#16
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Julian Lage is one of those guys that makes me want to throw my guitars out the window. Having said that I'm not crazy about the sound of that guitar - not ideal recording conditions for sure but still....
Very interested in that emerald archtop and how it sounds, especially acoustically) - I was a CF guitar owner for a period (composite acoustics gx)
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National Resophonic NRP 12 Fret Loar LH-700-VS Archtop Eastman E8-OM Herrmann Weissenborn Recording King RP-10 Recording King RG-35-SN Lapsteel Maton 425 12-string ESP 400 series telecaster Eastman T485 Deering Americana Banjo My Youtube |
#17
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Quote:
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#18
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Quote:
I was interested in the Kestrel too. I was in Ireland last year and dropped by Alistair's factory (3 times). I almost bought a guitar they had in stock before I left, but after some soul searching I decided to go for a custom. I played almost the entire range of guitars they had available in their showroom and found the ones I most wanted to take with me were in no particular order the X20-12, Synergy and Kestrel. I suck at Jazz chording and knew that could keep me busy for a while, so after negotiating with Alistair for close to half a year we went with the Kestrel that you see linked. I come from a horn background and my primary instrument is trumpet. I can somewhat play another dozen instruments and got an X20 (6 string) back in 2013. I have been enamored with CF guitars ever since. The Kestrel has two distinct acoustic sounds that I like. One is light jazz chording shapes with fingers and enough fingerpicking of a melody in between to get to the next chord. The other is moderate to hard strumming to keep the rhythm going in a small ensemble. I tried to take the melody in that small ensemble too with the Kestrel. It was OK - actually better than the X20, but I have to work on my technique a bit more. I doubt I'll be bringing it by to see you anytime soon since you live some 9,000+ miles away (15,000 km). You might want to talk to lat18 about the Kestrel. I believe he has a Loar 700 too and played the Kestrel for a few days this past summer. I still need to work more on set up and will be telling why at some point (just cosmetic reasons), but it's definitely not the same as an older L-7. I can't say whether it's better or worse. If I had to choose between the two as I was running away from a fire, I'd be more likely to grab the Kestrel. I'll have to compare side by side to be more sure and may have an Epiphone I can borrow instead if I play my cards right. If you are interested enough, I would do what lat18 did and order a stock one. Try it for a while and then send it back if you don't want to keep it. I had the advantage that I played the two that were sitting in Ireland, so I knew the sound was good enough. Is it the sound I'm chasing? I don't know, but the vote's still out.
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Cheers, Tom PS If you don't want to invest in yourself, why should anyone else even bother to try? |
#19
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Hi Howard, just caught up with this. Couldn't help laughing. As my Dad was the last to go 35 years ago, and I have no idea who the owner of the school was and can't even find the building on google maps I doubt I could trace them.
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Silly Moustache, Just an old Limey acoustic guitarist, Dobrolist, mandolier and singer. I'm here to try to help and advise and I offer one to one lessons/meetings/mentoring via Zoom! |
#20
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Any other reviews on this Waterloo?
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#21
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I hope practice and talent aren’t required to play this well.
Agreed the treble action was a bit low. Seems like he wanted to make a few statements that were subdued.
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Multiple guitars including a 1979 Fender that needs a neck re-set |