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InsideMan

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About InsideMan

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  1. Congratulations! I ordered a blond one a couple of days ago and can't wait for it to arrive. In my old age, I have a Dot, but have wanted the smaller-bodied version for awhile. HNY!
  2. I recently picked up a Taylor GSmini and I love it! (Sorry, Epi.) I was looking for a small guitar (i.e., "parlor") to leave around the living room and play when the mood struck me. This is not a true parlor, but is nicely proportioned and has the full, deep sound of a larger guitar. Highly recommended and inexpensive (~500).
  3. Don't get hung up on "traditional" jazz boxes. I play blues and jazz, and I have an L-5 Wes Montgomery (an archetypal jazz box) as well as an Epi 175. But I also have a Dot (335) which is a great guitar for jazz. And a short while ago I acquired a MIM strat that is also good for jazz. The deep archtop can give you good bass response, but it can also be a feedback headache. If you want a versatile guitar that is good for jazz, take a serious look at the thinline double cuts like the 335/345. That way, if you want to dabble in something bluesy or even to rock out, you're also covered.
  4. In my cynical old age, I'm not so sure it's laziness. I think it's another aspect of human nature--greed leading to dishonesty. "I didn't know" is just the refuge of the dishonest person. So "Let the buyer beware" is, as ever, the watchword! Cheers.
  5. It sure is encouraging to see that there is hope for us old dogs!
  6. I think it's HILARIOUS! Should have taken more care with the peghead. But now that it's done, that's the best part!!! LOFL! Life is short. But you have to find something to do to pass the time.
  7. It's not always a pickguard. Sometimes it's a finger rest. I play archtops with my thumb Wes-style. It's helpful to have a finger rest as an anchor point. But even using the pick, I leave them on. Change 'em to suit my taste, maybe. But they serve a purpose.
  8. Pretty harsh' date=' dude. We've had people get civil (and helpful) answers to questions with FAAAARRRR less merit than this. Franni, my religion forbids me to use a Bigsby personally (I'm blues-kosher), but I can start you on the way with some research. One good place to start is StewMac. Here is their page on Bigsbys and Bigsby bridges. Here is another, roller-style, bridge they offer. Here is a roller tunematic bridge from another vendor. Here is another bridge style favored by many Bigsby-wielding Gretsch players--the bar bridge. And here is a discussion on its merits. I could go on, but as I said, I'm not a Bigsby expert--I'm just using the Internet. You can and should do the same. Then, when others of my colleagues respond here, you will have a good context for the discussion. Cheers.
  9. Great job! I put the TP-6 on an old 335 of mine and, more recently, on my Dot. It's great for those of us with fussy ears--it makes precise tuning a piece of cake. In addition, using the TP-6 actually speeds up tuning. When you tune at the peghead, you put stress on the guitar neck, changing the pitch of the strings. So the correct way to tune at the peghead is to tune, release, pluck to test the pitch, and repeat until the string is in tune. With the TP-6, since you are not touching the peghead or neck, you just pluck and adjust the fine-tuning screw until the note is dead-on. Sooooo simple! Cheers.
  10. I think we are all sort-of violently agreeing (as a friend of mine likes to say). It's very likely that Gibson DID start the use of the 'Korina' name for this wood. But it also seems that that name is now in pretty common use--at least for guitars. Perhaps more to the point, there is a lot of hype circulating about so-called "tone woods". This phrase makes some sense when you are talking about acoustic guitars. But for solid-body electrics, it begins to get a little spurious. As Bob Benedetto famously demonstrated when building his knotty-pine archtop, the sound is more due to the craftsmanship than to the materials in use. What conclusions can be gathered from this? Choose the wood in your guitar for the following factors: 1) Looks--very important! Pick a good-looking wood. (In this sense, "Korina" certainly qualifies.) 2) Heft. Pick a wood that won't weigh you down. (Or conversely, pick a dense wood for the sustain--whatever you are looking for.) 3) Price. Some woods are terribly overpriced. Undeservedly so, as there are serviceable substitutes for popular woods. 4) Sound. This is purposely at the bottom as there are so many other factors in a solid-body that determine this. And finally, PLAY THE GUITAR YOURSELF! It's the only way to truly judge all of the above. Cheers.
  11. The shielding properties of the material depend on its conductivity. In that regard, you could flip a coin--aluminum is an excellent conductor. But copper has the huge advantage of solder-ability. It'll be much easier to tack your ground wire to the shield and to join the shield strips together if you use copper. Cheers.
  12. Dude, we can't make these decisions for you! This is like asking us to pick out your girlfriend for you. Perhaps even MORE personal... Look inward, man. Play the guitars (or ones like them) and look online to decide what finishes you like. Fly, little bird, fly! Cheers.
  13. Yes, sorry Yotam. I was having a bit of fun. Many Epiphones DO have serial numbers behind their headstocks. In some years, they are stamped-on. In others, they are on a sticker that falls off after a few years. In hollow body models, they may, instead, be on a label inside the bass-side f-hole. Check the Guitar Dater Project to interpret the meaning of those numbers. Cheers.
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