Your next guitar?

[dimitar]

What is the problem with the JS and what is the price exactly?

[hibidy]

What is the problem with the JS and what is the price exactly?

Right about 1200 (isn't the list around 2300??)

It's f**ked I mean, all guitars need TLC when you get them but the thing is unplayable The action is too high, the frets buzz out (contradiction???) and I'm not putting that kinda cash into something that needs THAT much care

[dimitar]

offer them 600$ explaining all these defects this instrument should plays and feels great right from the box for that price/ and then fix it
Tell them nobody is going to buy it in this condition...except some 13 years old with his father in the store dreaming for Joe's sig guitar

[james0tucson]

[quote="P.T."]
A pickup is just a magnet and a coil of wire.
[/quote]

Do you say the same thing about, say, a Royer mic? Pretty much *all* transducers are "just a magnet and a coil of wire", so I suppose you're winding your own pickups. Actually if you did that, you'd probably end up with a pretty good result, since it would be hand made by somebody who cares.

[hibidy]

haha! Sounds like a good idea but I think I have my hands full with the current family (plus I have the bastard charvel so cal (jap)

Yeah, I buy too many guitars

[lynxx]

The Vox-alikes are also very nice
http://www.skylarkguitars.com/skylark-e ... 610-0.html

Nice looking, the price looks tempting but it's basswood, so you just get a useful neck and some pickups.

[Ian B]

The Vox-alikes are also very nice
http://www.skylarkguitars.com/skylark-e ... 610-0.html

Nice looking, the price looks tempting but it's basswood, so you just get a useful neck and some pickups.

Nothing wrong with bassswood imo, ok, it wouldn't be my first choice but I wouldn't condemn a guitar out of hand just because it was used.

[Hink]

bassswood like swamp ash and alder is a neutral sounding wood though more on the warmer side than the brighter side as is swamp ash and alder (but not by a lot). It's not as bright as maple and not as warm as mahogany. If you want a cheap wood that's fairly light with a neutral tone and you dont plan on applying a natural finish it might not be all that useless as you seem to imply. Honestly it would not be my first choice but I can think of more useless contructions, like cheap laminated plywood bodies...now if the ncek was basswood that might be a different story

[egbert]

Basswood is wood from the linden tree and is used in some pretty pricey guitars like the Ibanez signature guitars for the likes of Satriani. I would guess (could be wrong here) most of Dimi's posted samples are from Basswood guitars for example.

[Ian B]

Basswood is wood from the linden tree and is used in some pretty pricey guitars like the Ibanez signature guitars for the likes of Satriani. I would guess (could be wrong here) most of Dimi's posted samples are from Basswood guitars for example.

I thought the same about Ibeanez but wasn't sure, but a quick google confirmed they aren't shy about using basswood.

[hibidy]

All of my ibbys are basswood, the twins have flame-maple tops. Imho, I think they sound terrific.

[susiwong]

My experience with tonewood for bodies, ymmv

Two basic approaches for solidbodies :

-1- the "neutral philosophy" - the wood influence should almost disappear, let the electronics do the work, popular with metal- and high gain players
- basswood and poplar are ideal for that, not the most expressive tone but behaves well with high gain
- some Ibanezes and similar use mahogany, making them better suited for players with blues roots a la Satriani, the difference in unplugged tone is considerable

-2- the "vintage philosophy" - it all starts with the resonant qualities of a piece of wood, PUs are chosen to enhance that character
choice of hardware for tonal reasons is important and a thin finish (nitro, shellac, wax or similar) is welcome
popular with blues- and country influenced players, also classic rock guys tend to like that approach, very expressive instruments, but often quite individual personalities with preferences and dislikes
- alder is a great allround tonewood for F-styles
- swamp ash (the light ash variant) is a bit more resonant and often a bit brighter than alder
- hard ash (the heavy ash variant) is a completely different sounding wood, very glossy, bright, tight low bass, can make a great guitar when combined with taste, but can be pretty ugly, too
- mahogany is the classic Gibson tone wood, warm, bluesy, and a good old piece can be extremely light and resonant.
- korina is similar, but a bit less "massive" in tone, great for bigger guitars as it's not too heavy (Explorer & Co) and has a cool, slightly nasal upper midrange cutting through well in a loud band
Mahogany is often combined with a maple top for added high mids and a certain glossy touch (veneer doesn't count ).
- maple is very unique, rather bright, glossy and stiff sounding, think late 70s/early 80s LA studio tone, not everybody's darling nowadays, but worked well with the FX orgies back then
- of course there are all kinds of less used exotic choices, koa and walnut being among the better ones, rosewood and many exotic hardwoods are more for looks than tone
- with clever combinations you can create completely new, desirable characters, while I don't really like all maple bodies, maple combined with mahogany arguably is one of the most desirable formulas of all time

Similar things can be said about neck wood, and semis and acoustics are a huge and diverse topic.

Most important, these are tendencies, not carved in stone.
Pieces of wood are different, some refuse to fit in a predefined scheme.
That's why I always preach "play before you buy".

Ymmv,
susiwong

[pough]

of course there are all kinds of less used exotic choices, koa and walnut being among the better ones, rosewood and many exotic hardwoods are more for looks than tone

I was just visiting a tonewood shop and was excited by some of the options. I chatted at length with one of the managers, a guy who does more than just sell wood - he makes his own guitars and basses as a hobby. They had some interesting stuff from Central America, including some wood logged from the bottom of the Panama Canal! Apparently it was left down there when it was flooded and was only (somewhat) recently removed. He also talked about using spruce for guitar and bass bodies.

If I knew how to make instruments, I'd try 'em all! And in truth, I'm hoping to start making basses. I'll probably start with some nice maple.

[susiwong]

I'm hoping to start making basses. I'll probably start with some nice maple.

For a bass this can be a very good choice if you're after a modern, hi-fi type tone, pop, fusion, funk style.
For a classic rock vibe better think along similar lines as for vintage guitars.
Ymmv,
susiwong

[Hink]

My experience with tonewood for bodies, ymmv

Two basic approaches for solidbodies :

-1- the "neutral philosophy" - the wood influence should almost disappear, let the electronics do the work, popular with metal- and high gain players
- basswood and poplar are ideal for that, not the most expressive tone but behaves well with high gain
- some Ibanezes and similar use mahogany, making them better suited for players with blues roots a la Satriani, the difference in unplugged tone is considerable

-2- the "vintage philosophy" - it all starts with the resonant qualities of a piece of wood, PUs are chosen to enhance that character
choice of hardware for tonal reasons is important and a thin finish (nitro, shellac, wax or similar) is welcome
popular with blues- and country influenced players, also classic rock guys tend to like that approach, very expressive instruments, but often quite individual personalities with preferences and dislikes
- alder is a great allround tonewood for F-styles
- swamp ash (the light ash variant) is a bit more resonant and often a bit brighter than alder
- hard ash (the heavy ash variant) is a completely different sounding wood, very glossy, bright, tight low bass, can make a great guitar when combined with taste, but can be pretty ugly, too
- mahogany is the classic Gibson tone wood, warm, bluesy, and a good old piece can be extremely light and resonant.
- korina is similar, but a bit less "massive" in tone, great for bigger guitars as it's not too heavy (Explorer & Co) and has a cool, slightly nasal upper midrange cutting through well in a loud band
Mahogany is often combined with a maple top for added high mids and a certain glossy touch (veneer doesn't count ).
- maple is very unique, rather bright, glossy and stiff sounding, think late 70s/early 80s LA studio tone, not everybody's darling nowadays, but worked well with the FX orgies back then
- of course there are all kinds of less used exotic choices, koa and walnut being among the better ones, rosewood and many exotic hardwoods are more for looks than tone
- with clever combinations you can create completely new, desirable characters, while I don't really like all maple bodies, maple combined with mahogany arguably is one of the most desirable formulas of all time

Similar things can be said about neck wood, and semis and acoustics are a huge and diverse topic.

Most important, these are tendencies, not carved in stone.
Pieces of wood are different, some refuse to fit in a predefined scheme.
That's why I always preach "play before you buy".

Ymmv,
susiwong

broken record time: Another unique fact about the Daion, it's made up of many pieces of maple and rosewood which are pretty contrasting in tone.