Y'all might wanna see this

(for the record, and sake of precision, the earliest AC Cobras had 260's)

TW59 said:

I stated that after checking it out multiple times, then gigging with it at a Dallas Show.
But it was merely my opinion [based on playing many Bursts].
If the set up changed and it improved, that might explain why others [such as Joe Bonamassa] reported that they liked it.
Or, we just have different tastes.

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When I saw the guitar at Dallas iback n 2007 it played like a dog and needed some attention IMO. It was later set up for Joe Bonamassa to use when Phil Harris had the guitar and then set up again later to my taste when I had the guitar. I removed the top wrap, put on lighter strings, lowered the action considerably and adjusted the neck relief so when it left my hands, it played great.

+1

Set ups are a huge deal... It's hard for me to believe in 'dogs' for that reason... If the neck is straight, a good set up can bring any quality guitar back to life in my experience...

shred said:

+1

Set ups are a huge deal... It's hard for me to believe in 'dogs' for that reason... If the neck is straight, a good set up can bring any quality guitar back to life in my experience...

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Agreed. No matter how much I think I have the adjustments down, my guitars have always sounded and felt better once they've been in the hands of a pro set-up guy.

I played Greeny after it had been set up for Joe (top wrapped) and after it had been set up by Rich. Best of both worlds. I'm glad I didn't see or play it in it's "dog like" state, but fully accept and thank those for sharing their experiences of it when it was.

eace2

Rev.WillieVK said:

For the same reason that a copy 429 Cobra and a copy Ming vase don't have the same value as real ones - they aren't real. Would you pay real vintage prices for an excellent copy?

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j45 said:

apparently they are commodities.....

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Banker said:

How did you get there Kerry?

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I agree no one would pay the same price for a copy as an original but what does it matter if you can't tell them apart without a team of experts? Honestly, if you can't hear or feel the difference between a Burst and a replica than what are you paying for? A widows peak?

shred said:

I agree no one would pay the same price for a copy as an original but what does it matter if you can't tell them apart without a team of experts?

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What if you can tell them apart but your team of experts can't?

landminelenny said:

What if you can tell them apart but your team of experts can't?

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touche...

I suppose it's no win situation when you and your team of experts can't tell them apart with the only winner being the person who sold the fake as real in the first place.

People should play whatever they want for the reasons they want! If somebody can't tell the differences (or don't care), then they can be happy or fulfilled or whatever with the guitar of their dreams for a helluva lot less money. Beyond that, it's their money and they can do what they want with it.

Just don't pay real prices for copy guitars.
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Rev.WillieVK said:

Just don't pay real prices for copy guitars.
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This is the point that needs to be driven home. If you're looking for a "player" and found a fake that is everything you want, then it's your choice and good for you. It should be a CHEAPER alternative to a true vintage guitar that it is copied after, and marketed as such.

Is a burst worth a 6 figure price tag simply as a "great player"? To me, not in a million years. But as an extremely important, historical, beautiful, and famous instrument... I consider the burts and early gold tops to be in the same vein as valuable art, which just happens to make amazing sounds (in the proper hands).

A forgery being marketed as what it is clearly not, at the 6 figure price tag that the real vintage guys command, is completely unethical and I don't understand how anyone can defend this in sound mind. No matter how great the damn guitar plays.

[Q

Diamond = cubic zirconia? They look just as good. But, you certainly wouldn't want to pay diamond prices for a fake rock.

fjminor said:

It seems from what I can put together in a few threads that Scott Sheldon is really not the one behind the controls in making these MCI guitars, is it actually someone else, this person being located in Florida - can anyone shed some light on this?

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Just piping in with what I know about Scott. I bought a LP from him and a 335 some years ago. The LP was a GT clone of Bonamassa's, with the different unmatched knobs etc. Scott claimed to have made 2, once of which Joe took, I got the other. Who knows. Subsequently sold the LP. But have to say for the price I paid it was a nice guitar. I'm not knowledgeable enough to know how close it was to authentic. But he never tried to pass anything off as such. It was always a clone. Tho at that time at least he was using real G decals. Not sure about now. He told me he was the protege of Max B. I've never seen a Max so can't say how close his builds are. But I can tell you all I went to his shop in OC (LA) and it did exist at that time. So I don't know about the FL connection. So just speaking about the gits, they were very nice. I'm not a collector I'm a player. But I know a good git and they were good. The 335 esp was pretty sweet imo. I still have it, tho I changed the Seth Lovers out for Tom Holmes. So in Scott's defense, to the best of my knowledge about him at the time (this is a few years ago now), he wasn't trying to pass anything off as a forgery. They were clones as many other pple do, like Yaron and McKay etc. Btw I have a GT Yaron and comparing it to the GT MCI I had I wouldn't say they weren't comparable. Slightly different but not massively. Considering what the Yaron cost I thought about selling it and keeping the MCI. Again I don't collect, I play. And I'm not a name queen. As long as it looks good and plays and sounds good I'm happy. I have high standards in that regard however. So I don't play anything bad. My current stable consists of Yarons, some Gustavsson's (love those), Lentz, Baker B-1's, Collings, Mario Martin, an orig 58 ES 175, an orig '62 SG, a collection of vintage F amps etc.

So while not making excuses IF someone is trying to pull a fast one. In my dealings with Scott there was no funny business. Hopefully that is still the case but I don't know. I also at the time had a Barrett and compared that to his LP. I kept the MCI and sold the Barrett lol. He was a nice guy and likeable. I had no issues with him personally. Only that he had a tele build I tried out I didn't like. His fit and finish isn't (or wasn't) always the best. But that's also certainly true of McKay and many pple think he's the man. I had a McKay 335 and sold it. Hated that guitar. Couldn't believe how badly it was built and finished. Shocking. But that's me. I had once upon a time an orig '63 335 and a '71 335. Ended up selling them as well and that's a decision I wish I could take back, but wasn't playing them much at the time. The only 335 I have now is the MCI. I should say the finish went whacky on it tho and I had to have it refinished. Which turned out great. So finishes may be his weakness. But he does have some good old wood, and the gits sound great. So far I've kept it but who knows what the future will bring. Has a great neck, nice piece of 'braz. I got a real sticker to put inside it just for fun from a Canadian guy that has a pile of real old G stickers and the original date s/n stamp to put on it. I used my bd lol. I'd never pass it off as real tho.

I didn't read this whole thing, and had to join the site just to respond to this old thread I came across somehow. Are you guys saying Scott was trying to pass his clones off as authentic? Clearly that would be bad, whoever was doing it. I have a hard time believing (if so) Scott would do that. But who knows. But as always, caveat emptor.

Keep it real and Rock On!

I have a question as too what do you folks think about comparing apples to oranges in regards to a Max Les Paul like Slash used way back in his early days with G n R versus a Gill Yaron ? I am most interested to others comments ?