BEST GUITAR FOR STUDIO RECORDING?!?

[CTPAX]

The two best guitars I have ever played with are a Washburn Dime Slime and a Ibanez model from the Vai signature series. But what should I get for studio recording.

Any ideas?

[JM]

One that sounds good to you when you play it?

[CTPAX]

Well there is quite a difference comparing live to studio, don't you think?

[JM]

There could be, or maybe not at all. There are guitar players in all types of music some who never stray from one guitar live or in the studio and others who bounce around from one guitar to another live, in the studio, or both.

It's like your recording questions, there are no formula answers, there is no guitar that is better in the studio than another. However depending what you are doing one guitar might work better for you than another on a particular song or track.

[Brad Gallagher]

Gotta agree with JM... there is no best... only what has worked in the past. Take your Dime Slime into a country session and you will quickly be shown the door (headfirst, most likely ;-)

Try to be more specific in your posts as far as the style you are playing, etc and you will get much more useful answers.

[CTPAX]

Yeah, sure http://www.audioforums.com/forums/smile.gif

[McGee]

Studio, and live-wise, I'm the kinda guy who just uses one axe whenever possible. My current jack of all trades is a Brian Moore MC-1 with Seth Lover (seymore duncan)humbuckers. I can't say enough about this guitar, although I did buy it before they moved production to Korea, and I have no idea if the quality is still what it once was.
I bought it as a replacement for my Jem 777V. I really prefer this guitar. I can go funk, jazz, blue, rock, heavy, whatever. I normally I run through a Mesa Boogie Mark IV which is another jack of all trades, although I must admit there's nothing like an old VOX AC-30. The classic style of the axe lets me feel at home anywhere. (generally a strat shape, but very contoured, with the most beautifull flame maple top I've ever seen accented with a cherry burst.) I almost got laughed out of my college jazz ensemble when I took my JEM out of it's case. The MC-1 intonates better than even I believe, has a full thick tone, and can sustain for days (You can go out 'n have a bite; when you come back you'll still be hearin' that one. Ahhhhh... ;0P) Strictly studio speaking, and strictly Jazz speaking, I'd love an L-5, or a Super 400, but these would be more the styling of a classic Jazz archetop. I just can't see spending that kind of coin when I already have the sound (well, close enough for me. Nothing does a big bodied archetop, but a big bodied archetop.) I highly recomend checking out an MC-1. They cost a bit more than a JEM, but when you get your hands on one, you'll see why.
Just keep your options open, and buy what you like the sound and feel of. I've played some real cheap, ugly guitars that played, and sounded amazing. For studio work that's exactly what you want.
Good Luck,
McGee
ps: Brian Moore's customer support sucked the one time I needed it. (which was about 5 years ago) eventually everything was worked out, but it took way too long, and they were very rude about it.
pps: I've only ever played the MC-1; I have not heard good things about the rest of their line, but I have no experiance with them.

[HyFyGy]

Can't say much for YOUR situation, but I use Mexican Strats...

They please my fingers and ears, and they are cheap enough that you don't really care if they get beat on, or thrown around....

Studio use is hard on a guitar....Road use is harder of course, but If I had a nickel for everytime a musician, laid my guitars down on the control room couch ON TOP of his car keys.. I would be rich!
I swear there is a map of bolivia carved into the back of the body....

[Gentleman Of liesure]

I used to play Carvins live and in the studio and I still do. They use some of the best hardware available for guitars if you like Wilkinsons/Original Floyds and Sperzels. However, I don't use their pickups- I use Seymour Duncan JB-bridge and that jazz SH-2 in the neck. I play their TL60T tele model. You have your choice of a ton of different woods/combinations to build the guitar and every other feature you can think of available as well. A great deal, Carvin guitars. My favorite neck in the universe. After all, it is all about feel, right? The rest is secondary, in my opinion. Compare a Carvin with just basic features at $629 to the highest priced Fender you can find. What do you have when you choose the Fender? Some poor sap who paid for a name. That's all it is. A name and a tradition.

"I don't wanna get off on a rant here."

Anyway, another brand you (and everyone) should check out is a no name brand that I love. Well, they're really not a no name, it's just that they don't market already-built guitars. They're called Warmoth. They are a guitar parts company based in Puyalop, Wa. and you may have played some of their necks and/or bodies without knowing it - They are a major supplier of necks and bodies to Yamaha, Pensa Sur, some USA made Jacksons and many other top guitar brands. They also are an authorized replacement of Fender bodies and necks as far as Fender's mesurements are concerned (you can buy a strat and replace it's neck or body with Warmoth's), only Warmoth's version of Fender's neck is much better. You can buy all the guitar parts from them directly and build your own dream guitar, easily for under a grand. And like Carvin They have tons of wood and other features to choose from, such as a compound radius fingerboard, which is the coolest invention ever for guitar necks. Tons of body styles available, too. Custom routing options, etc. When a factory guitar won't cut it, consider having your own made exactly the way you want it, right down to the placement of your vol/tone knobs and for a great price. Many independent guitar builders out there, but not for this quility/price value. They will give you everything you need from the body to the hardware and your choice of all. They'll even paint it. They just won't build it. That is for you or your tech to do. I own their version of the P-bass 5-string w/ compound radius ebony fretboard and two fat Music Man style humbuckers (Seymours)(price-$909.00) and their SG w/ a Wilkinson, same type of fretboard and Seymour humbuckers (price-$1010.00). I have never played a better guitar or bass in my life and I've played some guitars and basses. Amazing stuff, Warmoth. Check 'em out at Warmoth.com and good luck.

[ooz]

hi,
live and studio are two types of shoes,
even for one and the same guitar. if u like the sound of your axe perhaps u try this: for each recordingsession new strings, change the space of the strings upon the fingerboard, so that the strings have more space to move and sound. maybe lock the frloyd r. when not used. i use different types of guitars AND i use them in different ways.
my axes are gibson lp junior
fender tele
ibanez as 80
washburn n2 and a noname strat with a vintage tremolo
hope it helped

ooz

[marpix]

I recently purcased an American Strat that I record with. One of the best investments was the J-Station by Johnson that allows me a plethora of amp sims, that are really unbelievable. The Strat can produce a very clean sound or w/ the right effects be trashy. It all goes back to what you like and is a personel thing. Of course you could start the debate on which Guitar neck is fastest, which pickup is hottest, which amp is warmest etc..ad-infitum. Which arguement are you trying to start?

[Rv-Sound]

I couldn't agree more with those "each to its kind" comments. But just recently a friend of mine bought a $500 bucks PRS Santana model made in Taiwan. Contrary to my beliefs, this guitar was just great for the studio, with a wide arrange of sounds.