Thanks, Carlisle Blues. I agree. It was an interesting return, too, since I was once a music major before leaving school for a while, since I needed an income. I eventually went back, but I got English Lit. degrees. After the layoff, I really didn't want to resort to drinking or cheesepuffs and daytime TV, so I decided on a new instrument.
You have very cool guitars, and I've been tempted by something like a 356 or other hollow or semi-hollow.
I started with a Fender Highway One Strat, the first iteration, which is basically an older American-Series body and neck (but with a vintage-style truss rod and a thin lacquer finish), with Classic Series hardware and electronics. I played it enough to completely wear down the frets, so while it was with a luthier for about a month, I bought a Japan-market '62 reissue Tele, the unbound model with American Vintage pickups. The acoustic is a Martin 000-15.
I also have my father's old Harmony archtop, but it's close to unplayable, and his Gibson B-25. He bought the B-25 in the early the early 70s. It's a good example of how dodgy Gibson's work could be in the mid-late 60s, with gobs of glue sticking out from the binding and a bow between the soundhole and bridge, but it has some mojo, as well as a label-maker sticker that reads "Sister Maureen."
You have very cool guitars, and I've been tempted by something like a 356 or other hollow or semi-hollow.
I started with a Fender Highway One Strat, the first iteration, which is basically an older American-Series body and neck (but with a vintage-style truss rod and a thin lacquer finish), with Classic Series hardware and electronics. I played it enough to completely wear down the frets, so while it was with a luthier for about a month, I bought a Japan-market '62 reissue Tele, the unbound model with American Vintage pickups. The acoustic is a Martin 000-15.
I also have my father's old Harmony archtop, but it's close to unplayable, and his Gibson B-25. He bought the B-25 in the early the early 70s. It's a good example of how dodgy Gibson's work could be in the mid-late 60s, with gobs of glue sticking out from the binding and a bow between the soundhole and bridge, but it has some mojo, as well as a label-maker sticker that reads "Sister Maureen."
