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If I were going to Jamfest I'd get something I could smash, like an Esteban on ebay.

What Light said, and I'll add that you should make certain that the peghead doesn't move at all...take extra time with that. You should able to confidently throw your guitar in its box off a two story building without damage.

Elixers. 11-49 or 12-52 on the jazzers.

If you plan on playing guitar the rest of your life you should keep your first guitar if possible, even if it's a piece of junk. I don't know what became of my first guitar, the oldest is my fourth from around '64 or so and would never be sold, but that has more to do with it's Viet Nam...

Is it still under warrenty? I'd tend to go through Line 6. A side note; There's an extremely dangerous problem, at least on the Variax acoustic that they should have addressed. If a string breaks at the bridge end there's no containment and the ball end is free to roam about board and...

Bought mine when they first came out and have had no problems with it at home or in the field. Don't like the small screen though.

I thought the thread was about groups, but if we go into individuals then you've got to include the likes of Dick Dale and Duane Eddy. 16p, 18p, 20p. 38w, 48w, 58w. That's the strings he's using now....he's gone to a lighter bottom end, down from 60's. I just looked his bio and a lot of it...

It's cause they're still kind of used to being a tree.

Back in the '70's when I had a band we'd go over the 'surf' instrumental subject a lot...who started it, who was best, who was most influential, etc. I still don't know, just the records I bought in the '50's. We sort of came the conclusion that anything before 1962 (when surf movies hit it big)...

They were certainly the most commercial of the guitar groups, but I've got to go with the Fireballs as being more influential to me....and on a slightly earlier timeline. http://www.fireballs-original.com/history.html

You got that right. Some of the Norlin era electrics are great. My ES 150D is as nicely made as anything they've done. Their acoustics back then were hit and miss though. Hell, people have been complaining about Gibson's QC for over 100 years.

If it's the last Gibson they had, I wouldn't expect much. That said, I haven't cared much for what I've seem coming out of Memphis. For that kind of money I'd look at a Heritage if you want to go domestic, or Eastman for overseas.

I've always used boiled linseed oil (make sure it's boiled) over lemon oil, it lasts a lot longer. It's an age old trick in antique car circles to get it into the joints of wooden wheels whenever they're used in desert conditions.....something they got from the wagon days. Once a year is...

Yeah it's nice to look at those VU meters and see them at absolute zero when idleing. I just look at it as a tool that allows me to do things quicker and with less hassle. It hasn't replaced any of my acoustics but it's certainly one of the group for live and recording. If stolen I would...

Generally for live I use it in a supplimental role but have done gigs just using the Variax. They have a huge advantage over acoustic/electrics in volume headroom and tend to sit in the mix a lot better. If your comfortable in the transition to a solid body then it should work great. On the...

At best you could effectively use swear words in a song like seasoning when nothing else would do, unless your market is that part of youth that thinks they just invented swearing. It sure limits playability.

That's news to me, I didn't know they made a 300 version. Still, I think a 700 acoustic is a lot more versitile. The nylon however would be nice cause there's things you just can't play on steel strings. Looks like a $600 street price...not bad.

I don't see how you could possibly get a cd out of a 2488 with enough volume. With the 2488 and the 788 before it, I always mix to the computer and tweak things from there. I use Sound Forge but there are many great software programs. How you get volume out of you mix is relative to what you...

Try to be objective rather than critical, and take the song through the process of development. Whatever first sparked you; a riff, hook, or lyric, may well be unique and worth something. The beauty of home recording these is that tools to develop songs are cheap and always there for you to use.

Good analogy. Yeah, it's just a crayon....but certainly a primary color.