So I've got my ES-335, my Sheraton, and my ES-339.
My Gibson ES-335 is a 2016 Studio version. As I recall, it has a few differences from the regular ES-335 model, but, overall, it's still the same guitar. It has the 4-knob arrangement (unlike the Studio version from a couple of years earlier), and it has 57 Classic pups in it. I think the bridge used was a different bridge from the regular version. I also think that the neck is a torrefied neck. I think there were a couple of other minor differences, but those two are the most significant changes in the Studio and regular versions.
The Sheraton is a 1962 50th Anniversary model. It's biggest differences between it and an actual 335 are that it uses Gibson mini-buckers instead of full size ones and it has a Frequensator tailpiece (closer to a trapeze) instead of using a stop piece tailpiece. It has CTS pots and switches, and it has GIbson cloth wiring inside. Those are also differences between it and the regular Sheratons of the time that it was built. For the purpose of comparison, when I bought the Sheraton nearly 10 years ago, it cost approximately 50% more than a regular line Sheraton and half the price of an ES-335 (which is the model I would've gotten).
My Epiphone ES-339 is from the second run that they produced. The first run was during the summer or fall of 2011. I had been looking at and toying with the idea of buying a Gibson ES-339 for a while when they announced that Epi would be producing that model as well. I got my order in late enough that I missed that first run and had to wait on the second. The only difference in the two that I recall is that the first run had Epi's ProBucker pups in it (their equivalent to Gibby's BusrtBuckers) and the second run had the Alnico Pro pups in it (their equivalent to the 57 Classics).
Although, mine have some pretty significant differences in them, the 335 and Sheraton are very similar guitars in theory. However, I believe that the Sheraton was an Epiphone creation and not a Gibson copy originally, but it's a little more ornate than the basic 335; it's closer to an ES-355. I actually like my Sheraton better than my ES-335, and, moving forward, I'm going to talk about them as if they were the same unless specified otherwise. Also, I'm not covering the differences in Gibson vs Epiphone. This is 335 vs 339.
The 335 guitars are bigger bodied. I'm too lazy to look up the actual dimensions, but they're huge guitars. They're big enough that I know at least a couple of folks that won't play them because they're "just too big." They're also pretty heavy. I attribute the weight to the fact that they're so big. Although I've always said that the 339 is the same size as a Les Paul, I've read (and seen when they're side by side) that they're not quite the same size. But they're close. See the pics at the bottom for a comparison. It's not a huge difference, but that little bit makes a pretty big difference in weight and comfort when playing.
If it makes a difference to anyone, the 335 has the jack on the face of the guitar where the 339 has it on the hip like a Les Paul. I don't usually think about where the jack is, but every time I pull out the 335 and plug it in, I'm afraid I'm going to hit the plug and crack the face of the guitar or break the jack. I've never done that and probably never will, but it's always in the back of my mind.
From a parts standpoint, they're not really that different of guitars (and I'm not talking about the the Gibson vs Epi difference, this is the 335 vs 339 difference). They both have the same control setup. Both have 2 vol/2 tone setups with the pup selector down by the knobs. They both have a stop tail bridge. They both have humbuckers for pups. There's the jack location, but, other than that, they're similar.
Tones from both are very nice. They both have that nice semi-hollow sound. The longer I play, the more I really like that airy sound that you get from a semi-hollow like a 335 or 339. The difference is that the 339 can get into those Les Paul-ish kind of darker sounds that a 335 can't do. I imagine that's because the wings of the 339 are smaller so it's as close to a solid body as it is to a semi-hollow. The 335 is the standard for a semi-hollow, in my opinion, the semi by which all others are measured. The 339 does an adequate job in that semi-hollow arena, but it also can get into the LP territory. The 339 is a good balance between the two.
Once I understood that what I was hearing was a semi-hollow sound, I've liked the 335 and played one at least as often as I played my Strats. I've always wanted to like a good Les Paul, but have just never bonded with one. Since I started to migrate from primarily playing an acoustic to playing an electric, I have always been drawn to my Strats. However, about a year ago, I pulled my 339 out of the closet, set it up really well, and have been playing it almost exclusively since then. It's just a great guitar that covers a lot of area.
The 335 vs the 339. Both are great guitars that are very similar. If you like the humbucker sound, give them a shot.
And, yes, I've ripped those from the interwebs at some point. Don't remember where so I can't give credit like I should.
...for several months now.
Here's something I posted on my favorite guitar forum back in January. Realized I had never posted it here, so figured I'd do that today, along with some of my updated thoughts on it.
Used the last of my Reverb credit over the holidays, and ordered a pedal I had been eyeing since the summer...the Danelectro The Breakdown. It's supposed to be their take on the Univox UD50 only without the treadle part of the pedal. I've had it since the weekend and been playing around with it. Here're my initial thoughts on it.
I really like the 2-knob simplicity of it. Volume and Break-up. Volume is just that, volume. The Break-up is the gain knob except that, rather than being a rheostat kind of knob that smoothly transitions around the dial, it has 6 clickable spots. The first one doesn't do a whole lot to my ear. Settings 2 and 3 I've read would work as the always-on settings. Settings 4-6 can get pretty gnarly.
Jumping back to the Volume knob real quick, one of the things that I like about it is that it doesn't seem to have much affect on the gain. On some pedals I've used, if you want to retain the drive/fuzz when you turn the volume down, you have to turn the gain up. On this pedal, volume is just volume. It doesn't seem to do anything to the gain. So, if you have the right amount of fuzz clicked in at 3 and then turn the pedal down, the volume will drop accordingly, but the gain doesn't change; the fuzz remains.
I really like the 3 and 6 settings. I don't ever see this as being an always-on pedal even on the lower settings. Maybe I would if I was big into garage rock, but it doesn't really fit that bill for blues. I like 3 because it gives that loose, starting to fuzz sound on the low end, but doesn't really do a whole lot on the higher strings. 3 is almost perfect if you're wanting to play some fuzzy power chords. Starts getting pretty fuzzy on the low end, but the highs only get a little crackle. At 5, and especially 6, it gets that full on Hendrix Purple Haze fuzz.
They've been advertising this as an overdrive pedal (they released a fuzz pedal in conjunction with it called the Eisenhower), but to my ear it's more of a fuzz pedal without the octave. I make the distinction because, to my ear, OD is usually pretty tight, and fuzz can get kind of loose and floppy. This one leans much more to the floppy side.
Overall impression so far: I like the simplicity of it. I like that the volume doesn't seem to affect the gain at all; it just makes it louder or quieter. I like that the gain settings are clickable. For instance, I know I like the 3 setting. If the pedal gets changed, I don't have to try to find that perfect spot on the dial anymore. I just click back to 3 and voila. Easy peasy lemon lawn chairs.
Definitely not going to be a pedal for everybody I don't think. I ordered it thinking it would be another OD pedal (since that's how it was advertised), and was pleasantly surprised when I started playing it and thought it sounded more like a fuzz since I've recently been looking to buy another fuzz pedal. To my ear, it can do the Hendrix thing pretty well on 5 and 6. On the higher settings, I could also hear it being used for that garage rock, Detroit Cobras, Black Keys kind of thing.
As always, my ears aren't yours so you may hear something completely different than I do with this pedal. YMM-definitely-V.
After having had it and using it for the last few months, here are my more recent thoughts on it.
I'm still convinced it's closer to a fuzz sound than an overdrive. The lower settings (1-3) are a bit OD-ish, but the higher settings (4-6) get really fuzzy.
I still, very much, like the fact that the volume will affect the volume and not the level of fuzz. I'm not sure that I've got another pedal that does this quite as noticeably. You get the amount of drive/fuzz that you want, and you just tweak the volume button to turn it up or down. No need to adjust the volume knob and then find that perfect level on the gain side again. It's also a very responsive pedal. You dig in, and it digs in. You lay back a bit, and it lays back with you.
I still like the 6-click knob. You can't get anything between the clicks if you want it, but the simplicity of finding the the right amount of fuzziness really appeals to me. There's no wide range from which to choose. 6 options. You either find one that you want or you don't. And you you do so quickly.
Since I'm mostly a bedroom player, I generally run a couple of ODs on my board. I keep a klone of some sort on it as a clean boost kind of pedal that's almost always on, and then a TS of some sort for that extra push to make it stand out during a solo. I had initially envisioned this Danelectro pedal as one that would be a different type of boost pedal to run as an always on kind of thing. The more I play it, this is not that pedal. This is a pedal that has a great sound and would work as a good boost or drive, but isn't one that I'm going to leave on all the time.
As much as I like a couple of the settings on it, it's not a pedal that is going to be on my board and stay there all the time. It definitely has it's place, and is one that, honestly, is still giving me some inspiration and being used regularly, but it's also one that I pull out for a week or so to get a particular fuzziness to my tone, but then goes back on the shelf for a week or two. I think, when I've used it, it's almost exclusively been on either click 3 or click 6.
All in all, I think it's a great pedal. I've enjoyed playing with it enough that I really want to try out Danelectro's new 3699 Fuzz. If that one's as good as The Breakdown, it'll be a great pedal for the cash.
Those that know me know that I laugh at those that are often called cork sniffers. Whether online or face to face, I'm civil when I'm talking to them, usually. But there are times that they get on my last nerve.
Now for the uninitiated, let me define what a cork sniffer is. A cork sniffer is one of those that is so fixated on that specific piece of gear that nothing else is deemed worthy. Granted, we've all got that piece of guitar, like one of our guitars, that is absolutely the best thing ever and we wouldn't trade for anything. We've modded the heck out of it, and, despite what others tell us, there is no other guitar in the world that plays as well and sounds as good. That's not what I'm talking about. I'm talking about the ones that look down their noses at a Squier or MIM Strat because it's not an MIA Strat. They're the ones that will crap all over Epiphone because "it'll never be a Gibson." You get the idea. They look down their nose at a piece of gear and call it inferior based on its location of manufacture, the brand on the label, or some other seemingly important factor. That's a cork sniffer, and, in my humble opinion, there are 2 types.
There are those that are just uneducated. Those are the new players that are basically parroting what they hear others say and have no real basis for their opinion. They're the ones that say Gibson is the only brand to play because that's what they see their hero talk about and play (although their hero may've played a Tokai until they got their endorsement deal). I, generally, will give these folks a pass. Give them some education and experience, and they'll grow out of this stage. They'll eventually realize that, yes, Gibson is the premium guitar, but bang-for-the-buck there are some Epiphones that may be better than a Gibby.
Then there's the other kind, and they're the ones that really bug me. I call them "ignernt." Now, ignernt is a good Texas term. Around here, if somebody gets called ignernt, the speaker is saying that the speakee is smart enough, they just have chosen to act the fool and be stupid. They're ignernt. These are the cork sniffers that I have been known to make fun of sometimes. They're the ones that are so fixated on a brand (or whatever) that they can't see past the end of their nose.
I was reminded tonight that I used to be one of the second kind of cork sniffers. Maybe that's why they bug me so much. And I was reminded of this fact tonight.
Way back when I first started playing, all I knew was acoustic guitars. The first really nice acoustic that I was exposed to was a Martin. In fact, through a series of events, after only playing a couple of years, I was blessed to be given my own Martin (a D-35). Still have that Martin. It currently needs to have the bridge replaced, but is probably still my fave acoustic. It's a workhorse of a guitar. But I digress.
I had a Martin. All the pro players I knew either played Martin, Taylor, or something really high end like an Olson. Consequently, outside of Martin and Taylor, I really didn't know anything about guitars. I had played enough of each of those to know that I knew I liked the traditional Martin sound more than the modern Taylor sound, but they both sounded really nice.
Where I lived, I'd get together and play with a buddy once a week or so (we played in the same band), and we both played Martins. Another acquaintance at work was given a guitar for Christmas one year by his dad, and asked if my buddy and I would take a look at it and tell him what we thought. Bless his heart, that was during my days of sniffing corks.
The day that he brought it over to my house, I remember thinking one thing about the guitar and saying something completely different. In retrospect, I really wish I would have been honest enough with myself to give him an honest review. All I remember at this point was that it was a jumbo bodied Guild of some sort. From what I remember about the inlays on it, if it was chosen from their current lineup (although this was 30 years ago now), it would've probably been the equivalent of the F-55. And that would make sense as, from what I remember he used to say about his parents, they only bought the best.
Anyways, this guitar had a really great sound. However, it didn't sound anything like a Martin or Taylor. It was a very full, rich sound. Very balanced sound. All around, it was just a really great guitar. However, because it wasn't a Martin, I don't think I had anything good to say about the guitar that wasn't a backhanded compliment. "It has a really nice sound for something that's not a Martin." The other guy that was playing it with me was pretty much like me when it came to guitars. So he didn't really have anything positive to say about it either. The guy that had gotten it for Christmas left that evening disappointed that "it'll never sound like a Martin."
I've come a long way since then in both my musical journey and my overall view on life. I still very much like the sound of a Martin, but I also have a Boulder Creek and a Tacoma, and an Epiphone acoustic. For electrics, I've got Squiers, MIM and MIA Fenders, as well as Epiphones and Gibsons. For pedals, I have real live, green Tube Screamers and all kinds of TS clones (including the cheapest, Chinese made ones on Amazon). I've got a closet full of gear spanning the spectrum of price.
Growing up, my parents tried to teach me to always give people the benefit of the doubt; just because they're different than me doesn't mean they're bad. Give them the benefit of the doubt until they give me a reason to do otherwise. As the Disney song says, "if you walk in the footsteps of a stranger, you'll learn things you never knew you never knew." When it comes to gear, be open minded. Just because the headstock doesn't say what you think it should doesn't mean it doesn't have a song in it. Pick it up and play it and see what it says.
And, Joel, if you ever happen upon this to be reading, I really hope you still have that Guild. Had I not been in the middle of my "Martin or nothing" days, I would have told you that it was a dang skippy nice guitar that had a great, warm sound and anybody should be ecstatic to be able to play. I'm sure that guitar was full of music if I'd only taken a moment and listened to it.
I discovered John Bohlinger a couple of years ago. It may've been more like several years ago. I remember he was doing a gear review for Premier Guitar on youtube, and I thought the guy was awkward and not really that good at it and really needed to quit having his hair colored because it looked...fake. Fast forward a couple of years, and he had become much more polished, let his hair do its thing so it didn't look bad anymore, and I now find his rundowns and reviews engaging so that I watch most all of them. I, also, enjoy his backpage of the magazine article every month that's called Last Call.
In his monthly column, he seems to try to give out that fatherly/brotherly advice to other players. Sometimes it's pretty practical and is something that can be used in very substantive way. I like these columns because I tend to be a very hands-on, practical person. Other times he comes across as being contemplative and trying to pass along something profound. I don't pay quite as much to these columns because I've never really been a theoretical kind of person. When I realize it's one of those columns, I just kind of scan through it.
I've always been this way. I realized it in 9th grade Biology class when I got the first C I had ever gotten on a report card. For the first time in my elementary/middle/junior high career, my name was not listed on the All A's or A/B Honor Roll. Everyone but me was surprised. My folks asked me what happened, and my response is that I didn't care about the class. They asked why, and my response was that it wasn't a fun class, the teacher was a sadistic idiot, and I couldn't see the practical application of what we were learning, so there was no point in learning it. So no ethereal, theoretical profundities for me. Start spouting them, and you quickly lose my attention.
Enter the December column. Mr Bohlinger was riding the line between practical application and trying to be profound. Then right there in the middle of the column, he said this.
"Many people (particularly Americans), live their lives doing what they don’t want to do so they can earn enough money to continue doing what they don’t want to do. People struggle like this for a lifetime and then teach their children to do it. If all your job is providing is a paycheck, you have the wrong job."
Now I don't have an issue with his first 2 sentences. He's spot on. Too often, we Americans get trapped in that cycle of a job we don't like that we don't leave because we want the stability of paycheck. After all, it takes money to live, and, when we don't have that money, even the daily grind gets difficult because you still have to put gas in the ride, food in the belly, and a roof over your head. However, that last sentence. I just have so many problems with that one.
"If all your job is providing is a paycheck, you have the wrong job." That's painting with as much of a broad brush as I would be if my response was "no you don't." More accurately, he should have said that, if all your job is providing is a paycheck you might have the wrong job.
I have a job. I've been in the workforce for the better part of 30 years. I've had all kinds of jobs. Changed careers a couple of times as well. The one thing I've learned is that, if you're miserable at your job, it's time to move on. However, just because a job is just a paycheck, doesn't necessarily mean a whole lot.
While I appreciate what I think he's trying to say, I think he's falling too far into that mentality that "if you're not following your passion, you're unfulfilled," and that's an extremely idealistic place to be. I'll use myself as the example, and say up front that, if I were to follow my passion, I'd probably be alone, homeless, and living in my car (if I had one) right now.
In my teens, I told everyone that I was going to fly airplanes. I got out of high school, got my first real job, and let the president of the company where I worked talk me out of going to flight school. It wasn't difficult to do. At the time, I was about as idealistic as I have ever been, working at a non-profit, and felt like I was living the change and making a difference. Fast forward a few years, I had seen the politics, problems, and blatant hypocrisy in the place I worked, become pretty jaded, and realized it was time to go. At the first good opportunity, I moved from the big city back to the town where I grew up and took a job, among other things, driving a tractor out in the field all day. Oddly enough, that job was the job that I look back on these days saying, if I could've made money doing that, I'd still be on that tractor. Believe it or not, that job was therapeutic, and just what I needed after leaving the situation I had been in.
While I was working on the farm, I had a friend ask me what I would do if I could do anything. My response was "be a studio guitarist." He asked me why I wasn't doing that. Simple. I wasn't (and am not) good enough. As recently as a year ago, as I was planning to leave the job I had at the time, I had one of my senior execs ask me that same question. That's still my answer when asked. If I could do anything I wanted, I'd be a studio guitarist.
Over the years, music and, especially, guitars has become my passion. One whole room of my house is dedicated to music. When I'm not in there playing or sitting at the computer looking up the latest gear or how to play something, you can bet it's probably what I'm thinking about. And, yes, I have viewed my job as just a paycheck for years.
You see, I have loved the guitar since I first started playing in high school, but was out and in the workforce before I was good enough at it to make any money with it. Add to that, I am NOT a good teacher (tried that with a few kids, and not a single one of them kept playing after their parents stopped paying me), and, although I will play in front of folks just to have the opportunity to play with skilled musicians, I'm one of those folks that would really rather not be up on a stage. And, generally, to have followed my passion of guitar playing, I would either have to teach or play out consistently.
Add to all that I started a career that required me working 80 to 100 hours a week, which left no time whatsoever to really practice and get better. For quality of life, after 5 years, I changed careers. Would have loved to have done something music related, but needed to put gas in the car, and my preference was to not live in said car. So I've always said that, at that point, I accidentally ended up in another industry. It paid well enough, and, although I would never have said that I really enjoyed it, it was also something that I didn't hate. It was a paycheck. Now I'm 20 years down the road, on the 3rd company in that field, and would still never be heard even hinting that it was my calling. It wasn't. And it isn't. And it won't be.
In fact, at the first company I worked in that field, my supervisor pulled me aside one day and said, "you really need to find your calling, and this isn't it. I know this because, when I bring a problem to the team, you are the only one in the room whose eyes don't light up thinking about fixing it. You're as good or better than most of the rest of the team, but I can tell that this is just a paycheck to you and not your passion. You need to find that calling and pursue it. As good as you are here, if you were really passionate about what you were doing, you'd be the best in your field." I told him that I couldn't argue with him. It was indeed just a paycheck for me, but a good enough paycheck that I wasn't planning on leaving. It took care of the bills, and gave me enough extra to fuel my real passion, guitars and gear. When I told him that, he just looked at me like a cow looking at a new gate.
Even though I am now a much better player than I was even 10 years ago, and am discovering that I can usually hold my own when called upon to play, I still don't see how I could be earning even half of what I earn in a music related field. And I'm still not good enough to be a studio musician. Truth is, I'm still one of those that's good enough to make the non-musicians think I'm a pretty good player while the real musicians know the awful truth. Or at least that's how I view my playing.
In fact, how is it any different than someone that likes off-roading and spends all their extra money on their jeep? There are jobs out there where you can make a living off-roading, but they're few and far between enough that not everybody with a 4-wheel drive can feed their fam or even repair their jeep doing it. It'd take at least both hands and a foot to count the number of folks that I know in that community that have a day job that has nothing remotely to do with the outdoors, and spend their weekends out on the trail.
Just because you have to have a paycheck and your passion appears to play 2nd fiddle doesn't mean that it's any less of a passion. Truth is, most of the folks I work with know that, given the right opportunity, I'd ditch them without a thought to go play guitar somewhere. Mostly because I've done it in the past and will do it again I'm sure. I just haven't come across that right long term opportunity (and probably won't), and I like my salary enough that I don't mind the grind 5 days a week so long as I have a guitar in hand when I'm not in the office.
With all respect, good Mr Bohlinger, you're wrong on this one. Just because it's only a paycheck doesn't mean it's wrong. Sometimes without the paycheck, the passion has no fuel and would die. If it's just a paycheck, it might be wrong. Or it might just be a paycheck. Like you, I also sell out. It's just that, with my skill set, the highest bidder means I'm an analyst somewhere during the week.
That said, on a different yet related note, having been there and learned the hard lesson, if you ever find yourself miserable at a job that's just a paycheck, you need to get out as quickly as you can. Life's too short for that nonsense.
So the other day I decided to pull out my Klon-type pedals, do some side by side comparisons, and see if my thoughts on them had changed at all. I figured this would be a good time to do this because I just got the NuX Horseman that I had ordered back in April, and was playing with it to see how I liked it. So, here they are in my order of preference.
Before I go into the pedals, I should also mention that I always use the Klones in the same way. With the amp just at the edge of breaking up, I'll have the gain on the pedal set minimally, the treble set in the middle, and the volume set a couple of clicks above unity so that it's pushing the amp a bit. So it's more like a clean boost I guess. This is where I believe these pedals really shine.
What are your thoughts? Tried any good Klon-type pedals that just really stood out to you? I've heard really good things about the J Rockett Archer, but haven't gotten my hands on one of those yet. I've also heard there are some really good ones from back before the recent onslaught...the Aluminum Falcon, the JHS copy that they no longer make, the MXR Sugar Drive (although I think this one may be one of the recent ones), and others. Some day I'll have to make it a point to pick some of these up and give them a shot as well.
Here's a subject for you that seems to come up every now and again. And even John Bolinger is talking about it again in his most recent vid on the Tube of You. Reliced guitars. I know these aren't the only opinions out there, but if you read the interwebs, there seem to be two prevailing schools of thought. The first group says that reliced instruments are stupid, idiotic, and should all be burned, and those that buy them, play them, or otherwise look upon them any other way are nothing more than wannabes that can't tell a guitar string from a climbing rope and don't deserve to ever pick up a guitar. The other prevailing thought is the group that seems pretty apathetic towards them and basically say "if you don't like them, then don't buy them."
As I recall, reliced instruments were started off primarily in the domain of custom shops. They were making guitars that were replicas of famous instruments and NOS type for the collectors. Then the manufacturers realized that they could make good money on heavily reliced instruments. So they started making those too. They eventually figured out how to do the relicing a lot more cheaply, so the reliced guitars left the domain of the custom shops and entered that of the affordable. Disclaimer: I don't know that this is exactly how it went down, but, from this consumer's perspective that appears to have been what it was. So take this last paragraph with a grain of salt. Or the whole shaker. It may or may not be totally accurate, but that's what seemed to happen to me.
Back around 2008-ish when Fender released their Road Worn line, all of the guitar forums I was on erupted with the most hate-filled, vitriolic commentary on them that you can imagine. "Wear should be honest." "Only posers will buy these guitars." "These guitars are made for folks with more money than sense. And kids that haven't put in the time to have worn in a guitar." "Stupidest idea ever." And a lot of really troll-ish things a lot worse than this by those that I know not to be trolls.
Everyone had an opinion, and most of those sharing their opinions had less then complementary things to say about them. Including me. At that point and time, my thought was that wear should be honest wear, but I sometimes balanced that thought with the fact that other folks can spend their money on whatever makes them happy. But that doesn't mean I wasn't parroting a lot of the things that some of the others were saying.
About 2010, I decided I needed to get myself a Tele. I test drove Tele after Tele, and didn't like any of them. They either didn't sound right or didn't feel right or something. None of them were any good. Didn't like them. Every time I'd hit the local stores (the mom and pops and the big boys) I'd start pulling Teles off the wall, and not a single one of them spoke to me. I tried to like them. I really, really wanted to like them. Squiers, MIM Fenders, MIA Fenders, even a G&L or two. But not a single one of them was it. Did this for a couple of years.
I avoided the Road Worns just because they were...Road Worns. FInally pulled a 50s Road Worn off the wall mostly to exercise my confirmation bias against them. At that moment I think I heard that proverbial angelic choir, because there was absolutely no question that was the guitar for me. It felt good. It had the right weight to it, and the neck was the most incredible neck ever. I once described it to a buddy as being like that pair of jeans that you've had for years that you just don't get rid of because they fit perfectly and were worn in all the right places. I bought it.
Yes, it's a Road Worn. Yes, it looks like every other Road Worn Tele that was being made at that time. Yes, the neck has the same wear spots as every other maple necked Road Worn Tele (and Strat) since they started making them. Call me a poser and wannabe if you like, but it's the best feeling poser guitar I've ever picked up.
That very much started changing my opinion on reliced guitars. Then, in 2012, I got the chance to tour the Fender factory and they took us through the Custom Shop. We passed the area where the Master Builders do their work. I felt in the presence of royalty when John Cruz stepped out of his work area and watched as we awkwardly stared at him as we walked by. Then they took us over to where the Journeyman builders were working on the more mass-produced custom shop stuff. There was a line of 5 red Strats that he was working on that were all identically reliced.
I figured that they would be sold to the masses just like most of the others that come off the line. But then the one working on them told us that all 5 were going to the same individual (a famous player who we all know that is known for playing Strats). The player had recently decided that he didn't want to carry his famous guitar out of his studio anymore, so he was having the guitars in front of us built so he could grab one and carry it where ever he was going and not have to worry about his old, beat-up one being lost, stolen, broken, etc, but everyone seeing him play would think it was still the old trusted #1 axe he'd always used.
That changed my mind for good. If some of the famous players played guitars built as relics, then they're definitely not just for posers, and honest wear may not always be the best. I've got my Road Worn, and I've recorded with it, but, honestly, I've never played it out. It's a fun guitar. It feels wonderful, and plays nicely. And shouldn't that be what it's all about? Does it fit you like you want it to and give you the sound that you hear in your head? Then it shouldn't matter if it got its scratches on the road or in the factory,
Honestly, what's the difference in a "poser" buying a Road Worn or other reliced guitar brand new and that same person going to Reverb (or the local Guitar Center) and buying a guitar that is just well used? Either way, both of them look used. One just happens to look like 1000 identical guitars because their wear patterns are the same. Either way, they both look like a used guitar. And who cares if it's a 15 year old in a high school garage band playing it. Maybe that beat up '65 Strat they're playing was something they inherited from a relative that gave it all that wear "honestly." Are they still a poser because they didn't give it that wear?
I'm firmly in the "I don't care" camp. You know what? I also don't care if you salt and pepper your eggs more than I like because it's not me eating them. If you like the look of reliced guitar, and that's what gets you to play it, then buy it. If you like the look of a brand new, pristine axe then buy that one if it's what's going to get you to play it. Be sure it feels good. Be sure it sounds good. Be sure that you can live it. Just get whatever guitar makes you happy.
Whether it's brand new with not a scratch on it or reliced so much it's bare wood, more power to you. If it's the guitar that will get you to play more, then that's the one that you need. Because when it all comes down to it, who cares whether you're playing rock or blues or country or dubstep or whatever, and who cares what you're playing it on. Just be sure that you're playing it. Too often we confuse ourselves and make it about who we're a disciple of or the tools of the trade, but it should be about the music. If it wasn't for the music, then we wouldn't have a guitar to begin with.
Tone snobs. Boutique braggarts. Posh posers. Those who engage in general cork sniffery are everywhere. They're not just guitar players, but we guitar players can be pretty brutal to each other because of it.
I must confess, that I occasionally request a cork so I can breathe in its bountiful bouquet and flavorful aroma when it comes to guitars and gear. However, it usually doesn't take long for me to realize that I have partaken of the highbrow snobbery and come back to earth.
Most of my tone snobishness is around having a particular brand. One area that I do tend to be a bit of a sniffer is with my Strat. Fender makes Strats. Nobody else does. A lot of companies make a most excellent Strat-copy that is sometimes a superior instrument to the ones that it copies, but it isn't a Strat. On the other side of that, I believe that my Epiphones are generally better guitars than my Gibsons that cost twice (or more) the price.
I have a couple of SS amps, a hybrid amp, and tube amps. Sitting in my music room, I prefer the sound of the tube amps. They have a warmer, more organic tone than my others. But put those amps in front of a crowd in a loud room, and the vast majority of those listening aren't going to hear the difference. I'm not currently playing out, but, depending on the gig (if I don't need an actual amp), I have a Fender Mustang Floor that I am very open to using. Its amp sims are really not that bad. Then, all I have to do is carry my guitar and something the size of a small pedal board, and I can feed the sound tech whatever tone I want them to hear.
Technology continues to move forward so that the SS sims and the hybrid amps are getting more and more believable, and they're difficult to tell apart from the tube amps these days. Don't believe me? Go test drive a Kemper, and tell me anybody in your audience is going to hear the difference in it and the 400 pound AC30 or Fender Twin you haul around. Not saying that the Kemper is cheap, but neither are those amps, and the Kemper only weighs like 15 pounds instead of 70.
I like pedals, and like every guitar player, I have a drawer full of them. Many don't get used often at all. I've got boutique pedals, regular pedals, and cheap pedals. Looking at the OD pedals, I hear slight differences in the Klon KTR, the Wampler Tumnus, and the EHX Soul Food. I can't hear enough of a difference in them to really justify the price difference between them. That's not necessarily good or bad. Some can hear the difference in them. I'm sure that Bill Finnegan and Brian Wampler can (otherwise why would they have made them). I can't. Consequently, the Tumnus is usually on my board because I'm a Narnia fan. However, my preference is the Soul Food because it's the cheapest of them. All three are good pedals. Correction, all three are great pedals. Use the one that fits your budget, sounds the way you want it, and makes you happy.
Which brings me to guitars. I've got guitars that are all over the price spectrum. As I've mentioned, my Strats are Fenders. I try to be honest to others and to myself and admit that it's because I want the name Fender on the headstock of them. That said, I have MIM and MIA, and they're all good instruments. I've got Epis and Gibson, and they're all good instruments. I've got "cheap" guitars that sound and play better than some of the expensive ones, and I've got expensive ones that there is a reason that they cost what they did.
Here's why I don't believe that I'm a tone snob. When I started playing back years ago, when you walked into a guitar store, it seemed there were the beginner guitars that everybody started with, and there were the pro guitars that everyone wanted to play into. The beginner guitars were definitely inferior instruments. They were generally made from inferior parts, they sounded like the cheap instruments that they were, and most of them you had to fight to play. I wandered into the local Guitar Center yesterday, and they still have a handful of those beginner type instruments, but, by and large, the gap between those less expensive guitars and the expensive ones seems to be continuing to close. Going back to my Strats, I heard somebody just this morning say that they "would never pay that much for a MIM Fender." They were talking about a MIM Fender that was almost as expensive as the lowest MIA Fender.
Now here's my problem with that mentality. The person making the comment was implying that the MIM guitar was not worth the asking price. To that person, I guess that may be the case, but when you look at it from an overall perspective, that MIM guitar was every bit as nice as some of the ones that are MIA. I've got MIM and MIA Strats, and some of the MIM Strats actually cost more than the least expensive MIA Strat. Granted if you adjust their cost for inflation, that may not be the case, but dollars out of my pocket at the time it is. If you look at the MIM guitars, the fit, finish, playability, and quality have been great in my opinion. How they compare to the MIA guitars can be argued, but, if you're buying it for the MIA on the back of the headstock, at least be honest enough to admit it. Just because that is on it doesn't meant that it is automatically the better guitar.
There are also cork sniffers on the other end of the spectrum. I know one guy who hasn't paid more than $300 on any of his guitars, but he's put $1000 in mods into every one of them. He also has nothing good to say about any piece of gear that would be considered boutique or even that cost more than what he's willing to pay. He also swears up and down that he's not a cork sniffer because he doesn't own any "nice" gear and his favorite amp is a SS amp. What he doesn't realize is that he's still a cork sniffer...he just drinks 2-buck Chuck.
To me, it boils down to the old saying that beauty is in the eye of the beholder. I like, and have, some really nice gear that cost enough I had to scrimp and save for it, and I have some really economy gear that I bought on the cheap with the change in my car's ashtray. My take is whether or not it makes me happy. My Strat says Fender on the headstock and not Suhr (or any other copy). That makes me happy. My Les Paul says Epiphone and not Gibson. That makes me happy. I have gear that falls all over the economic spectrum. I have pedals that cost $15 sitting on my board next to a pedals that cost $300. I have SS and tube amps. But it's because that's what makes me happy. I try to be open minded about gear. As long as I believe it's quality, then it's a contender.
Play what makes you happy.
That's not to say that tone snobbery is always bad. Heck, if the old urban legend is true that Eric Johnson can tell you that the battery in a pedal is a Duracell and not an Energizer, then I guess he deserves to be as much of a tone snob as he wants to be. I can't hear that difference, so I can't say that I care about that. Besides, I use a power supply anyways.
I also like Dominoes instead of the trendy neapolitan pizza place downtown. And In N Out and Whataburger most of the time instead of the gourmet burger place up the street where the burger by itself costs more than the entire combo at one of the other places. That's not saying that I don't like the gourmet burger. Truth is, the gourmet burger place has one burger that I would have to say is one of my all-time favorite burgers. I just don't need to eat that one all the time.
Snarf is a wannabe musician who currently resides in the great state of Texas. His wife is his favorite. If Coca Cola was alcohol, he'd be a raging alcoholic. He dislikes going to the grocery store. And he still misses his dog who was taken by cancer 2 years ago. Check out his Reverb shop and see if he has any gear he's trying to get rid of.