Allright TDPRI Members! Do You Consider Your Guitar(s) "Professional Grade"?

[archiennc]

I posted this over at another site and it had tremendous response. It seems that many of us have strong oppinions-I know that I do. This whole thing has to be marketing hype because it can't be based on too much merit. My position? Any guitar is "pro" gear if it is placed in the hands of a seasoned professional irregardless of cost or features or brand.

I own at last count, 13 guitars and 5 basses. I own some high -end stuff, working-musicians stuff and cheapo imports. Theses aren't necessarily my catagorical descriptions but those of the "media" and "advertising" types who are trying to get us to buy. Out of everything I own , with a good setup, typical mods for personal taste(changes in pickup/electricals, machine heads, string tees, nuts, etc.) every guitar I own is killer to me and most that hear me play. Folks around here call me a guitarist guitarist in part because of the level of playability and the setup I have on my guitars. They tell me even my least expensive stuff feels great-sounds great. I've got a Mako Strat that I bought for $25.00 dollars. Kept the same pickups in it because of the very Strat-Like 50's sound they produce, added Fender saddles to the trem and installed CTS pots to it. It has a maple neck and a plywood body. Visually this guitar is stunning-Candy Apple Red; one of the most viewed guitars I have at my Picturetrail site and everyone that has ever played it wants to keep it. Total investment? Under $200. Value? Priceless.

And as far as I'm concerned, very professional. I will play and have played it everywhere. Live, studio etc. I own a boutique Terry McInturff Glory Standard that as outfitted cost almost $4000. She's a beautiful player, unique sound fantastic! (85% of the time) There are times when this guitar is as temparmental as a 40 year old woman going through the change. It doesn't feel as good as either of my Peaveys or my Teles and Strats.

So back to the question? What is a pro guitar? Is that just hype? Is that just a description based on the cost of the guitar and the cosmetic ammenities? Is it a perceived "prestige" issue? (George Benson plays this; Vai plays this, Danny Gatton played that, yada, yada, yada) Shouldn't playability , construction and feel be more of the equation? I have a friend that has a D'Angelico, another jazzer friend that plays an L5 and a friend that plays one of the new Stromberg (Korean made import) and in the blindfold test, you cannot tell the difference. Music is an aural art so what does all this "professional" stuff really mean? Vintage Peaveys I've played are arguably some of the most solid, well voiced instruments ever . Are they considered "professional" gear? Back in the 70's, I saw a lot of very famous players playing T-series Peaveys and Amps. This is a conversation that comes up often especially with students I teach and their parents all the time. I really don't have a clear answer for them. So..........

What is "professional gear" to you? What are your thoughts?

Click On My Music Link And Hear Some Of My Favorite "Pro Gear"

[El Capitan]

Some things I own are pro grade.
Those are what I gig with, or would loan out to friends.
70% of my stuff is giggable.
The questionable stuff is just that. not gig worthy.
Everything is pro grade if you throw enough money at it.
To me pro grade = Can I do a 4 hour gig with it, without a backup, and nothing breaks...

El

[crawdad]

My criteria of "professional grade" is pretty simple. Is the intonation on? Does it stay in tune? Does the neck play true and facilitate a comfortable set-up? Fret work good? Will the pickups refrain from squealing if I use an overdrive, distortion or fuzz? Are the pickups balanced in volume? Finally, does it inspire me to play and do I love the sound that I'm getting?

Cosmetics are of no concern to me. If its beat to hell but plays and sounds great, thats all that matters. A pristine guitar that is perfect in every detail but doesn't give me the sound is useless to me. I play, on average, five nights a week, so I get to test guitars in real working conditions. It takes about three minutes to tell if an instrument is gonna be magical or not.

I've played gigs with a silly plywood body Epiphone Junior and had people rave about the sound. I've played $4000 Custom Shop guitars that I couldn't squeeze any magic out of. Right now, my #1 guitar is a Squier body coupled to a maple neck I built. Toploader bridge. Fender Noiseless bridge and middle pickup, and some old Ibanez humbucker in the neck. Probably couldn't sell it for $200 but it sounds great and delivers what I am after.

I guess its all about finding a fit between you as a player and the sound you are after. If the guitar does what you demand of it, then its certainly professional grade.

[TheGoodTexan]

I'm with you Crawdad.

I've never been one to try to impress anyone with the way any of my gear looks. Fact is, I really don't care what my guitars or amps look like. As long as they feel right and sound good - that's all I care about. And as a result of that, I don't take great care of my gear. I protect it, no doubt, but I never wipe down a guitar or an amp, and I've never polished one of my guitars that I can remember. The last guitar that I bought brand new was my 98 Gibson Les Paul Custom Plus (flametop). The night that I got it, my drummer's cymbal stand fell into it, putting a big dent in it just behind the tail piece. So what's the use?

I don't guess that I really own anything that isn't "pro" quality, at least by my definition. Everything that I own could be gigged by any gigging guitar player, and chances are, they'd like what they heard.

Back when Joel and I hosted the funk jams, I would take two complete guitar/pedalboard/amp set ups to the gig, just so that anyone else could get up and jam with us at any given time. And I was just as at home with one set up or the other. They both sounded great to me.

Generally speaking, if I own something for more than about a year without gigging it, it finds its way to eBay.

[zombywoof]

Yup, and I got it in writing (no kidding). Had my old Tele appraised by G. Gruhn and he summed it up as a fine utility instrument (its condition is somewhat less than pristine) suitable for professional use.

[crawdad]

Originally Posted by TheGoodTexan

The last guitar that I bought brand new was my 98 Gibson Les Paul Custom Plus (flametop). The night that I got it, my drummer's cymbal stand fell into it, putting a big dent in it just behind the tail piece. So what's the use?

Isn't that the way it goes? I don't go through a lot of instruments. When I find one I like, it usually sticks around for a long time, which means wear and tear is par for the course. Oh, I start out polishing them, cleaning the necks and protecting them with all my might, but the nicks and dents accumulate with lots of live use. Finally, I give up and just play 'em if they make the sounds I like.

Ever notice how you "learn" the personality of a particular guitar and know how to pull the best stuff out of it after a long relationship? Its often a shock to play something different and hear a completely different set of tones coming out!

I have four Tele's and every one is completely different tonally. I guess thats part of the fun.

[woodman]

ha! most people look at my old homemade beater and laugh! but then i crank it up ...

[tiktok]

I'd consider all my guitars as "professional grade". They've all been set up, shielded and brought up to a level where I'd have no hesitation playing any of them for a year, in public, five nights a week. In my book, a "professional grade" solid body electric guitar costs about a thousand dollars by the time it's all said and done. I don't believe I currently own any stock electric guitars, but my changes are limited to some combination of shielding, tuners, fretwork and pickups. I think my Heritage Les Paul type is the least fiddled with, just a fretjob, everything else is the same as I bought it.

Now that I think of it, my Danelectro 12-string has only had a setup.

[alotas123]

LIke the title says, I'm a pro and whatever I can gig with is pro gear, by definition. Was it the Good Texan who said that anything that doesn't get gigged finds its way to ebay? I'm like that too for the most part, but there for a while I was a "collector" and there are a few guitars that don't get gigged that could. My Teles are a '97 Custom Shop Relic Nocaster and a new-ish Mexican Muddy Waters model. They are both pro gear, no question. I have an amp that I don't consider giggable although I've gigged with it. I just don't like the tone but I like to carry it as a spare because it's small. Everything else I have is giggable if I'm willing to risk it. My main gig rig includes a BFDR and my relic or my Muddy. Also includes a mid-50's Stringmaster D-8.

[Dave W]

If it's used on a paying gig, it's professional gear. Period.

Everything I own is giggable. None of it is expensive.

[SteveY]

Uh, my "student model" '78 Musicmaster gets gigged 3 nights a week, average.

[Joel Terry]

Originally Posted by archiennc

What is a pro guitar?

A guitar that has lost its amateur status.

OK, seriously, I side with crawdad and Bruce. The adjectival term "professional-grade," with regard to musical gear is, to me, an abstraction.

Can anyone refute that Eddie Van Halen's original white-and-black striped (with red subsequently added) Frankenstrat was anything but a luthier-crafted masterpiece? Yet, he singularly caused a paradigm shift with that very guitar.

Would Neil Young's bashings sound any worse on a $600 Epiphone Les Paul than on a $3,000 Gibson Les Paul?

Are BOSS pedals truly the "tone-suckers" that the boutique-pedals-only crowd derisively make them out to be? Hmm...well--they might want to inform Jeff Beck that his sound leaves a lot to be desired, what with the OD-1, SD-1, and BF-2 he's been known to use. While they're at it, they might as well fill in Steve Vai and Joe Satriani, both life-long DS-1 users. It's a crying shame no one got to Roy Buchanan in time about his DD-2; his was one tone-sucked sound, wasn't it? In fact, the germanium transistor-sniffing crowd really ought to have heart-to-heart interventions with John Petrucci, Robben Ford, Victor Wooten, Brent Mason, Vince Gill, Steve Morse, Mike Stern, Pino Palladino, Billy Gibbons, Pete Anderson, Zakk Wylde, The Edge, et alia, and prevent those guys from embarrassing themselves further with BOSS' vile tone vampirism.

I'll say it again: The term "professional-grade" with regard to musical gear is an abstraction. It's meaningless.

Joel

[Fuzzyhead]

Originally Posted by Joel Terry

Are BOSS pedals truly the "tone-suckers" that the boutique-pedals-only crowd derisively make them out to be? Hmm...well--they might want to inform Jeff Beck, an OD-1, SD-1, and BF-2 user, that his tone sounds inferior. While they're at it, they might as well fill in Steve Vai and Joe Satriani, both life-long DS-1 users. It's a crying shame no one got to Roy Buchanan--a DD-2 user--in time; his was one tone-sucked sound, wasn't it? In fact, the germanium transistor-sniffing crowd really ought to have heart-to-heart interventions with John Petrucci, Robben Ford, Victor Wooten, Brent Mason, Vince Gill, Steve Morse, Mike Stern, Pino Palladino, Billy Gibbons, Pete Anderson, Zakk Wylde, The Edge, et alia, and prevent those guys from embarrassing themselves further with BOSS' vile tone vampirism.

Oh, you forgot: The Boss is using BOSS, too.
And so am I (though I'm far from being "professional" about it). I love those pedals. My OD-2 straight into my Classic 30 is pure mojo!

[Flashback]

I am no gear snob. But I do like gear that sounds great. Sure that Zendrive sounds AMAZING! But my Danelectro Daddy'O can get sounds like it. My reissue fuzzface can get close to the sounds of your 72 Fuzzface. I still use my Teisco No Name Hollowbody that squeals like a bastard with overdrive and has the highest action I have ever seen for a stringed instrument. And it sounds WAY better than any semi hollowbody slide guitar I have heard.

"Pro Grade" is meaningless to me. It is nothing more than a marketing tool. Sure that 1700 dollar Strat plays awesome! But its not that hard for me to play my Mexican Strat the same way. It more or less a state of mind.

[6942]

Truthfully?? Most of my guitars are "dumpster" grade.
I like collecting old el-cheopo Japanese guitars from the 60's.
Two Teisco Dey Ray's (ET-200 & E-110), one twin-pickup Heit Deluxe, and one Conrad (looks like Jay Turser JT-45, single bridge pickup SG clone). All 100% original, except for the Teisco ET-200. That guitar, I modded with GFS Retrotone pups & Schaller tuners....very playable!!
My tele is a Squire Affinity....Danny Gatton is rolling in his grave reading this post!! I also have a cheap Washburn Idol, and a cheap Agile LP clone.
With the exception of the modded Teisco.....none of my guitars are anywhere CLOSE to "pro" gear status....just like my playing!! Steve

[eddiewagner]

i keep all my stuff in such a good shape, i could start a worldtour every minute!

[Tim Armstrong]

My gear is pro-grade, I only wish I was!

As a marketing term, I find "Professional Grade" to be meaningless. If it ain't good enough to gig, it ain't good enough to keep!

Cheers, Tim

[AnthemBassMan]

-I liked seeing Peavey mentioned. Peavey has usually had the short end of the stick in popularity. A buddy of mine still to this day gigs with his old T-60 and Peavey VT Classic amp. He gets tone to the bone with no shortage. And you ought to see people freak when he pulls out his hot pink Peavey Tracer! Seeing that used in classic rock and country is hillarious.

-I also have a Samick SSM1 Strat copy that I'd put up against any US Fender on playability. It's one of the early ones when Samick started advertising that you could win one of these covered with blues artists' sigs. Tone might be another issue compared to a "real" Strat. I gutted the electronics and replaced them with a Bill Larwence L-500XL in the bridge, and Carvin S60 singles in the neck and mid. What a SCREAMER!!

L8R,
Matt D.

[vic108]

Originally Posted by Tim Armstrong

My gear is pro-grade, I only wish I was!

As a marketing term, I find "Professional Grade" to be meaningless. If it ain't good enough to gig, it ain't good enough to keep!

Cheers, Tim

Right on, Tim!

[maestrovert]

Originally Posted by Dave W

If it's used on a paying gig, it's professional gear. Period.

The instruments i own were purchased with tone/sound as the primary consideration.....feel, though also an important purchase criterion, can be worked a bit in setup.....

While i agree with Joel & Flashback that it's essentially meaningless, "Pro Grade" i.m.h.o. is a marketing term aimed at beginners and hobbyists.....

[brianwenz]

Hello Hello--
All my stuff is "pro grade"......meaning it can be used in live gigs or studio recordings any time with the knowledge that the nuts are cut correct, intonation set, no "string breakage" at the saddles, good frets, good set-up, and I know how each one of them will sound. Pro grade doesn't mean expensive or collectable....it just means useable. I should mention, too, that all my guitars have solid, STIFF necks that don't bend or move around so that everything stays in tune. The cost or potential snob appeal of guitars is meaningless to me. I've used MANY expensive Custom Shop and VERY EXPENSIVE vintage guitars that sounded like crap.
Brian.

[vic108]

OK, PRO GRADE gear.....

I have had bassist extrodinaire Tim Drummond live at my place for a
few months over the years and we'd jam now and then. One trip he
didn't bring his '59 P-bass that Charlie Daniels saw in a Nashville Pawn
Shop and told Tim about it and Tim used it on most of the MANY
recordings he played on - price = $50. All I had was my cheap
SQUIRE P-Bass for him to use.

I told him I was sorry, that was all I had bass-wise, he just gave me
a wink and said "hey, it ain't so bad..." and made that cheap bass
sound like a million bucks.