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The one downside I think about guitar playingb isa how negative guitar players tend to be when ticomes to new ideas. They all claim to be rock and roll and open minded.... yet they're the absolute worst at accepting any nerw concept. Any former Harmnoy Centrallers here rememer when the Variax was release and so, so many of them fell over themselves to be the first to sneer "enjoy your toy" at anyone who consdiered buying one? Yeesh. Whiel my own preferences are, I fully admit, mostly rooted in the 50s, I still love to see new ideas come out. Though I can't imagine owning one (save if I had *massive* money, then I'd buy one purely to play blues and country rock on), I do still enjoy seeing the craftsmanship gonig into thel ikes of a Dean ML. So, in the spriti of positivity, what new ideas have you seen in electric guitar world that you really like and would love to incorporate into a guitar you might own? I'll put up a roasted maple Fender neck for starters. I'd love a nice, solid-colour Strat with one of those. It'd also look pretty damn cool on an acoustic guitar...

For my part, just about the last thing I think of when buying a guitar is the shape of the headstock, along with its 'copy' or clone effect and potential resale value. I like those that I have (obviously...), but if a 'pointy' one caught my eye, played well, and that I could afford, I'd buy it, whatever. I don't really consider Epiphone to be 'copies', either, just different makes for different markets. I know that there are those that will pretend they've a real Gibson, and even tart 'em up to appear so, but in my time I've come across superb Epi's and Gibson 'dogs'. I'd much rather one of the former than the latter. I have a Samick, 335-inspired that plays as well as most Kalamazoo originals, and have never really compared headstock shapes; never really thought about it. That's just me, though; others may well think differently.

Could you expand on what about your idea is for women? If you're designing smaller instruments, I expect there are plenty of people who aren't women who would want that. If you're designing lighter instruments, I expect there are plenty of people who aren't women who would want that.

First of all - welcome to GC. Now let’s seen if we can help. It’s your floating bridge that’s giving you the trouble here I think. What’s happening is that the string tension is pulling the trem bridge up and as soon as it does this the strings go out of tune against each other, which is exacerbated by the increase in string gauge (regs are 10-46 I think). It depends on whether you want to keep the bridge floating or not. Having it float allows for up bends as well as down. If you want it to do this, I’d take off the back plate, and tighten the screws holding the spring claw about half a turn maybe. Then go back and retune the guitar, which will take time, as each time you tighten one string, the others will lose their tuning as you are experiencing. However, if you bring them up to pitch equally so that they’re there or there abouts, the differences will become less and less until it holds tune across all 6 strings. It takes time and is often irritating, no matter how long you’ve been playing (they will also go out of tune as they settle in too, but that’s part of playing the 6 stringed beast). The other method is to have your bridge set up for down bend only. In this instance, tighten those claw screws down so, that the bridge doesn’t lift when you bring the strings up to pitch, this will lessen the de-tuning effect of the strings on each other, although you will still get a bit, this is easily corrected with a bit of tuning adjustment. However, there is a knock on effect of altering your bridge setting in that it can affect the height of your bridge saddles and the action might feel a bit different in that it’ll be a bit higher if you ‘lock down’ the trem for down bends only. There will be plenty of YouTube videos that will show you how to do all of this. I hope that helps.

I'd take the view that there are multiple answers to this question. One important (maybe the most important..?) factor in learning stuff, any stuff, at any age, is motivation, that's to say: wanting to. How many children were sat at a piano, or handed a recorder or violin, even having expensive lessons thrust upon them, but didn't take it on board, or even rejected the whole thing..? If the itch that needs scratching is for an electric guitar, then start off on an electric guitar. If the motivation is more towards classical music, a classical guitar would be the way to go. To get one's hand in by the (relatively..) easier route, an acoustic guitar can bring more rapid satisfaction (as long as the effort is put in, naturally...). For starting out, a decent acoustic guitar gives very rapid, almost instant, gratification, and will be held onto, even if other guitars are acquired over time. To get the best out of a classical guitar, there is, in my view, no substitute for a good classical guitar teacher, and will certainly involves reading music from the outset. The road is harder, but the rewards are commensurate. If it's a question of idolatry, and wanting to join in with the modern rock idiom, then an electric has its appeal, and can be enjoyed, at least for starting out, with only a practise amp, or even a jack-plug amp and headset. Complete beginner..? Find out why and what their interest is in the instrument, and get 'em started on that. Whatever the choice, a good tutor is a great asset, with the proviso that the pupil is willing to cooperate. If not, 'laisser faire' has produced legions of virtuoso players over the years, although the path is longer and more strewn with rocks. Better that, though, than being forced to learn in a way that doesn't fit the motivation. Have I answered the question..? Probably not; sorry.

Play within your own personal and unique boundaries; no-one plays the way you do. We each have our limitations and handicaps, which evolve over time, and, whilst it's a Good Thing to push the envelope and strive for more, or different, not all these efforts are rewarded with success. Embrace your capacities, and put your best efforts into what works for you, instead of fighting the demons. In most contexts, no-one would notice any 'issues', anyway, so just play on, whatever... Hope this helps. Disclaimer: I drop sticks (I'm a drummer...), so I have a pocket hooked onto the floor drum with my spares. When one goes, I just reach for another. Between songs, if there's time, I try to retrieve 'em all. Sometimes there isn't.

I looked them all up, and if the price suits you, can't really say much bad about any of them. 'Used' can be a Good Thing, if the guitar has been looked after, as it's already 'set up'. One would have to have some confidence in the Seller, though, to be able to judge that. 'New', of course, has the advantage of having a guarantee, which is seldom needed to be called upon, but is at least reassuring. If buying second-hand, it's a Good Idea to have a friend 'player' to come along and try it out. This may be difficult in today's circumstances, but is to be considered. A 'player' could better judge an instrument than a complete novice (as long as that judgement can be trusted...). One last aspect: what about the aesthetics of the thing..? A preferred colour, or finish..? Trivial, up to a point, but an instrument that one 'bonds' incites more practise time, and pleasure. Think about a case of some sort, too, in the budget. A soft 'hard case' is a worthwhile investment to protect the guitar, and those referenced in your question merit looking after properly. Hope this helps.