Leaderboard

This is going to be a through-neck and so the first thing to do is, generally, to sort the neck. 'Sort' means choose the timbers, assemble the laminates, incorporate the neck angle into the blank, calculate the headstock angle, calculate the body depth and the neck depth... ...but you can't calculate the neck depth until you know exactly what the fretboard thickness is. So, actually, that's where I started - by radiusing the ebony fretboard blank using the excellent G&W router jig: Then fifteen minutes sanding with a sanding block removes the router marks: So now I can do all the neck calcs and cut the maple/ebony/maple blank: The neck angle is around 3 degrees, starting from where the top body 'horn' meets the neck, and I generally opt for a 10 degree headstock angle.

I am in the same vein... Keith Levene Geordie Walker John McGeoch ...and if I may give a special mention to the often overlooked John McKay (Siouxsie and the Banshees second guitarist) without whom I don't think Geordie nor John McGeoch would sound quite the way they do.

I’ve listed my faves earlier in the thread. However, your list has me thinking about the guitar players that were played in my home when I was growing up and it’s very similar: Hank, Wes & Les Paul. There was also Barney Kessel, but Wes was more accessible to my young ears.

there's simply no one that i know of that is making good, quality, original, (arguably) independent music these days. with hooks, that is. he's incredible. he's the modern day hendrix. and he's got over 20 albums, usually every year or so. he did 50 song record for his 50th birthday. still tours on a bus. he also records albums by himself- piano, drums, bass, vocals, etc. oh yeh and he has the best voice in rock. i've seen him both as RK and also recently with the Winery Dogs. it's really a shame that people associate him with one band he was in 30 years ago. and he arguably did their best album. genres are too distinct. also a shame that everyone compares him with chris cornell when they really just are not that alike. it's constant. also his work with adrian smith is pretty good too. his wife is a famous brazilian bassist and she plays with him too. lastly, this may be the best- i mean best- live show ive ever watched. it's perfect (yes, im sure it's edited). i watch it sometimes daily. it's that good.

Leo Kottke is probably #1 for me esp before his hand injury when he'd play fingerstyle with fingerpicks on a 12-string. Had a really muscular but clear tone. Tommy Emmanuel very close behind though LK edges him because I prefer his material. TE is most definitely best experienced live as he has great stage banter as well as fantastic skills. Two other brilliant fingerstyle players are Scottish celtic folk specialist Tony McManus and the late Pete Huttlinger who used to play with John Denver Electric wise I lean heavily towards inventive and distinctive post punk players like John McGeogh (Magazine and Siouxsie & the Banshees), Terry Bickers (House of Love), Keith Levene (PiL), Andy Gill (Gang of Four) and Geordie Walker (Killing Joke). Hard to separate out these five.

What I always liked about Cobain was how his playing served the song rather than dominated it. That's something I prize as when I listen to music I want to hear a band working as a whole - I'm just not interested in listening to one part dominating the whole and drawing all the attention, all the time.

Bob Mould, most underrated musician of all time in my humble opinion Kurt Cobain, not the most complex but just the right sound at the right time Billy Duffy, just love that sound

I saw Segovia at the Festival Hall in the early ‘80s. He shambled onto to the stage and I prepared myself for a distinctly dodgy performance by a man well past his prime. Once seated, the years dropped away from the great man and he ripped the living out of his guitar. Needless to say, I was suitably humbled.

I see no Segovia listed.

You like what you like, nowt wrong with that.