Collings Eastside Jazz LC
- Thread starter Mark Wein
- Start date
Help!I'maRock!
Mediocringly Derivative
I've actually custom ordered a guitar in that finish before
Why? Couldn't you afford a Fender?
Apparently not.
Beautiful guitar. But $4950 is a lot of coin. You'd have to add a LOT of lessons to your schedule.
Submitted for your consideration,
$1299.
Thats nice, too...I need to try one.
I'll most likely end up with an Eastman: http://www.eastmanguitars.com/archtops-ar403ce-sb or http://www.eastmanguitars.com/archtops-ar371ce-bd
Kerouac
weird musical dildo
The 610CE is the one I played at Carter Vintage that I loved. Beautiful guitar, but I don't jazz hard enough for it.
Sent from my iPad using Tapatalk
Flamencology
You don't deserve koa.
http://www.godinguitars.com/godin5thavenuejazzp.htm
Great "cheaper than Collings" option.
More expensive than most of the 5th Avenues, but trust me; much better.
Great "cheaper than Collings" option.
More expensive than most of the 5th Avenues, but trust me; much better.
Flamencology
You don't deserve koa.
I don't think that that's an issue that factors into it. A lot of great jazz players play solidbodies these days, and there's no reason why you can't play anything else on an archtop.
Dogsinplastic
avuncular to no one
Dogsinplastic
avuncular to no one
This kind of speaks to the other thread...the specific instrument isn't as important as the music played upon it. That said, we guitarists (more so than many other musicians) seem to need the perceived "right tool for the job". When we do try to broaden our palette of skills, we accommodate the addition of the proper instrument. So you want to play country, get a Tele. Want to play blues get an LP, Strat, or 335 style.Want to shred, get a superstrat. Bluegrass? Get a dread...etc. So to play jazz and be serious about it, you need at least a semi-hollow, but preferably a full hollowbody. It sets a mood that we like to occupy when working on a particular style or technique.
Or is that all justification for our gear obsession?
I think it's the latter.
Whatever instrument it takes to inspire is cool in my book. Unless it's anti-pelican music. Pelicans are cool.
Kerouac
weird musical dildo
I don't think that that's an issue that factors into it. A lot of great jazz players play solidbodies these days, and there's no reason why you can't play anything else on an archtop.[/QUOTEIdea:
I know. But I'm trying to downsize and upgrade at the same time, so an instrument that really doesn't fit otherwise into my stable isn't very high on the priority list. If I end up with a spare $1800 and nothing to spend it on, why not?
Flamencology
You don't deserve koa.
This kind of speaks to the other thread...the specific instrument isn't as important as the music played upon it. That said, we guitarists (more so than many other musicians) seem to need the perceived "right tool for the job". When we do try to broaden our palette of skills, we accommodate the addition of the proper instrument. So you want to play country, get a Tele. Want to play blues get an LP, Strat, or 335 style.Want to shred, get a superstrat. Bluegrass? Get a dread...etc. So to play jazz and be serious about it, you need at least a semi-hollow, but preferably a full hollowbody. It sets a mood that we like to occupy when working on a particular style or technique.
Or is that all justification for our gear obsession?
I think it's the latter.
Whatever instrument it takes to inspire is cool in my book. Unless it's anti-pelican music. Pelicans are cool.
Y'know, I tend to agree with that mentality, to some extent. Getting an accurate sound for some styles - classical, flamenco, gypsy jazz, etc. - can be damn near impossible without a somewhat specific instrument.
Once you put a pickup on it, though, it's a whole other ballgame.
Jbird
Kick Henry Jackassowski
Flamencology
You don't deserve koa.
Slayer?
There's no reason to play Slayer on a fucking stereo.
GreatDane
"up yours, baby."
I've in fact played Slayer on an arch top. Sounded pretty much like, well... slayer.Slayer?
Well, in this case my need for an archtop is because I am going back to school in a year and the program is very traditional. Playing a strat or any other solid body guitar would not fly with the professors I'll be dealing with. I have a semi-hollow McFeely in the works that will probably be closer to the sound I actually want when I play jazz but I have to do the music school minstrel show for a couple of years as well. Honestly I might just go buy the $400 Ibanez I saw at GC and use that to learn on for the next several months since I'm not really making any money right now as it is. When I can afford a better instrument I'll just get what I want and not compromise then. I do still like the idea of the Eastman although I have a friend who has a late 70's Ibanez that he had gotten for about $300 that is a great hidden gem as well. Now over a grand on eBay though: http://www.ebay.com/itm/Vintage-197...530?pt=LH_DefaultDomain_0&hash=item4aecf2e63aThis kind of speaks to the other thread...the specific instrument isn't as important as the music played upon it. That said, we guitarists (more so than many other musicians) seem to need the perceived "right tool for the job". When we do try to broaden our palette of skills, we accommodate the addition of the proper instrument. So you want to play country, get a Tele. Want to play blues get an LP, Strat, or 335 style.Want to shred, get a superstrat. Bluegrass? Get a dread...etc. So to play jazz and be serious about it, you need at least a semi-hollow, but preferably a full hollowbody. It sets a mood that we like to occupy when working on a particular style or technique.
Or is that all justification for our gear obsession?
I think it's the latter.
Whatever instrument it takes to inspire is cool in my book. Unless it's anti-pelican music. Pelicans are cool.
Flamencology
You don't deserve koa.
If I were you, I'd wait a year.
GreatDane
"up yours, baby."
I think waiting to get what you really want is always the best answer.