tomteriffic

Once again, Feynman says it best. My '82 is one of the very few that rates a name. I call it "Reckless Abandon".

Most Esteemed Redhead likes a lot of mine and has encouraged me to buy a few. I just asked her what her favorite was. She said she didn't know. After a moment's thought, she said "the Longneck". That's an Ovation 1778 T Somethingorother that has two extra frets at the far end of the neck and is meant to be tuned to D. She likes it because she can decide that a key like Eb or F# for some folkie thing or another is the right one for her voice and I won't kill her. Capo a fret down and full open string folkie jangle is restored and I don't have my knuckles in knots.

PM sent on the Daytona, best of luck on the move.

I was about to say the same thing.

"John Hiatt Comes Alive At Budokan" (no, really)

I had one of those, three piece back and all. I think it's a 612 model Despite it's eye-popping beauty, the low end was lacking on mine and it moved on.

Boy, there are so many variables (body, shape, size, depth, bracing, etc.) that it's really difficult to make a clear-cut comparison. But, in general, I'd agree with you about the spruce/cedar equation. Out of the box, cedar sounds like sprice that has had 50 years to mellow. Body woods, I'd rate from high to low in terms of tonal centers: Maple Mahogany/koa Rosewood. Having said that, there was a certain acoustic tone I was looking for at one time. The general principles would steer me toward a rosewood dreadnought and i tried a zillion of them (I worked for a Martin, Guild, Larrivee & Gurian dealer at the time, this was pre-Taylor era). I eventually found it in a rosewood/cedar 000/ON size. Go figure. As far as "balanced" I suppose that depends on what you mean by the word. If you start at a dreadnought, which was orignally designed to add some bottom end and to keep up with a bunch of fiddles, mandolins and banjos back in the holler, that might be the balance you're looking for. On the other hand, a small-bodied cypress and cedar gut-string might be "balanced" to another set of ears. To me the most balanced acoustic I own is a rosewood & spruce 12 (000) size Taylor that is about 20-something years old. But just yesterday I got snuck up on by a 45 year old Martin 0-18, very small body mahogany and spruce with a surprising bass quality to it that kept up with the midrange and treble that you might expect from a small-bodied mahogany/spruce jobbie. So there you go.

TTT, need to move this.

Nope, but that'd be a fair guess. He did offer me two wolverine pelts and a busted bow string for it, though. It'll be cool and I'd bet on it being posted here sooner or later.

The case went byebye. I can't wait to see what it winds up umm... encasing. Knowing the buyer, it ought to be coolness on a stick. Now will somebody puhleeze make me a reasonable offer on the Strat???

IIRC it's some sort of cast resin.

I always wanted to get this one for my little folk 'n' roll trio.

Having sold the original ESS speakers with them, way back when I can attest that they had upper mids and top end for miles. The challenge that ESS had was coming up with a low mid/bass system that could keep up. You had to get to the top of the line before you got a reasonable extension at both ends of the spectrum. By the response plots, it looks like they have that licked. Also, from the plots it looks like you're still going to have a smallish sweet spot. For most small studios that isn't an issue, though. I still wonder about the relative "speed" of the AMTs relative to conventional piston drivers. Just for what it's worth, I never was crazy about KRK's, they wear me out after an hour or two. But they sure are ubiquitous.

BTT

A bump since it won't go away.

Methinks that Rev. Stikeleather had a hand in this.

Almost forgot.... Seeker's blueburst quilt top Studio Custom

I want Serial's MGD 12-string. I think he has it, anyway....

That's why I didn't sweat it when the Duo showed up with the TKL.

+1 on the GC thing. I got a Duotone custom from them with what was supposed to be an OHSC. It came in the correct model TKL, but without the Hamer logo. Since it's a working gig guitar for me, I don't mind beating up the case a little now.

Korina Junior or BCR Junior Korina Standard B-8 or 12 Newport 90 Wraptail Artist

I haven't forgotten

No definitive answer one way or another, but there was a bit of industrial espionage going on in the Far East electronic component world a few years ago. One cap manufacturer swiped another's electrolytic recipe. Trouble was, the recipe wasn't finished yet and there was a whole rash of electronics out there with bubbled, split, etc. filter caps. I know that the Panasonics were not affected, for whatever that's worth.

Oh, the other feel-good story of the year was that "Dying To Make It" made it. i wasn't able to see it but was proud to have done some eensy-tweensy part toward making it happen.

Almost too much cool stuff to recount, and if I was awake, I'd probably remember some monumentally silly threads that went by. A highlight on the board was Ana's (BlueRedWhile) first gig with a Hamer thread. And Kiz inexplicably returned. Three acquisitions were particularly good. Toby's Chap 5, a Rivera R-55 from Brent, and BCR Greg/StevieDamn Clay made me an offer I couldn't refuse on an Elipse 12. The last two will see action tonight and the Chap 5 got its first real workout on a recording project a couple of days ago. I'll probably think of something else mid-song tonight and make a mess of the tune.