I don't like country music..won't play it.
SO WHAT?
I don't like the key of E.
SO WHAT?
I don't like the PSR 3000.
SO WHAT?
I won't use sequences.
SO WHAT?
Don't like Kenny G.
SO WHAT?
Don't tolerate drunks.
SO WHAT?
Like Ketron products.
SO WHAT?
Can't stand brussekl sprouts
SO WHAT?

...and so on...and on!

Guess what? I wouldn't try to force my opinions/preferences on ANYONE!

What we like and believe in makes us who we are. Recent disagreements here are nothing more than differences of opinion. Opinions are reality for the individual expressing them and not necessarily for anyone else. It's not what but how things are said that has caused problems.

Let's look at what posts tell us about the individual. Savor the humor and chuckle
at the jabs. But respect and learn from each other. And value the opportunity to be heard.

Man, am I getting old and mellow (sigh)!

Russ

........ and WISER by the minute ...
t.

Amazing how this place seems to always remind me of a song!

ANOTHER DAY OLDER, ANOTHER BUDWISER T=160 (G)
(PSR-3000 Style=POP & ROCK—COUNTRY POP1—C variation)


TAKE A LOOK AT THIS MUG
NOW BEECHWOOD AGED
THEY CALL ME THE KING OF BEERS
CAUSE I’M QUITE A CASE
WHAT USED TO BE A SIX-PACK
NOW LOOKS LIKE A CASE
SO MUCH FOR THE THEORY
ABOUT MY HOLLOW LEG

CHORUS:
NOW I’M ANOTHER YEAR OLDER
ANOTHER BUDWISER
ONE MORE YEAR IN THE CAN
I AIN’T GETTIN’ ANY YOUNGER
I AIN’T DEAD YET, EITHER
JUST ANOTHER YEAR OLDER
ANOTHER BUDWISER

I USED TO SET MY WATCH BY MILLER TIME
I WON THE PABST BLUE RIBBON
THE HEINIKIN MANEUVER DIDN’T SAVE MY LIFE
YOU SEE, THERE WAS SOMETHING MISSIN’
I’M SURE I’VE TAPPED THE ROCKIES
AND CHANGED A WHOLE LOT OF TUNES
BUT THEN A MAN, A DOG AND A COUPLE OF FROGS
WOULD TURN ME ON TO THIS BREW

CHORUS:

SEEMS THE OLDER I GET
THE BETTER I WAS
SO HERE’S TO ME AND MY HISTORY
ANOTHER ROUND OF BUD

CHORUS:

(ENDING) WHEN YOU BUDWISER, YOU’VE SAID IT ALL...

** It's GREAT for lots of guitar work - the instrument sounds so rich and full!
I just bought a new 12 string (Taylor) and I'm lovin' every second of it. Now I have a matched set - 6 and 12 !
(Gettin' back to my acoustic roots!)
All I want now ( guitar-wise ) is an acoustic bass ( Taylor ). Then, the arsenal will be complete!

Dave...ever look at an acoustic Goden? I use a fretless now for most of my jazz jobs. I also have both a Taylor and a Goden nylon string. Like them both, but they are quite different.

Looks like you and I have similar tastes in stringed instruments...best all-round guitar for me is a Parker Fly, followed by a 335.


Russ

Of course I REALLY don't have anything against the key of E. I never really developed good steel string acoustic chops. If I had, I'd be hitting those open chords and bass notes with great gusto!

Russ

Tune it down to Eb, and you're in the green!

------------------
Roy-Andrè

Me too ! I have a black Deluxe model ( no tremelo ) It's the most versitile instrument I EVER had! I've had 335's too, but I'm stuck using the acoustic sound 90% of the time. The fly is just great for size/weight/sound/playability .... it's just GREAT period!

Hey UD congrats on your Taylor.
I got myself a 6 string Ovangkol wood Taylor last year and love the sound of it.

What kind of wood did you get?
The Taylors sure sound sweet.

Check out this forum: http://www.acousticguitarforum.com/forums/forumdisplay.php?s=bdeb9ba8db8e2193cd548363ca84fab7&f=10

You can learn lots about your guitar.
Have fun.

Eric

Eric,
This 12 string is a Mohoghany sides & Back with Spruce top. Taylor blender pic-up, cutaway, jumbo body .... so sweet.
Thanx for the link!

So, when starts a guitar topic in the Bar

By the way for acoustic I use mostly an old 70ties Guild D-55, which beats any Martin/Parker/Gibson..

Fred

Fred, you're already part of it.
Those Guild are nice guitars.

Dave, my neighbor got a 12 string Taylor with Koa all around. Increadible sound.
I haven't heared the Mohoghany yet, But I can imagine how sweet the sound must be.

With all the technology in keyboards and Mega voices nowadays I still like to hear the sound/vibration of an acustic instrument from time to time.
The sweet sound of seasond wood.

Enjoy your new baby.

Eric

I've had lots of Guilds, from the D25 all the way up to the D100, and I liked them all ..... but I LOVE my Taylors.
Cleaner, clearer, lighter ... They have a crisp, definiative tone, and an easy to play fretboard. My Guilds always sounded dark, like the characteristic Martin sound. Fat and loud, but not as "cutting" as the Taylor. Great looking guitars - all of 'em !

You're right on, Dave, this is excactly the way I hear them. On my way to Tennessee this summer, I'm picking up a Taylor in GC Atlanta on my way to Kamp Kaufman!


------------------
Roy-Andrè

New Toys a comin' !

OK, you "pickers and grinners" (I still pick pretty good, I just don't grin as often as I used to)....I recently bought one of the
Selmer/Macafari (sp) guitars made by Saga.
It's supposed to be an authentic reproduction of the guitar Django played.

I'd like to amplify it, but the sound hole
is an irregular shape, so a snap in magnetic won't work, and it dosen't have a strap pin.

An Audio Technica clip in does OK....not great.

Any suggestions? It's a Kool Piece. Musicians Friend carries it...actually two similar models.


Russ

Yeah! I've got GAS big time!

------------------
Roy-Andrè

Gear Aquisition Syndrome................

For all you none US/UK............

------------------
Roy-Andrè

Don't worry Roy, most of us non us/uk know what it is... I suffer heavy GAS since years
I currently own 41 guitars

Roy...detune to Eb huh...that's hilarious. Naturally, I meant I don't like a lot of tunes that are played in E in combination with very few other chords. I'll try it. Maby then I can get one of my horn playing buddies to play a verse or two of Rocky Top!

Seriously, folks, I don't REALLY have anything against the key of E. I grew up on nylon string and electric and never actually played a steel string much. I cut my teeth on Bossas, early Rock and Roll and never got into folk or country. Then the jazz bug hit me and it was all over!

Always enjoy what you have to say!


Russ

41!
I guess my GAS is of the mild type,only 21 guitars to date!
My wife got me a T-shirt in Alabama in '99 saying: 'My old lady said she'd live me if I bought one more guitar. I'm gonna miss that old girl!'


------------------
Roy-Andrè

I don't drink, do drugs or chase women (anymore), but I'm a stringed instrument junky. I currently own over 200 pieces, including my first $17.95 Silvertone. Some are relly valuable, and some are junkers. I've only sold or traded three in my lifetime and I regret that. One was a triple neck Fender non-pedal steel, one an Ampeg baby bass and one a 335 pro (solid body-shaped like a 335).

Some of my favorites are junkers, or ones that will never gain in value...4 Carvin double-knecks..a Robin double with an octive neck, a rubber stringed Ashbury...

Only 4 steel string acoustics, 34 nylon strings. Lots of Gibsons...295, Les Pauls, 335, 345, 255's, two Howard Roberts, L-5's, a Trini Lopez, Barney Kessel. Stacks of Fenders, Guild Starfires and X-155's etc. Basses include a Zeta, three old uprights, Goden, Kydd, Carvins, Fenders, Guild...Misc...mandolins, banjos, lap steels
etc.


I love them all, but only end up playing about 6 or 7...a Parker Fly, Goden nylon string, Goden fretless bass, a Zeta crossover bass, an L-5, an old Giannini Craviola and my favorite 335.

I've been collecting for over 45 years.
Crazy about my keyboards as tools, but just can't get as attached to them as I do real
wooden "strings".

It's been my lifetime passion and a comfortable retirement if I could ever bring myself to liquidate.


Keep on "pickin and grinnin"

Russ

Russ I really do understand your passion for guitars. I certainly don't have a collection like yours but I do have more guitars and basses than I really need.

The only one I have that really has any value is a 1964 Gibson 335 that has grown old with me since I bought it back in 1976. I also have a US Fender strat with active EMG electronics that I like a lot though when I play with my band I mainly use a very cheap Agile Les Paul copy ( a fantastic guitar that cost under $300 ) and a cheap Schecter strat with Duncan pickups. Other than that I have a couple of Ibanez basses and a Fender Jazz Special fretless bass. I have about 12 guitars total and they take up enough space. I would need to rent another house if I had 200 like you Russ. But if I had the space, money and time I would certainly do it and LOVE it. Wooden instruments with strings are so organic and each has it's own character. Even comparing the same model of guitar to another there are differences. Every piece of wood is different .... what a wonderful thing. A few years back I bought a low end Gibson Les Paul Special from Guitar Center. They had 5 of them there looking exactly the same. The saleman looked at me strangely as I tried one after the other, then I finally kept comparing 2 of them. He said ..... "But they are all the same". I just said "No they're not" and they weren't.

About the only guitar I can't get exited about is the new Line 6 Variax that solely uses digital modelling technology for it's sound. Don't get me wrong, I really like Line 6's modelling and own one their POD amp modellers myself. But to tie a guitar's sound to that technology just seems strange. I prefer something I just plug into or perhaps one day I'll get a Roland GK MIDI pickup and put it on one of my conventional electrics. Yes I'd use the Variax if someone gave me one, but at well over $1000 that won't be happening and ten years from now that modelling technology will be obsolete so I don't figure that sort of guitar will even hold it's value let alone increase it.


[This message has been edited by Nigel (edited 01-16-2005).]

Nigel, it's funny how you get attached to a particular instrument. I have an old Guild I bought back in 1963. It's probably not worth much. Looks like a Barney Kessel but a little thinner, with those tinny sounding old pick-ups and sharp cutaways. They didn't make too many, and after playing it for 40 years, it's a little "long in the tooth". Has a bigsby, so it doesn't stay in tune if you use it. I put the pick-ups Al DiMiola uses in it and in an old ES 295, which was the predicessor of a 175 a few years ago (saved the old P 90's-don't worry!). Another is an Ibanez which looks like a 175-don't know the model number. Bought it for $200.00 and had a piezo pick-up installed. Had a body shop friend paint it 64 Brittish racing green...no value at all, but a great "beater". A third favorite is a 1970's Jazzmaster I installed humbuckers in during my "Three Dog Night" days.

Most of my collectibles are pristine, and that's kind of silly. I keep them for investments, and instruments, particularly stringed instruments, are meant to be played.

Love my "beaters"! And, everytime I take one out, I break into a big smile. Ah, the memories!


Russ

Info for you Guitar people.
If you ever get to San Jose, go to Guitar Showcase on south Bascom Ave.
Gary the owner has in sealed humidity controled glass show rooms maybe 100 or more guitars, and I have seen price tags on them like 15 and 20 thousand dollars. I don't know if he ever sells any or not.
They have a Sound Reinforcement also a keyboard department there that I have spent well over (a ton) of money over the years since 1968 when I started trading with him.
They have an online presence too but don't know the URL. maybe Google?
Best to you pickers and grinners,
from a guy that only has one guitar but 11 keyboards,
Bebop

Russ,

The description of your guild looks like a studio model 301/2/4-402 if it has two sharp cutaways and is an archtop.
(first built 1968)
With one sharp cutaway it looks like a T 100 or T 100D (first built 1958)
With a deeper body and one cutaway it looks like a CE 100(D) (first built 1956)

The serial number is impressed in the back of the headstock and will mostly point to the model as well.
(If the serialnr has a letter prefix I can tell you the model and date in a minute. )

Fred

Playing them gives them life and helps them wear in and mellow out. There is nothing sadder than a beautiful instrument that is never played. Though given the value of rare guitars I can understand why people can't afford to risk damaging them. I guess that's why good beaters can become favorites because you can be more relaxed about pulling them out in any situation.

Your Jazzmaster sounds very cool. I played for years with a friend who played a hot pink 60s Jazzmaster and it was a great guitar. But I can understand putting the humbuckers in it for a meatier sound. That must be quite an axe. It took Fender a while to realize that people do like humbuckers as well as single pole pickups. Now they have their S1 switching system that lets you combine single poles in parallel or serial but I haven't had a chance to try one of the new models to see how well it works. I have always liked the tone range from a strat so it can only be even better I guess.

You mention Al Di Meola. I saw him some years back with his electric band and he is such a fiery player onstage. I also saw him with Stanley Clark , Billy Cobham and Jean Luc Ponty at the Greek Theater in LA while it was a lot more mellow it was just as impressive seeing that lineup as I'd always loved Return To Forever so seeing Clark and Di Meola together was a real kick. Much of the reason I use a Les Paul nowadays is because years ago I really fell in love with the sound listening to Al Di Meola. The weight wearing it playing with the band is probably bad for my back but the sound is so big. I always start the night playing the strat because the sets are mellower and the out of phase settings are cool for those songs. But once White Wedding and Back In Black are coming up on the set list I always swap it for the Paul. Ideally I'd like a mahogany and slab maple top strat that would sound like a Les Paul but a bit slimmer without quite as much weight.

Fred...the serial number on the back of the neck is DE 104. It is a Barney Kessel look-alike; archtop,sharp double-cutaways,about 3 1/2" thick...less than an L-5.

I thought I bought it in 1964, but bought a Starfire about the same time....thought the Starfire was the newer one.

Actually, for all the use it's had, it's in pretty good shape.

Thanks for the info and anything else you can tell me about this. It's one of my sentimental favorites...the one I used as I began to study and play jazz.

Regards,


Russ

Nigel...saw Al DEMiola at the last concert with Chick Corea, Lenny White ans Stanley Clarke here in Lexington in the late 70's...last time that band played together.

I hear what you're saying about the weight of Les Pauls. I bought a Heritage Lite, which is a superb instrument...a lot lighter. In photos, I've seen Al with anES 175...is that his regular electric now?

russ

having trouble having my user name recognized...thi is a test
russ

Fred...took a nostalgic look at the old F hole Guild.

It is brown sunburst, with wear, but no bare wood showing. Has a Bigsby. Replaced the pickups...no cutting involved. Saved the original pick-ups. Played this guy for 30 years with no neck adjustment or fretwork necessary. Alternated with a Telecaster and wore out three or four of them.

Now, putting humbuckers in a Jazzmaster was a different story...lots of wood removed...ruined the value. Another dumb thing I did when I didn't know any better was to have an original ES 295 finished black. Oh Well..

russ

Hello Russ,

Now you made me curious!
Serial with DE points to D-55! which is an acoustic dreadnought production started 1974!
I need a picture in this case

It's clear from your description it's not a D-55, but it is also clear that the serial number does not exist in the original guild records.
Are you sure the prefix is DE ?
I hope you can send a picture?

I do know the writer of The Guild book and he will be very interested as well about your guitar if indeed the prefix = DE!

As it's an archtop there's also a tag in de body. What does that say?

Fred

Hey Nigel! I've got two of those things you don't get excited about!
But they are dead quiet with the Vetta II combo and great for recording!!
Russ, Al DiMeola is one of my definite heroes. Fantastic technique and I think his 70's and early to mid 80's compositions are his mark for history. Watched him real close up in Dallas 1989, 10 feet away on the floor! He signed his book that I brought with me. Chris Carrington, native from Dallas and Gumbi Ortiz joined him that night. Stunning!
I see he is planning som tourdates with Manuel Barreco, that should be a thrill for the lucky US guys!
Well, I'm off practicing, life's too short to be a lousy player!!

------------------
Roy-Andrè

Fred...the instrument sticker says Studio 403-SL hand written.

The only number I can find on it says DE-104 at the back of the headstock.

I seem to remember that the Guild salesman said something about it being a pre-production run or something like that. I bought it from Carl's Music Center in Lexington, Kentucky. Thought it was 63 or 4, but it could have been as late as 68, although I don't think so.

I'll be leaving for NAMM early tomorrow afternoon and am running to take care of last minute details, but will send you a photo after I get back.

Now you've got ME curious!

Thanks for the interest,


russ

Ok, Russ
It's clear what it is...
Its's a Studio 303.

I still would like the picture though as the serial is not in the published records.
Will send it to the writer of the Guild book as well if you don't mind?

As your going to the Namm, if you have a chance/time please cheque O/S version of the roland G-70..

Fred

Fred...taking a few digital images of the "mystery Guild now, including the serial number. Can't find your email address. If you'll send it to me, I'll have my son email them to you while I'm gone.

Also have a single cutawway Guild purchased, I think, in 1979 ot `1980. It's a dreadnaught style acoustic. Originally, a customer ordered it and then changed his mind. I bought it and put it "in the stack". It's never been played. I'll email you the model and serial number. It may be a common model...I don't know. The dealer sold it to me for about $750..said it was cost and preferred to get rid of it instead of trying to return it.

Russ

Russ,
I did mail you about half an hour ago.

Look forward to the pictures.

Fred...the sticker says Studio 403-SL, not 303. Does that make a difference?

Russ

Yes, I need new glasses

It's a studio 403

I wasn't putting the Variax down royandreno because I really do think Line 6 make great equipment. It's just that silicon chips do become obselete so quickly nowadays so having a guitar tied to the current technology scares me. But as you say if it sounds great now it will always sound great. I hadn't heard from someone that actually owned one so it is good to hear that they are good instruments. You have 2 so you must be very happy with their sound and performance. Now I'll have to find one and play it to satisfy my curiosity now that you have recommended them. The versatility of having such a range of tones in one guitar is certainly tempting.

Are you using them in live gigs ? How well does the sound cut through drums and bass in that playing situation ? What made you decide to buy a second one ? Now I am intrigued and but I'm sure you can understand why I would be wary of a guitar based on current computer technology. I tried using my Line 6 POD live for effects and modelling but ended up deciding my Fender tube amp sounded better with the guitar plugged straight in. I get best results with the POD running it into my solid state powered cabinet that I use with my Motif 6. Even though I don't use the POD at gigs I take it in case I ever have amp problems with my tube amp and I always have the keyboard amp there as a backup.

My man NIGEL...! TUBES RULE!I have modeling amps, Roland Jazz chorus, Roland Cube 60, etc. but NOTHING matches my old Super Reverbs, Bassman, Twins. I have one of those cool little hand-wired Super Champs from the early 80's..switching channel...great to line out or mike. My sentmental favorite is a 59 Bassman...open back..4 10's dark brown cover. Like everything else...I bought this antique new.

Man, I don't like getting old.


Russ "tube man"

[This message has been edited by captain Russ (edited 01-19-2005).]

Nigel!
Little over a year ago I watched a demo of a Line6 Flextone and the Variax 500. I admit it was impressive and the versatility is near limtless, so I ordered the Vetta II along with two Variaxes, one 500 and a 700.
I gigged with this equipment for about half a year and was quite happy.......
until I checked out a Fender Super Reverb amp. (4x10's )
I never looked back. My Line6 rig is used for digital recording, and a 50th ann AmSe Strat is my main axe along with the Super and a GREAT Cornford Hurricane for overdrive. A bit more to lug,but I'm extatic about my tone!
To recap, I tried a Gretch through the Super at the shop that time, went home and dialled in Bassman on the Vetta, but it never could get there. Line6 is great, but read my lips: Nothing, nothing, can model the real thing.
You are absolutely correct Russ, tubes rules, and it has nothing to do with age!

To answer your questions Nigel, the tones of the Variax are nothing less than impressive, banjos, acoustic, LP it's all there and extremely close to the real thing. And with that equipment (Vetta 100W) I had no trouble cutting through the mix. You can go out via the PA and use the amp for monitoring for example. Think Hotel California, I play the finger pattern on a 12 string, and for the chorus it's the push of a pedal (yeah have the big footswitch too!) and a LP with overdrive kicks in. Jazz hollowbodies are modelled extremely well.

------------------
Roy-Andrè



[This message has been edited by royandreno (edited 01-19-2005).]

Yea, Roy, tubes are it! I have two supers...one a black face and one I bought in the early 70's. Man, I'm glad they come with pop out wheels.

Russ

Gary, I meant to tell you how much I enjoyed the lyrics to the song you posted. Given my less than serious comment about country music, it was the perfect comeback. It was a gem...the kind of humor that relly fits with the spirit of this group.

Always enjoy what you have to say...
Russ

I really can't imagine not playing through a tube amp. I have tried out lots of solid state amps over the years since the 70s when we were told that they would displace tube amps. Well I think everyone knows 30+ years later that that wasn't the case after all. The only thing is that now I use a much smaller amp than I used to years ago. I had a 100 watt Marshall stack when I was younger and then for a while a black faced 200 watt Fender Super Twin. The big trouble was that cranking those amps to distortion was absolutely deafening. Nowadays I am using a 40 watt Fender Hot Rod Deluxe that really can howl without bothering everyone too much including my own hearing. But real tubes are the only choice when it comes to guitar amplification.

Even a Fender Twin puts out a lot of volume before beginning to break up a little. I learnt a trick on how to easily add a gain control to a Fender Twin if you were willing to sacrifice the spring reverb - just unplug the cables to each end of the spring and connect them together directly. Because the spring has a lot of resistance the signal is boosted to pump it through. Remove the spring and the reverb setting on the amp becomes a boost setting that will overdrive the pre-amp. And the reverb footswitch becomes an on/off control for the boost in gain. This actually works on any spring reverb fitted amp and can be very useful. Just don't push it too high and blow your speakers.

Roy, how does the Variax sound through your tube amp ? Do you still prefer the strat over the Variax for playing live or do you use them both depending on the song's needs ?


[This message has been edited by Nigel (edited 01-21-2005).]

Russ I know what you mean about the Fender Bassman. Although I never owned one I played through one on a few occasions and that thing really purred. I can't remember seeing one with 4x10 though that would be perfect. I am very fond of multiple 10s for both guitar and bass. Was that just available with that 59 model or was it an option Fender always offer ? The Bassman I played through had 4x12 from memory and they were all slightly angled into center not on a flat board like most speaker boxes.

Nigel,
the variax sounds very good through the tube amp indeed. I prefer my Strat for 1) The CS '54 PUPs can't be matched 2) the strat sound on the variax is good, but still not the real thing. 3) Body contour. 4) I've become a tube and vintage freak
In addition like you say Nigel, there's something about knowing it's the guitar making the sound and not electrons!
I'm pleased to discover all the interest and knowledge of guitar on the arranger forum!
For me the arranger world has backed up my needs to procure music as a well payed job in addition to my day job. Great fora, Nigel!
Russ, thanks for starting this thread!

------------------
Roy-Andrè

Nigel...the first bassman amps were only available with 4 10's. They looked like a super, with controls on the back horizontal panel. They were open back...darker brown cover. I don't know when bassman amps were redesigned. The other one I have is a 1976 bassman 50...at least that's when I bought it. It has a chrome plate (not blackface) and black covering. The cabinet has two 15's that are mounted diagonally.The next generation of Fender amps I saw after the dark brown bassman were blond cabinets and separate heads and cabinets.

Russ

For the fender tubeaholics (like me )
http://www.ampwares.com/ffg/

Fred...got stuck in Lexington...had a snagg in a big packaging prototype job for an outdoor show next week. It's for Q-Lighting, the same client currently exhibiting at NAMM...so it is unavoidable. I'll be sure to go to the summer show, since it's a bit closer. In my business, emergencies happen, but I really wanted to go to a winter show....been to the summer one for 5 straight years, but haven't been to a winter one for 7 years.

You are really the expert! Good to know. My Fender tube amps include:
narrow panel bassman (59), silver faced bassman 50 (76), Super Champ deluxe (85), Super reverb black face-(65), Super reverb silver face-(72), silver face twin reverb-(80).. black face vibrolux-(65). They're all great. I mostly use the super champ to line out of or the bassman head, a two twelve Peavey cabinet with black widows, an AB box and a 147 RV Leslie with foot switch/preamp/speed control....trying for that Lonnie Mack/Stevie Ray sound.

For bass with a Motown band, I use the bassman 50 with the original cabinet-two diagonally placed 15's.

For the singles I do, I use a Goden nylon string straight to a PA and use the PA effects. For jazz jobs, I use an L-5 with either the super champ or a Super Reverb. For variety jobs, I use a Roland jazz chorus( no tubes) and a Parker Fly, or 335.

Tubes are a pain, heavy and hot and require maintenance, but man, is it worth it! Bought all these Fender tube amps new.

Thanks again for the help on the old Guild...I'll be anxious to hear the rest of the story on that one from you and your author/friend .Some of the folks here might like to see a photo of that old box...my son is out of the office and I don't know how to post it...maby you could?

Best regards to all,

Russ


[This message has been edited by captain Russ (edited 01-20-2005).]

Hey Russ. You are welcome to send it to me and I'll put it on the Synth Zone server so we can see it. I'm interested in seeing myself. My wife bought me the Blue Book of Electric Guitars last year that has a very comprehensive listing. I'll look it up.

I really envy you seeing the Return To Forever lineup before they broke up. To this day if I had to pick an all time favorite album it would be "Romantic Warrior". I have it loaded on my IPOD even now. I never get tired of listening to that album. It always leaves me trembling and makes me want to practice more .... a LOT MORE.

------------------------------------------
Here is a posting I made a few years ago on a thread on the General Arranger Forum http://www.synthzone.com/ubbs/Forum37/HTML/003462.html
------------------------------------------

Probably my favorite album of all time is Romantic Warrior by Return To Forever featuring Chick Corea on keys with memorable synth lines, Al Di Meola on guitar, Stanley Clarke on bass and Lenny White on drums. Listening to this recording is always an experience.

Many keyboard players are also guitar players as well. There are many guitarists on the forum. I play second lead/rhythm guitar and keyboards in my band Red Rhythm , alternating between them, sometimes switching mid song. Because we have a great lead guitar player I can afford to do that.

I learnt piano when I was young, switched to guitar as a teenager, then in the 80s when I was playing bass in a synth pop band and MIDI made an appearance I took a renewed interest in keyboard playing. Initially MIDI was a way I could create backing tracks to record guitar over. I ended up getting a few different keyboards and modules over the years and when the Internet went public I started Synth Zone in 1994 to list synth resouces online that I found looking for files and software for my own synths. There was no central directory of keyboard links so I put my bookmarks online and called the website Synth Zone . I guess other people also felt the same way cos here we are more than 10 years later.


[This message has been edited by Nigel (edited 01-21-2005).]

Nigel, the warm-up for Return To Forever at their last concert together was Ramsey Lewis. He had gone totally electric and was trying to use a variety of synths and several pedals...no grand piano. He kept missing the pedals and was struggling.There was lots of feedback from the sound system. It was sad. I'm glad he's back to doing what he does best. Chick came on and blew him away. In mid-1990's Chick was back with an acoustic trio...unbelievable! I think Fred may post the photo of the old Guild soon. If not, I'll send it to you.


Russ

Ramsey is a great musician but I guess he wasn't comfortable with the electronics. Chick Corea is really a master on both acoustic and electric instruments. The synth playing he did with Return To Forever is magnificent and I doubt if it has ever been surpassed to this day. While I love his acoustic piano work I do miss his synth work. Chick really made a synthesizer sing.

I remember seeing a video of Return To Forever in a club live playing Romantic Warrior onstage on a TV show called "The Old Grey Whistle Test". I had previously imagined them all sweating profusely over those impossible lines that they played so flawlessly together. But no, they were so cool, calm and relaxed and didn't drop a beat firing off those memorable runs. Scary and awesome all at the same time.

Ramsey Lewis did just great with the Rhodes on "Sun Goddess". I LOVE that album....he does a really funky version of Stevie Wonder's "Living for the city" that I sometimes play. Love it, love it, love it !

I agree, Dave...great player. Perhaps when I heard him as a warm up for Return to Forever, he was just getting comfortable with new equipment (that happens to all of us). He was also using a sub mixer and going into the Return To Forever system. Or, he could have just been having a bad night (also happens).


Russ

Russ,
I don't have a website, so no idea how or where to post a photo.
It's a real nice guitar that you don't see much though.

There are a lot of nice wallpictures in most bars So Nigel might give us a place to hang our posters.

Fred

Yes, if someone sends me the photo of the Guild I'll show it in a posting on this thread. Just make the subject heading mention the Synth Zone Forum so I notice it amongst the 100s of spam emails I get each day.


[This message has been edited by Nigel (edited 01-26-2005).]

Nigel...thanks...I had my son email several photos to you when I was out. Told him to reference "russ lay's guild guitar". Probably, not much value, in terms of a collectable, but the memories are priceless!

And Fred, you don't know how much I've enjoyed your interest in this old relic and the information you shared about it. That's what "The Bar" is all about!


Russ

Because it's a rare model it's not rated, but to give you an estimation;
The 303 from the sixties is rated between 1300-1500 us $ (source vintage guitar price guide 2005)
I wouldn't be surprised if e-bayed, figures will be pretty high on this one since you have all the original parts.

Fred

Thanks' again, Fred, and also for the link for your client, the vehicle restoration place.


russ

Front Of Russ's Guild Studio ST 403



And from the back



The closest I could find was a listing of the Studio ST 303 that was described as a " double cutaway ( sharp ) semi hollow body 2 pickups ( single pole and humbuckers were available )and Bigsby tremelo. Available in Cherry and Sunburst". Sounds very much like this guitar or at least a series from around the same time. It was manufactured between 1968-1970. It is valued at $1350 for near mint to $950 in good shape.

The numbering of the Studio ST models seem to indicate the various options. With the Studio ST 3xx series were

ST 301 - 1 pickup
ST 302 - 2 pickups
ST 303 - 2 pickups + Bigsby tremelo
ST 304 - Like the ST 301 but with thick body depth

Sounds very much like much of this would apply to the ST 403. Thanks for including the pic of the sticker with "Studio 403 ST" to help identify it.

Thanks so much, Nigel! I haven't played this old baby regularly since about 1985, but it was my main instrument when I played guitar six nights a week for nearly 20 years. This is the one I used when I started playing jazz.

I have many more valuable jazz guitars, but I paid my way through grad school with this one.It was my main instrument. I remember I paid $368.00 including case and tax...a lot of money then for a struggling student. Last night, I put new strings on and am going to use it and a Fender Superchamp
for a while. It is my sentimental favorite. It's not worth much, but we've been around the block together, so, to me, it's priceless!I wish you and Fred could play it.
I forgot how sweet it really sounds.

You guys really helped me bring back some GREAT memories! In 1974 I was playing the Guild at an upscale Italian instrument in a nearby town with my trio. George Benson was there having dinner. No one but me recognized him, at first. I had 3 or four of his albums (Verve, or Blue Note...I don't remenber which). He came up on a break and checked out the Guild. He had been a Guild demonstrator at one time, and used a Guild for most of his jazz instrumental albums. He didn't play on stage that night, but was extremely complimentary and gracious. This was several years before he recorded "Breezin".

Thanks so much to all who contributed to this thread and tolerated the rantings of an old "picker".


Russ

Nigel...Fred: this guitar is not semi-hollow, but hollow. Could that be the difference between the 300 and the 400 series?

Russ

Yes, Russ that's the difference!

I suspect that the SL stand's for the humbuckers, as initially they were also produced with the tiny so called micky mouse pickups.
(I do have a T-100-D with those on)

Nigel,
Looks like the rating between 1300-1500 was pretty accurate for the 303 series.

fred

Yes, Fred you hit the nail on the head with your pricing and comparison to the 303. And I am also sure the "4" in 403 indicates hollow vs semi hollow.


[This message has been edited by Nigel (edited 01-27-2005).]