Tony, if you don't have a Tele, get one. It's just such a classic. Mine's MIM and I'm totally happy with it. Used it was like $325.
Tony, if you don't have a Tele, get one. It's just such a classic. Mine's MIM and I'm totally happy with it. Used it was like $325.
In reply to David S. Wallens:
I actually played a Modern Player Tele a couple weeks back.
I've never been a big fan of the Tele's looks or that they have two single coil pickups. Doesn't seem like they would lend well to what I've been playing. The Modern Player ones seem a little more up my alley.
I also tried an Epi SG Pro, and it was underwhelming. It played like garbage and sounded like a $50 First Act guitar. Disappointing, to say the least.
Another one I played was a Squier Affinity HSS Strat. Way back, I posted a thread about rehabbing one for my nephew. He still has that one and it's still going. The one I played was a B-Stock one, and the fret edges were so sharp I almost cut myself. I would have bought it otherwise. They aren't all like that, so maybe one of them is the answer.
The Tele didn't call me at first either. Then I tried one for real. Then I found out that a buddy has more than a dozen. Ah, okay, now I get it. It's not metal, but it can be versatile. I'd eventually like to get one with humbuckers because why not. I have played some nicer ones--like American-made reissues. Those are very nice. Our local shop now has a MIJ reissue. Must not play.
And here's my latest:
Yep, it's an original Crate. And it really came in a crate. I know it's not the world's greatest amp, but as a piece of furniture it could be cool.
Super-bonus: After removing it from my trunk, I found a nickel.
I have had a love-hate relationship with Tele's for years. I "want" to love them, but keep having trouble finding one that speaks to me. Right now I have two. Sort of. A Charvel Model 2. Obviously, a Tele in shape only:
And a Warmoth Tele body I've been slowly collecting parts for. I bought it used, but never built. Not really the color I would have chosen (I was planning to order one anyway), but it has the Strat belly and arm contours and the price was right. Right now, I have just about everything I need except for a neck. I recently learned there is a parts manufacturer in NJ and I'm hoping I can go there in person and try out the various neck shapes they offer in an effort to find one that is the same as my '90 American Standard Strat.
In reply to Ian F:
Tele Delux has always been my favorite one.
In reply to petegossett:
I kinda regret not picking up a USA 2011 Cabronita Tele that was for sale at the Guitar Center in NH right about when I was moving back home. The neck was quite a bit different than I typically like, but it still felt good. I usually like fairly thin necks, but this one was pretty fat. But it had jumbo frets, which I think helped.
Oh well... Another one that got away, but I did take a picture of it:
I'm not a big fan of Bigsby's, so I probably would have found and reinstalled an original bridge.
David S. Wallens wrote: The Tele didn't call me at first either. Then I tried one for real. Then I found out that a buddy has more than a dozen. Ah, okay, now I get it. It's not metal, but it can be versatile. I'd eventually like to get one with humbuckers because why not. I have played some nicer ones--like American-made reissues. Those are very nice. Our local shop now has a MIJ reissue. Must not play. And here's my latest:
I don't think I've ever seen an original in-the-crate Crate amp! It's a cool conversation piece for sure. A lot of people started out with Crate amps, including myself. I had a B80XL:
It was a great starter amp that lasted me about 10 years before it died. They are great for what they are IMHO.
On the Tele thing: I've played them before, but never really liked them. Between the twangy tone and the slab body, I always preferred the Strat style better. I think I will revisit them and see if I like them now.
I have been infatuated with the Squier '51 Tele lately. It looks like a good cross between the Tele and the Strat, and with a pickup change, I could probably get the high-output tone I'm looking for while having some classic looks. There's two on the local Craigslist right now for $100 and $125 respectively, so if one of them is around by the end of the week, I may try one out. Apparently, people love to mod them.
Randy, the owner of our local shop, had an original Crate when they were new. He was brutally honest about it: It's a great conversation piece.
I figure it will look cool somewhere in the house.
So what is the consensus on the low-end fender acoustic guitars? New with case starter kits are in the $120 range. I found one on craigslist for $60. My daughter is liking the Uke I got her and wants to step into the world of guitars.
I don't have any of my guitars from back in the 70's and 80's that were purchased used by my parents when I was learning. One was a really nice Gibson that today would be worth some serious $$$$. But back then they were just guitars. Not unlike the cars of that era. Anyway, I have always felt that when learning something it is better to NOT get the bottom of the barrel of equipment. It does not mean you get the best either. Middle of the road will usually be just that much better that learning something is that much easier and when learning something is easier you tend to enjoy it.
This is how I feel about guitars. I know Fender from my base playing days in the 80's. They were great to play and just felt right in my hands but I know nothing about their lower end modern stuff of today.
What would you all do / recommend?
In reply to dean1484:
Here's the thing with the cheap Squier/Fender guitars: The quality is hit or miss. I've played some in the "Affinity" series that play great. I picked up one for my nephew a few years back that needed a cleaning and a restring for $100, and it played great! I played the same exact one brand new a couple weeks ago and the fret edges were so sharp I thought I was going to cut myself! Definitely try before you buy.
Also, the new Squier hierarchy goes like this: Bullet series, Affinity series, Standard Series, Vintage Modified, and then everything else. Even then, they are a hit or miss proposition.
Also, look where they are made. Older Squiers from the 80's/90's were made in Japan and Korea; those are the best and usually command the most. They are mostly made in China and Indonesia now. The Indonesian ones are slightly up the food chain.
And don't forget Epiphones! You can usually find a Les Paul or SG Special for around the same money. Those are easy playing guitars as well. I recently had one that was a real nice player.
Steer clear from the cheap Chinese music shop brands like Jay Turser, Silvertone (new ones, not the old Danelectro/Sears rebadged ones), etc.
In reply to dean1484:
Fender is not known for their acoustic guitars. I can't even recommend one for a starter instrument.
Look for a cheap Yamaha or Olympia instead perhaps?
I completely misread your post Dean. I missed the word ACOUSTIC. 
Yes, Fender acoustics are not the best. I think they are actually made by someone else and are "Fender" in name only.
Yamaha, Ovation (and their sub brand Applause) and Epiphone are all good for cheap. Ibanez also makes some affordable acoustics that are not terrible. I have an Ovation I picked up for around $200 at Guitar Center about 12 years ago. It does the job and sounds good. Music Go Round in Natick, MA has the same one for $199 right now. 
Thanks Tony!!!!
I will have to get over there and look around at what they got and see if they can help me out.
I saw this and thought it was kind of a cool finish that I had never seen before.
dean1484 wrote: Thanks Tony!!!! I will have to get over there and look around at what they got and see if they can help me out. I saw this and thought it was kind of a cool finish that I had never seen before.
I put Alvarez in the same category as Yamaha: At worst you're getting a playable guitar; at best it is a really, really good guitar.
The tint reminds me of a... something... guitar from the 60's or 70's. As I remember it was a Gibson Acoustic look, and something went wrong with one of the dyes and it came out green. Can't remember the name and it is driving me nuts. 90% sure it was USA made.
That finish deserves the name avocado more than any other finish I've ever seen.
The green looks rad.
And here, a small equipment change. I have had a set of flatwounds sitting in a drawer for my P-bass forever, and I finally put them on. Not sure why I waited so long. I have flatwounds on my Univox and love them.
I swapped the strings the other night, but to be honest I haven't had much time to play. Still, I'm happy. They're Ernie Ball Group II: 50, 70, 85, 105. I'm playing through a GK amp.
Before:
And after:
Close-up:
I had to remove the bridge cover to install the strings, so I left it off. It's easier to palm mute with it off, but with it on the guitar has that James Jamerson vibe.
I'm sure I'll put the cover back on.
In reply to David S. Wallens:
I've read that Jamerson would install a new set of flatwounds, coat the strings with grease/lard/etc., then let the bass set in his closet a while. That was one of his secrets to his tone.
petegossett wrote: In reply to David S. Wallens: I've read that Jamerson would install a new set of flatwounds, coat the strings with grease/lard/etc., then let the bass set in his closet a while. That was one of his secrets to his tone.
All accounts I've read said he just never changed them. And don't clean the fret board, that's where the "funk" lives.
IIRC, Carol Kaye said if she needed new strings on her bass, she just went and got a new bass. Mostly because she was too busy recording. She said she also put a bit of felt to mute it a bit. "The Wrecking Crew" on netflix is great.
RossD wrote: IIRC, Carol Kaye said if she needed new strings on her bass, she just went and got a new bass. Mostly because she was too busy recording. She said she also put a bit of felt to mute it a bit. "The Wrecking Crew" on netflix is great.
Ha, I was just going to share the same tidbit. Who know how old the strings are on my Univox, but I have no plans to ever change them. That guitar has a little foam mute in the bridge cover, too. Love it.
Also, yes, Carol Kaye rules.
petegossett wrote: In reply to David S. Wallens: I've read that Jamerson would install a new set of flatwounds, coat the strings with grease/lard/etc., then let the bass set in his closet a while. That was one of his secrets to his tone.
At the other extreme - Steve Harris apparently has new flatwound strings every night/performance. But when you need to cut through three guitars on stage, having a fairly bright tone is desired.
In reply to David S. Wallens:
Carol is/was doing Skype lessons for a very reasonable rate.
Gimp wrote:petegossett wrote: In reply to David S. Wallens: I've read that Jamerson would install a new set of flatwounds, coat the strings with grease/lard/etc., then let the bass set in his closet a while. That was one of his secrets to his tone.All accounts I've read said he just never changed them. And don't clean the fret board, that's where the "funk" lives.
Man, guitar/bass guys are weird.
petegossett wrote: In reply to David S. Wallens: Carol is/was doing Skype lessons for a very reasonable rate.
I know. Believe me, I have thought about it. I think I'd spend the who lesson just going OMG, OMG, OMG.
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