BurtonCCC said:
A believe a good guitarist can use one guitar to make any sound he wants.
And I have been playing for about 8-9 years and recording my own stuff for about 3, so I've got the playing part down, don't worry.
I do still want to learn some classical guitar because I never learned to read music other than sight reading for singing.
Thanks for your post.
Truly, Daniel.
reading music on guitar is what many guitarists consider the final frontier...where doing rock and roll by ear is simple, and improvising jazz is a little more challenging, reading any sheet music, regardless of style, is hard, and some say painful, for guitar
since guitar is a such an easy instrument to improvise on, it's not the natural tendency of many guitarists to sight read so when one masters that, it's considered perhaps the pinnacle of being a great guitarist
when i first heard about music theory strongmen joe satriani, steve vai, and kirk hammett, i knew rock music was about to experience a major shift in musical ability that would touch a whole new generation of rock guitarists in a positive way
of course, many in the jazz and classical guitar worlds already had theory and sight reading down pat
you will enjoy any taylor, and while i have had the vintage martin, ovation, and gibson acoustics, the taylor (and santa cruz) guitars have always usually been better at every price point than the big three of martin, ovation, and gibson (one can also include takamine, especially in the country and western scenes)
as far as the '52 telecaster, that is a guitar some like you and me love, but most don't like very much...it's like a gretsch hollowbody, 12 string rickenbacker, or parker fly guitar...all nice instruments but never destined to be as popular as fender stratocasters, gibson les pauls, and superstrats (of the ibanez and jackson) varieties with their double locking trems, 24 frets, thin necks, and very high output pickups
when i sell my esp/ltd viper, which is definitely a metal guitar, and my ooo-sized yamaha steel string folk guitar, i will be left with just my ibanez artcore hollowbody which i will do everything with...but if i got back into serious performing again in acoustic singer songwriting circuit, i would definitely choose a taylor over today's martins, takamines, and gibsons...i have never seen a bad taylor in my life
the only other company i have never seen a bad guitar from is takamine
as for electrics, i have seen bad examples from every company out there except for paul reed smith guitars, whether it be a $500 dollar SE to a $5,000 dollar one of a kind custom shop model but for some reason i don't like the neck joint near the higher frets and i don't like the headstock, but that last part is mostly cosmetic
the above mentioned parker fly is just too strange for me to get into as far as looks, but that guitar comes closer to "doing it all" than anything i have ever seen with it's traditional electric guitar pickups and the acoustic sounding piezo saddle pickup and the local music store where i live never lets anybody touch that $3,000-$4,000 ($5,000?) dollar instrument and they keep it hung up very high out of reach in a horizontal position so unless you are eight feet tall, you won't be able to touch it...but when the store gets slow, all the workers get the ladder and pull that puppy down and plug it into the $10,000 dollar diezel all tube rigs
i have my eye on the cheapest basic diezel amp head, but that's three grand after discount!! ... and it's really only a fantasy amp i would never buy in real life
but taylor makes great stuff in my price range (big baby $349 street, 110 dreadnaught $499 street) and if i can justify it, that would go along nicely with my ibanez hollowbody and a small portable amplifier like a roland cube for small jazz gigs
