dlenaghan
Member
I think a Starfire II would be a very marketable bass. Maybe they care too much about quality, but it seems Gibson/Epiphone is having some luck with similar models like the Casady and Allen Woody, but those seem to be far less expensive than the US Guild SF reissues, and it seems like too many people were bothered by the medium-scale DeArmonds and questionable build quality (I'm quoting Justin Meldal-Johnsen here, who still plays the 90s US version with Darkstars).. And then there are the Gretsch, Eastwood, and variuos other makers with similarly styled models... al at a much lower price point, though.
As for the Bisonic, if Fred Hammon could do it, and (Rene? I think..) at Daguet guitars can do it, why couldn't someone else? It's just a matter of material specs, right? ChiSonics nail the sound almost perfectly, according to some of the sound clips I've heard from Lakland and comparing them to the Darkstars..
Actually, I wonder if Daguet Guitars could be talked into a pseudo-reissure: their main business seems to be a Crestwood (Gibson?) guitar knock-off...
In all honesty the JS-II is the most comfortable thing I've ever played. My only wish is a 24 fret 2-octave neck. But the body shape and size, and the upper-register access (better than any bass I can think of, bar none)... Well I could go on, obviously.
On a short scale I can reach 7+ frets depending on where the neck I'm playing. I play lots of chords and have just decided to do my own creative thing after some disappointing band experiences. And the sound, I don't know why, but the sound of a short scale (I preferred the tone of my Fender Mustang to my longer scale instruments before I sold them - sold the Mustang to get the '72 JS-II) is just music to my ears. And I know part of it is the peculiar setup of the Guilds - the set neck and 'floating' bridge just have this harmonic richness I've NEVER heard in any bass with a heavy full-contact style bridge. Whether it's a Fender or a Spector or a Warwick, the notes just seem so isolated, if you know what I mean... But on the Guild, it's like you've got a powerful fundamental and excellent representation of neighboring harmonics. Maybe some people hate that kind of 'crosstalk' between the strings, but it puts the Guild tone in such a unique place, like it's verging on harp territory. I love it, can't get enough of it, and am bored now by instruments which lack that richness of tone.
As for the Bisonic, if Fred Hammon could do it, and (Rene? I think..) at Daguet guitars can do it, why couldn't someone else? It's just a matter of material specs, right? ChiSonics nail the sound almost perfectly, according to some of the sound clips I've heard from Lakland and comparing them to the Darkstars..
Actually, I wonder if Daguet Guitars could be talked into a pseudo-reissure: their main business seems to be a Crestwood (Gibson?) guitar knock-off...
In all honesty the JS-II is the most comfortable thing I've ever played. My only wish is a 24 fret 2-octave neck. But the body shape and size, and the upper-register access (better than any bass I can think of, bar none)... Well I could go on, obviously.
On a short scale I can reach 7+ frets depending on where the neck I'm playing. I play lots of chords and have just decided to do my own creative thing after some disappointing band experiences. And the sound, I don't know why, but the sound of a short scale (I preferred the tone of my Fender Mustang to my longer scale instruments before I sold them - sold the Mustang to get the '72 JS-II) is just music to my ears. And I know part of it is the peculiar setup of the Guilds - the set neck and 'floating' bridge just have this harmonic richness I've NEVER heard in any bass with a heavy full-contact style bridge. Whether it's a Fender or a Spector or a Warwick, the notes just seem so isolated, if you know what I mean... But on the Guild, it's like you've got a powerful fundamental and excellent representation of neighboring harmonics. Maybe some people hate that kind of 'crosstalk' between the strings, but it puts the Guild tone in such a unique place, like it's verging on harp territory. I love it, can't get enough of it, and am bored now by instruments which lack that richness of tone.