Yamaha AES1500B

Japanese guitar that must date from 2004 or 2005.
Hollox body but with no beam block Alder tune o matic for fixed. Table carved maple body, maple arched back. Type in the gretsch sounds empty, a little less resonant.
Two mini format hb p90 DiMarzio Q100 (called the United States and Europe over dlx).
Bigsby B6 moose, golden hardware, mechanical rebadgées yamaha classic round profile U, a narrower neck lespaul slim type but larger than a Start neck. Key rosewood.
2 volume, 2 tone with split pickups.

I think it lacks nothing!

UTILIZATION

The neck is a joy. Coming from lespaul I was nervous the profile and size. Too big rounded like I can not too late I can not play it. As usual with Yamaha they angry person, the profile is simple, pleasant. Access to acute ... Bah aps be expected of a scratch shreddeur, eh! The ergonomics are very good if you like big scratches els. Parcequ'elle is really great. Gretsch touch type and pitch long. Very true Once set, very enjoyable to play. Be careful it is mounted in 12-54 if you have not used it a bit tough. But you can not go below 11-50 I think, because of the Bigsby, the risk of jumping rope in the absence of tension bar. As against this, Sustain has a touch of madness and a typical arched top.

Amaha thinks of everything. between the splits, the tune o matic, we are dealing with a modern guitar that takes the best of vintage stringed instruments. Small detail that shows that the scratch is the result of a well thought out work, the toggle switch is mounted on a rubber pad to avoid the "CLOCK" gratech typical of the transition from one micro to another.

His level, you plug, play and shoo!

SOUNDS

It suits my style, but given the personalities of the microphones, their high output level, the split which turns into kind of vitamin p90 and modern, it should suit everyone. From country to metal, mug because it does absolutely no feedback so I know ... But they did not coment to achieve this, it goes less than my Les Paul yet tear all the microphones ... . ncroyable. On stage she is stunning. We get everything we want as its toujorus with incredible resonance, especially a very good articulation of touch. In rhythm it is very rich and powerful. All sounds, everything goes perfectly. Despite its size it is easy to forget and listen to what we do ... a real instrument!

I put 9 on his gretsch becaufe compared to a current one has a bit less natural resonance and microphones can be accused of a lack of character. Em me it does not bother him but if we find missing is this one.

OVERALL OPINION

I have a few months. It replaced my Les Paul. I use it all the time. Playing above is a real pleasure.

I love his touch hollow body, its size, the sound comes out, I have the control over. Within the scope of joy, I have thought it is aprfaite. I recently compared to a current and gretsch gretsch was more resonant and had more character. But at the end I prefer my yamaha. Besides it is half the price of a gretsch. I especially compared to the semi hollow body. Since the famous Gibson ES 335 is a fabulous scratch but who lack (for me) a half amrqué touc more cash, to the Duesenberg Larry Carlton, which is like the guild starfire I liked a little more the 335 (more alive). But all these scratches are not arched top, the beam takes away part of what I like in the hollow body. Its level, it allows perfect settings, fine, for a long lens to clean metal (if si! !!!).

With the experience I referrer illico this choice. I think that the only real alternative to the gretsch. The Yamaha's 2200 meets the expectations of scratch who want a 335, AES 1500 to those who want a gretsch.

Be careful, if it may be appropriate in jazz (very articulate, and just préicse) will be far below a real jazz guitar ... On aileurs Yamaha AEX 1500 for it I believe.

In short, for about 1500 euros, it was a skyscraper that buries all that is semi hollow and hollow body below 2500 euros. And yet, she really enjoyed more than all I've tried els 335! Fairer, more articulate, richer, more singing. A bit below the level gretsch violin, the equipment is easier to use (a real tune o amtic !!!!) it is convenient and it's really a beast of all trades. Nomreux of pro musicians in the United States are equipped with o ^ it is more expensive here (for once!). Paul Simon, kd lang, Queens of the Stone Age, this skyscraper is discrete but sees aprtout studio and on stage. For those who want the vintage, a good pair of p90 and shoo ... For those who want to et al, do not touch anything (listen to convince you a perfectcircle, Troy Van Leeuwen plays a lot on it).

Mine comes out at the moment of luthier. Setting the intonation and action, move to 12-52 with floor spun replacement push / push by push / pull for it to be really reliable. The value for money is incredible. I'm not a big fan of yamaha, I find their range bizarre, with mid-range often badly screwed (no fault but no real quality !!!). There, in the above category, it was a amazing violin quite comparable to pre gretshc fender that were sold twice. Guitar versatile, accurate, rich, powerful, but happiness since she still own voice, a character now. A word!