I think. Reminds me of early 20s. Then too, the second recording iss an old man's song... <grin> but I'm told old women can identify with the whole thing about it too. Dunno about "you kids." m

I guess I figure two things: 1, if it ain't broke, don't fix it; 2, technique and string and setup match can change the tone of any guitar to an incredible degree without change of nut/saddle/pins. Maybe it's because I started on a classical and worked from that perspective that I continue to do so regardless of the type of guitar I play. If variation in technique makes the classical guitar an entire orchestra in itself with great potential for tonal variation, why not a flattop, archtop or "board" guitar? m

This reference may help. Dunno. m http://www.guitardaterproject.org/gibson.aspx

Never played one of those, but... I think a guitar should fit the player in terms of physical geometry as well as the intended purpose. That said... depending on what you're willing to pay, there are some less expensive Gibsons of that large size that get good reviews. I don't know what the OP has been playing either in size or style of music and style of playing. To me, those are major considerations when it comes to buying a guitar. For example, I'm mostly a fingerpicker whether I'm doing light jazz/pop solo or cowboy stuff, and find one of my 16" archtops or a nice little 16-inch lower bout AE Epi just about perfect. Not coincidentally, I started on classical guitars and find that general size and scale quite fitting my short arms and medium-size carcass. I hate to say I've seen some "endowed" young ladies trying to play big body guitars and almost have to chuckle because the playing geometry just obviously doesn't work well, but the git-fiddles are high-end and the girls from Nashville hope to be. I have a batch of slope and square shoulder big bodies (I'm looking to give one away to a kid about to start lessons when his family's home burned down) of general better quality Epi sorts that I use if I'm hanging with some old-time, old-country or 'grass type jams. Ain't used one in a real gig in years. If you can find an Epi Masterbuilt, they're quite nice solid wood instruments. They're Gibson-styled, but one can find arguments whether they're quite "Gibbie" sound or if they're their own sort of nice Gibson-style sound. So... a lot depends on what you're doing. Oh - I'll add that all of my flattops are AE. Some folks don't care for that. I do. m

Kenny... <chortle> Ever consider speaking English? Seriously, your description of the cure for hum sounds great. I'd wanna take it very slowly and carefully, myself. Others? I'd go back to recommending perhaps a printout of your comment plus a trip to a decent guitar repair person. BTW, welcome to the forums. A hint... due to the various platforms on which folks may be reading this stuff, you may wanna consider much shorter paragraphs with a space between. It appears you have much to offer - and the easier it is to read, the more valuable. m

Thanks Scott... I think, though, it may be congrats to me and condolences to her... <grin> m

Scales... "pardon my curiosity Milod - I may be just having a 'junior moment' but why wouldn't you take $10k for an S100c? I've probably missed the point I realise.." I got the Guild back when it was a US guitar in the early '70s. Honestly it's the best overall solidbody guitar I've ever hand my hands on. It works well for every kind of music I've played except for bluegrass in a bluegrass band. I've even used it for "old time" although I wouldn't recommend it. It's not the best guitar for everything. My archtop short-scales are better for most, except not in bad weather. My big flattops are better for 'Grass and most "old time." Some smaller flattops work as well or better for "cowboy" and even do some borderline jazz. But the old Guild is the guitar that's backup for anything I'd do electric, rock to country, jazz to blues, in spite of some changes in the #1 for this or that. They aren't making one like that any more. More than that, I've spent around 40 years with her - longer than with my wife and that's 39 years today. So... combine a super versatile and great sounding solidbody that's stable in exceptionally variable climate conditions along with more than a little bit of habit and... yeah, I'm not at all sure that $10,000 would take it. Although... my wife sez she won't go along with my idea to burn all my guitars when I croak. She sez they should go to a school music program. I will admit I'd be looking for the Gibson or Epi "original" of the type of the S100c if anything happened to it. m

RE: woods in manufacture... For what it's worth, I think we'll see a continuous loss of the quality of "traditional" woods that began some years ago with questions of sustainability, etc., etc., etc. Frankly I think what we're getting is as good or better than anything available of lesser than the Gibson/Martin/Fender level of wood qualities in the late '50s and through the '60s as sold by almost anybody else except perhaps high-end special makers, Guild and Gretsch before they functionally died as family firms. I think I'll not quite live to see it, but my hunch is that more walnut such as Gibson is beginning with, and lots of laminates and chipboards of various qualities will make up most guitars. But for now... in comparison to those early years of my pickin', I'm honestly in awe of the quality I've seen in such as Epis and the lower end of F and M instruments. I think there are occasional pickles; occasional unseen faults in necks. But in general, we may be in a price/quality paradise today. m

Problem with an answer to this typical question is that it depends on style and definition of "intermediate." Also with what you wanna learn. There's so much stuff out nowadays that its a reversal of my olden days when there was almost nothing except for books and watching other pickers, mostly live, compared to today's Internet opportunities that are overwhelming in quantity. And each has something to offer to all of us regardless of level of skill, talent and goals. Listen to what the guys suggest. Watch stuff you like and check out some of the Gibson web site's lessons. Play and play and play to increase relaxation of your technique. Frankly some of the best guitar vocal accompaniment is what I'd consider "beginner" technique, but played so effortlessly and "in time" that it shows the picker is a pro at what he's doing regardless. In the "old country" genre, I'd say Mother Maybelle Carter fit that description perfectly. Essentially simple technique albeit groundbreaking as it was developed, played absolutely effortlessly and with perfect timing. And she's a legend. Chuck Berry made a living for a lot of years with about the same "intermediate" level playing compared to some of today's technicians, that was again, effortless and musical. Follow your muse as you will - but it'll be best when it seems the muse follows you instead because you're so relaxed with her. m

For what it's worth, I've seen on here some complaints about Gibbies, especially in Europe, with "faults" that even a horrid hangover and temporary blindness wouldn't have allowed them to get through QC. Why? I'm utterly convinced it's the transportation, significant changes in "climate," shaking, etc. I purchased an Epi AE from Sweetwater. I'll take their word that they check each guitar at some point. But when I got it, the neck was super outa adjustment and you could cut your fingers on the fingerboard. At this point we've gotta ask, "did both Epi QC AND Sweetwater not care?" I don't believe it. Oddly to me, if one gets a guitar that has been properly given a basic setup, it seems to last forever under the care of an owner. So... I'm under the impression that transport and/or storage is 80 percent the problem regardless of brand. m