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#1
12-12-2018, 10:49 AM
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Design error with the Taylor T3??
I'm guitar hunting, have been for a while now. Haven't bought any, trying to decide still. It started with an Epiphone Joe Pass Emperor II. Then a Gretsch G5420T. I was ready to pull the trigger on a Godin 5th Ave... but which one? I like the in-between sounds of the Filter'Trone pickups (between single coil bright and humbuckers scooped mids).
Maybe those are all too big though... so then the semi-hollows came into play. That brought me to 2 guitars. The Godin Montreal Premiere and the Taylor T3. Both have a chambered centre block so you get somewhere in-between the full hollow and semi-hollow tone. I've played Taylor acoustics for years so I was leaning that way. But there was just something very weird about the T3 as I looked at it. Finally it hit me... that neck pickup is pretty far from it's ideal location. Why do that?? There are guitarists out there who will not play 24 fret necks because it shoves the neck pickup out of the "sweet spot". A lot of Jazz guitars have the neck pickup RIGHT at the end of the fretboard. I recall reading years ago that Yngwie Malmsteen plays 21 fret necks because the 22 fret sound worse in the neck position to him. So again... why would Taylor do this?? Almost every company has the neck pickup as close to the fretboard as possible I think it's simply a matter of tooling. They made the T5 first. With the T5, that stylized end of the fretboard didn't matter. Even there it doesn't make sense. If anything, extend the treble side and add some frets. Anyhow... With the T3 it's just weird. I really value the neck pickup tone, more than anything else. Some people will prefer this tone though. Perhaps if you like the tone of the neck and middle pickup together on a Strat. Has this been a deal breaker for anyone else?? Just look at it in this line up and you'll see what I mean;    
Last edited by Carbonius; 12-12-2018 at 10:59 AM. 
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#2
12-12-2018, 11:30 AM
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I love the Gretsch Electromatic Solid Center-Block series. I have a G5620-CBT
(I think that's the model number...) in black. It's a FANTASTIC guitar. I will admit that the Bigsby B-70 needs the "Biggs Fix" to quell the tuning issues that occur. In essence it reduces the string break angle. This simple "fix" has made this and my Reverend my main stage guitars. Stable tuning, fantastic sounding pickups, no feedback due to the solid spruce center-block. It is heavy...but it's worth it.
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#3
12-12-2018, 02:46 PM
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Have you considered the Taylor T5z?
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1950 Martin 00-18 RainSong Concert Hybrid Orchestra Model 12 Fret Eastman E20OOSS. Strandberg Boden Original 6 Eastman T185MX G&L ASAT Classic USA Butterscotch Blonde Rickenbacher Lap Steel Voyage-Air VAD-2 Martin SW00-DB Machiche 1968 Guild F-112 Taylor 322e 12 Fret V Class
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#4
12-12-2018, 04:02 PM
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Quote:
 ) - those Korean E-Matics are just amazing guitars for the money...A little bit of Gretsch lore from an ex-Brooklyn boy (my grandparents lived three blocks from the old 60 Broadway factory and just down the block from the South 5th Street drum warehouse) and lifelong owner, who has played several hundred (no exaggeration) Brooklyn originals since 1962: The G5620T-CB was (FYI it's been discontinued) a latter-day quasi-reissue of the rare cats'-eye 6117 (same model number as the sunburst Double Annie I've owned since early 1964) produced between 1964-66, differing in body construction (semi vs. full-hollow) and pickups (the original had dual single-coil Hi-lo'Trons) but nearly indistinguishable in terms of cosmetic appointments, including the red and black color offerings (approximately 100 of each example were produced during the original 1960's run). While there has been a good deal of conjecture regarding the choice of model number and design - single-coil pickups, individual volume/tone controls, cats'-eye soundholes - one persistent and reasonably credible rumor suggests that they were intended to be pitched to the Beatles, and marketed thereafter as both an endorsement model and permanent replacement for the older-looking/feeling Anniversary models introduced in 1958 (ironically enough, the 6118 puke-green Double Annie was a favorite of Brian Jones), hence the fusion of Gretsch and Rickenbacker features (FYI it bears a close visual resemblance to the obscure Rick 360F single-cut thin-body) in a single instrument, as well as the color choices (red similar to George's Tennesseean, black to match John's Rick 325); when things didn't pan out - perhaps because of their amp deal with Vox who was also producing guitars of their own, perhaps as a consequence of their own rapidly evolving musical sophistication and changing needs - the guitars were marketed with variations in hardware (Grover/Van Ghent tuners, ribbed/non-ribbed G-logo tailpieces - TMK none were factory-equipped with a Bigsby) depending upon when they were shipped, until existing stocks ran out in mid-/late-1967... FYI I was in a band with a guy who owned two originals - a '64 (Grovers/non-ribbed TP) in red and a '66 (Van Ghents/ribbed TP) in black, as well as what might have been a one-off regular-spec '67 Double Annie, in a dark blue finish resembling Rickenbacker's Azureglo - that he bought for $50-75 each back in the mid-70's; I played all of them, and while he can recoup his initial investment 80-100 times over on today's market, IME when it comes down to a reliable players' guitar our latter-day versions are far superior in every respect... You might also find this of interest, as a companion piece for your 5620T-CB: https://www.guitarcenter.com/Gretsch...tric-Guitar.gc Use it well, often, and LOUD... 
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"Mistaking silence for weakness and contempt for fear is the final, fatal error of a fool" - Sicilian proverb (paraphrased) Last edited by Steve DeRosa; 12-12-2018 at 04:25 PM. Reason: additional info
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#5
12-12-2018, 07:16 PM
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Quote:
I love the look of the Bigsby. I also like that it isn't as touch sensitive as other trem systems. On some systems you change pitch just by pushing a hair too hard while palm muting. So I want a Bigsby! I also like the various "Tron" over HB's sounds. I was chatting with Sean Jones over at TV Jones and he suggested I try their Super’Trons. It's the same as the TV Jones Classic but has blades rather then pole pieces. This lends to it's more natural mids and warm but clear highs. The blades also add inductance which adds a nice natural compression. Sounds like what I am looking for in a pickup. Single coil type open-ness but a fuller sound and no hum. They also stock the newer 3 way switch that has 2 rows for 6 settings. It's called a Free-way JJ Custom Works 3x3. You can get 4 different tones out the pickups together rather than just 1. 
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#6
12-13-2018, 09:56 AM
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Quote:
Acoustic guitars have a lot of really high frequencies. Those frequencies now hurt my ears greatly. I can't even play my 416 LTD anymore. I've tried piles of acoustics, but none work for my ears. Classical works, but I miss playing all the songs I wrote and miss using a pick at times. Also for leading worship services in church, a classical just doesn't fit the bill. I'm REALLY torn between 2 guitars. A Godin 5th Ave (full hollow) with TV Jones or a Godin Montreal (semi-hollow) with TV Jones. I can't play either before buying. The full hollow will probably be better in the strumming area but is bigger and may have too much acoustic tones. The Montreal is a nice size (ES335 ish) but may NOT handle the acoustic type strumming as well... Both guitars have rave reviews that place them in-between the Gretsch and Gibson tones. Sounds perfect for me.
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#7
12-13-2018, 03:58 PM
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Quote:
It reduces the string break angle allowing better tuning stability. I absolutely LOVE the tone and playability of my Gretsch. And I loved the Bigsby B70. But I had tuning issues (had replaced the nut right away to rule it out). I found the “Biggsfix”, read some info and decided to give it a shot. Life changing for my B70. Honestly, as much as I loved the guitar, the tone, and the playability...it was on the chopping block as I need my instruments to stay in tune. I play live and at times for extended periods of time. I prefer not to stop after every song to tune. This product is an absolute must if you have a bigsby. IMHO anyway. I also ordered the “ Super Squishy Spring” from him. It’s another “must have”. Makes using the trem a real joy. Very smooth. Far less pressure needed when using it. I palm mute often and no longer have tuning or pitch issues with this combo. The “Super Squishy Spring” allows less tension on the trem to use...yet still has tension. It’s just not as stiff. It really was the perfect compliment to this trem. Combined they have made this guitar irreplaceable to me. I’ve included the link to the spring below also. https://bricksbiggsfix.com/product/sss/
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#8
12-13-2018, 04:12 PM
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I’ve owned too many guitars to count, all of varying brands, models, price ranges, etc. and the Gretsch is the first and only guitar that I owned, loved, and used live that I ignorantly traded. I missed it terribly (even though the guitar that I traded for was a quality piece). I was blessed and fortunate enough to get it back some months later in the exact same condition. It will NEVER leave my stable again. I’ve moved numerous guitars out over the years. Some very expensive, nonetheless. Considering everything said...that says a lot about these guitars.
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#9
12-13-2018, 07:41 PM
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I have 2 Taylor T3Bs. They have some oddball quirks. At least they don't have the super fragile Gibson headstock.
 I'm slightly annoyed with 21 frets since I like to orient myself with 22 or 24 frets at the end of the fingerboard. Believe it or not, the neck pickup sounds fine. The push/pull tone pot is really cool and versatile. The coil splitter isn't particularly useful. The HG pickups can push overdrive and distortion nicely. They can easily be tamed if you back off the volume knob. I like the model enough to get a second. I got one at a Taylor Road Show for a substantial discount. I modded it with Lollartron pickups and a Stellar Tone rotary. If desired, the action can be set very low. Reminds me a lot of my shred guitars. Hand me a T3, Nashville Tele, and a super Strat and there's not much I can't do.
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#10
12-14-2018, 11:08 AM
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Quote:
The "Squishy Spring" is another cool idea. I didn't realize that Bigsby systems were so serviceable and customizable. Very cool. Thanks for the info!! I'm pretty close to pulling the trigger on a guitar. Sorting out how much I'm willing to pay, may put in an offer soon. It's SOOOOOO nerve racking for me to order something I've never played or heard in person. Return shipping on a guitar in Canada is often $200 by the time you insure it! 
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