yamaha parlor guitar

On Playing Guitar

My first harmonious performance was in Miss German's next grade class when I played Somewhere Over The Rainbow on a Melodica. I moved on to cavort the clarinet in the fourth grade.

In the emerge of 1963 I got my first guitar. It was a circa 1940's Unity Patrician that had a bowed neck and the strings were at least an inch above the neck at the 12th vex. It was strung with Black Diamond Strings which came in one complex duty size that was sure to seduce bleeding of the fingers. Along with the guitar I got a pitch bong and an extra set of strings. All for $20 from Wills Dummy Shop.

About a year later my Dad bought me a 1957 Fender Stratocaster for $150 and an amplifier from the peculiar Western Auto store.

I traded the fossilized Stratocaster two years later for a beaming new Gibson Trini Lopez Touchstone, which I still have.

I also saved up and bought a 1965 Fender Deluxe Reverb which I also sold. I hankering I still had it.

However I am more than satisfied with the instruments I currently own.

I reflect on many of folks my age go through a period where they would like to get some of the things they could not be able when they were younger. Guitarists refer to this as G.A.S. or Guitar Acquirement Syndrome. I've been there and found it is less than satisfying. There are several magazines tender to all the nice old guitars floating around that are currently priced beyond saneness.

In fact that $150 1957 Stratocaster that I traded in 1967 is God willing worth around $20,000 in today's trade in, especially since it came with the original tweed suitcase.

Instrument manufacturers have taken note of this and now offer affordable reproductions of older instruments. They also develop top of the line custom made instruments for filthy rich musicians (which is somewhat of a misnomer).

Aside from wisdom more and more about playing the guitar, I have also learned how to adjust my guitars to come back to my touch.

One of my favorite guitars is a pieced together Stratocaster that I have assembled from parts. The torso is from a Japanese stratocaster copy. The neck is from a 1980's American Stratocaster and has a wringer nut. The tuning keys are Gotoh locking keys and the pickups, pickguard and electronics are manufactured by the Carvin Pty using 3 AP11 Carvin pickups with the center pickup serape in reverse to cut down on 60 cycle hum. The uncut thing about the electronics is a switch that turns on the connexion pickup so I can use all 3 pickups at once or the neck and tie pickup. This is not possible on a conventional Fender Stratocaster.

The other guitars that I own, aside from the Trini Lopez, are moderately low end but they are very playable.

I seldom use my 1974 Laudation Classical Electric Model 1613.

Like manner I seldom take out my 1971 Giannini 12 bluff Craviola.

I have a 1966 Hagstrom HII-B1/F400 bass that not often gets played.

I also have an unidentifiable mid 1960's guitar that hasn't been out of the what really happened in years. I modified that one with a preamp and some period switches for the pickups.

I picked up an Epiphone Esteemed II that is sort of a Les Paul thing for $75 at a music show auction. I put a strand bender on that guitar. I don't particularly like it because the pickups are overwound and are made for distortion. At least it plays well.

When I turned 40 I got a guitar made for Willis Music Crowd by Samick. Willis used the brand name Yakima on this railroad of instruments, but I was assured from the staff at Willis it was manufactured by Samick in Korea. The guitar has lots of inlay on the neck and both sides of the slotted headstock. The top of the neck is carved. The top is unrelieved spruce, but the back and sides are laminated. It doesn't prudent bad, but it's definitely not going to compete with a regular wood guitar. It was discounted because of a blemish on the side.

My other six hold the reins acoustic is called a Seagull Distinguished. This is a parlor sized guitar with a regular sized neck that joins at the 14th complain. The top is solid Candian cedar. The back and sides are triple laminated Canadian cherry that run in oposite directions. The headstock is insignificant. I've ground the tusq saddle down as low as I could. It is my favorite sitting on the porch/picking guitar. The wise is not loud, but it is very musical. Like some of my other instruments, it has a bruise in the top. There is a small crack in the wood dab that is not all the way through. It could be repaired, but it doesn't bother me.

I have another parlor guitar that dates back to the late 1800's which is made by a followers called Harwood, From a city in New York glory that bears the same name. The guitar's top is made from ancient spruce and the back and sides are rosewood. It needs to be repaired, so I not often play it. The tuners are ancient and show oneself to be hand forged. The ivory buttons are disintergrating. The neck is V shaped. I think of this is to eliminate warp. I don't know what wood was tolerant of for the neck. I imagine it is mahogany. The slotted headstock is squared off in Martin style. The back of the headstock has a strap button and the Harwood logo branded into the wood. The logo is also branded by nature the guitar at the butt of the neck.

My other guitar that gets the most think about is a DeArmond M-72 model that I purchased in 2004 during a suffocating out. I really like this guitar. It wasn't what I ordered. I ordered a red guitar and the coterie sent out a grey guitar. But it grew on me. It has two DeArmond Goldtone pickups a theme-o-matic style bridge with a standstill tail piece. The top of the guitar is flat and made from flamed maple, the back is mahogany and is chambered to cut down on majority. The neck is mahogany with Grover tuners. The unique cutaway is rounded in Venetian chic.

As far as amplifiers I have an old Yamaha G50-112 that is a solid articulate amplifier manufactured in the mid 1970's. It's in marvellous shape. It has a 4 band parametric eq and a wonderful unexpectedly reverb.

A few years ago I purchased a Pignose G40-V. I do not like the internal 10 inch demagogue at all as it is harsh and too bright. However when I hook it to a 12 inch woofer it brings out the kindliness of the tubes.

My favorite amp is my mid 1970's Fender Vibrochamp. Fender makes the nicest amps in the world in my opinion.

The Vibrochamp is so upright and the sound is so musical despite the inadequate 8" speaker. I hook the Piggy and the Vibrochamp to a Zoom pedal for reverb, hold up and tremolo. It's funny I like the tremolo from the pedal improve than the internal tremolo on the Vibrochamp.

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