I really just wanted to comment on the great quality of budget-to-mid-priced gear made available these days, and show a regular working class band and the mid-priced instruments they used to make some good music.
Dude, you have a Casio too! I love my CasioThere is no Pro-Line equivalent to a 5422. To my ears a 5422 has a great, balanced, musical sound that I love. It's one of my favorite sounding electric guitars. I was hunting for one when I stumbled on a Casino that I ended up buying instead.
The inverse is that great gear is also usually great sounding. If Gretsch made a Pro-Line G6422 I'm sure it would sound even better to most of us than the G5422. The bridge pickup would be in the right place and the pickups would be HS Filtertrons.
Excellent point, that las one. As much as I love my electromatic Gretches, I will get the TV Jones wiring and pots upgrade kit into one of them so I can go into the studio with confidence. I do have my eye on a used 6122 that looks like a serious upgrade from the Electromatics,and may replace one of those with it. I'm really glad that Gretsch made that sound available at very reasonable prices, that sold me on them and now I'm "movin' on up"!I think it depends on a lot of variables. If I was to go on the road as a sideman, playing in some backup band, I would probably buy a couple of relatively inexpensive Teles and use them like a government mule. The idea would be to have three guitars which would be functionally identical, and could face the wear and tear of road life, without undue concern on my part.
OTOH, if I were a headliner, then I would probably use production. Pro Series Gretsch, but these guitars would be protected and cared for zealously. If I went to see Chet in concert, and he had came out with a Telecaster, I would have been disappointed, and I think that a name act probably should stick to the instruments they are known for playing.
OTOH, the guy playing in a backup band isn’t going to have the same sort of track record to uphold. Likewise, session musicians, although they tended t9 use name brand instruments, weren’t above using whatever they needed, in order to get the job done. A lot of classic recordings were done on Gibsons and Fenders, but there were some Danelectro guitars and basses used on major recordings, and these instruments were considered all but disposable, at the time.
There is, however, a functional matter that could easily be overlooked. Some budget instruments are poorly shielded, and while that might be an irritant for home use, It’s a deal breaker for recording work, or performances in a large venue. If I were going to use a budget instrument, I’d give the shielding a serious look.
While often true, a proline Gretsch appears to be able to take more road abuse and keep on going than perhaps an Elecromatic would. However, spending thousands on a road instrument is reserved for those who have guitar techs with them.I think it's well known, expensive gear doesn't make you sound good. We all fall for it (and it's part of the fun)... 'If I buy that expensive piece of gear, I'll sound better, look cooler, be more inspired, impress my pals etc,.'
Funny how some budget equipment from the past has become so prized.
Now yer talkingI’m in the camp that inexpensive doesn’t equal poor quality. I’m taking huge pleasure in playing my Squier Esquire.
It is a Sweewater exclusive with a pine body and the original 3-way selector settings. I love the sound and the narrow but full 9.5 radius maple neck.
I paid $400 about eighteen months ago. View attachment 190406
That`s what I think. I lost or destroyed so many fine gear over the years on gigs that I decided to leave the unreplaceable stuff at home and protect the stuff that I gig with with massive flightcases.If I was touring, I would want relatively inexpensive guitars that could be easily replaced and wouldn’t be a tragedy to lose.