Wow, great info! A few more questions if you don't mind pestering him some more: Will the modeling amplifier do more things than my POD will, or is the same thing in amplifier form? Because if not, I've already got amp modeling covered. And of the two (Line6 vs Roland), which has the better guitar modeling, since that's what I'm mainly interested in? The last thing is how does the Variaxe play as a guitar? I'm not terribly picky since I haven't honed my electric chops yet, but I don't want to be playing on a Squire or anything . . .

Oh, and I'm very proud to say that the Line 6 models the Martin D-28 . . .my guitar! It just feels good to know I'm playing a "classic".

One cool thing about the Roland is I could play my Martin for all my alternate tunings. Of course, if I were to use the Variaxe I could just use the D-28 setting for my acoustic stuff (though that feel be really wierd) and keep my D-28 tuned down for my "alternate tuning" songs.

Will the modeling amplifier do more things than my POD will, or is the same thing in amplifier form?

Dunno, he hasn't got one of those POD units and neither of us have played with one. So neither of us has a comparison on which to base an answer. You'll have to look at the specs at the Line6 site and see if you can glean the information that way.

And of the two (Line6 vs Roland), which has the better guitar modeling, since that's what I'm mainly interested in?

Not sure, since he's never tried using the Variaxe in a recording situation. He has told me that in his current recording project, he's sometimes using the V-guitar's modeling, and sometimes using the Line6 amp modeling with a regular guitar, depending on the recording situation. Each one has its strengths and weaknesses.

The last thing is how does the Variaxe play as a guitar?

Neither of us has spent any time playing one, so neither of us is qualified to answer that. I will say this... Never buy a guitar sight unseen. Always sit down and play it yourself. It's very much like test driving a car. You'll either fall in love with it, or there's going to be something specific that bugs the living shit out of you, and you won't know until you actually play it. The only exception to this rule I can think of is with companies like Musician's Friend who (if I recall correctly) let you buy an instrument online and then return it if you don't like it. But that's a lot of hassle compared to just finding the nearest Guitar Center outlet and driving to it.

Oh, and I'm very proud to say that the Line 6 models the Martin D-28

Don't get your hopes up. Now, I've never heard the variaxe's acoustic modeling, but I have to say that I haven't yet heard a modeling system that modeled an acoustic well enough to pass as "real". The modeling systems I've heard all do a fantastic job of turning an electric into another electric but when they try to model an acoustic using electric strings/body, they end up sounding like a piezo-pickup acoustic/electric. There's sort of a "quack" sound to the tone of acoustics that are amplified with a piezo pickup which is very distinctive. You can hear it in many live performances that involve acoustic guitars, and I admit that some guitarists like that sound. But it doesn't ever sound natural. It never sounds like an acoustic that's been well-mic'd with real condenser microphones.

In fact, not even with an acoustic guitar can you get a natural sound out of a pickup. Only very recently has there been an acoustic guitar that sounds natural when directly amplified: the new line of Taylor acoustics with their new "expression system". That one you can plug the guitar straight into the PA and it sounds jaw-droppingly good, without the slightest hint of piezo "quack". But that only came out last year. I bought my new Taylor just as the expression system was coming out, and I didn't know about it until after it was a done deal. Fortunately, if I ever decide to upgrade, my Taylor is one of the models that can be retrofitted with an expression system, so that's always an option for me.

So if you're planning on getting a Variaxe or a Roland system with the sole purpose of emulating an acoustic sound, then definitely arrange to spend time actually messing with it and hearing it in person before making a purchase decision.

In fact, not even with an acoustic guitar can you get a natural sound out of a pickup.

No kidding. My Martin sounds awful live, and it has a nice fishman pickup under the bridge. I actually run it through my POD to give it compression and a little reverb, but it still sound pretty bad.

So if you're planning on getting a Variaxe or a Roland system with the sole purpose of emulating an acoustic sound,

Naw, not really where I was going. Even if it had the best acoustic sound in the world, I'd feel kind of cheap playing acoustic licks on an electric. I was mostly joking when I talked about doing that earlier. My comment about the D-28 was more pride at playing a "classic" than wanting it to make an electric sound like it.

Never buy a guitar sight unseen.

Yeah, this I know from playing acoustics. You don't think I'd drop 2K+ on a guitar without playing it do you? I'd consider Musician's Friend only if they had a much better deal and if I'd at least tried out the model.

and sometimes using the Line6 amp modeling with a regular guitar

My current project we're doing all the electrics with my buddies strat and my POD and I can say it sounds amazing! My interest in an electric is mostly for live performances, as I'm probably not going to purchase it before the electric guitar tracks are all down for this project.

Anyway, thanks agian for all the information, both Tony and everyone else. I have a lot to think about now.

My Martin sounds awful live, and it has a nice fishman pickup under the bridge.

Okay, then do yourself a favor. Whatever you do, DON'T test drive a Taylor with the Expression system through a PA board. Not unless someone has absconded with your wallet, checkbook, and credit cards. Because if you do, you'll drop up to three grand in a heartbeat.

Although I do have a cheaper alternative than an expression system... There's a few floor effects boxes out there which will warm up the sound of a Piezo pickup and make it sound "close" to natural. Both in a live situation and on a recording. They don't sound as good as the Expression system, and they don't sound as good as truly mic'ing the guitar properly, but they are decent.

I used this Yamaha unit for some of the acoustic recording bits on Blindsight. I only used it because I was stuck doing emergency last-minute recording without a studio. If I'd had my druthers, it would have been done with proper microphones, but that just wasn't available to me at the time. The results of that recording can be heard in this MP3 sample from Blindsight.

Finally, I’m trying to stay at or below $600, though I might be as willing to go as high as $800

LOL. Better hide your wallet.

Whatever you do, DON'T test drive a Taylor with the Expression system through a PA board.

Not to worry, I won't! I have my acoustic solution, and I'm not changing for anything anytime soon.

I've actually heard pickup systems for acoustic guitars that sounds nice, but they are a LOT of work, requiring a suspended mics inside the guitar, stereo outputs, and other nonsense. My friend's band (who is HUGLY popular in Christian music and does all this for a living) had all of their acousitics rigged up to sound fantastic live, and they really did good. Then after their first nation wide tour someone finally said "Hey, you know with drums, keyboard, electric guitar, and three part harmony, people really can't tell the difference whether we go through all this trouble or not!" And now they run their acoustic guitars on single channels pretty much dry. I tend to take the same approach: my guitar still sounds better than a Takimine or Ovation when I play live, and once the whole band has kicked it, it's not that important if every nuance comes out.

Edit: And when I said "awful" it's not really that bad. It's just not even close to what I hear when I play at home or in the studio.

LOL. Better hide your wallet.

Heh, true enough. Based on some of this discussion I might be waiting a few months longer than I figured before buying a guitar. I spoke with my buddy (the who's letting me borrow his strat for gigs) last night and he said he'd "be my best friend" if I got the Veriax. We're going to try to find one locally this week and take a test drive, as well as the Roland system if possible.

The one thing I forgot to mention that I really liked about the Wolfgang was that it had zero tone control. Just a volume knob and a pickup combination switch, and the switch wasn’t located someplace I’d accidentally bump it. I’ve got all sorts of tone control on my effects, why do I need more on my guitar?

I think its funny that earlier you were saying this, but now you are looking at guitars that have tons of sound modeling built into them.

I only used it because I was stuck doing emergency last-minute recording without a studio. If I'd had my druthers, it would have been done with proper microphones, but that just wasn't available to me at the time.

I feel for you. I did a project for our worship pastor at church which went something like "hey, can you drop by Saturday and play this part for us?" I said "sure" and showed up ready to go. They direct lined my guitar dry (wouldn't even run it through my POD) and did one take, which they never went back to listen to it- they were on to tight of a budget. *Shudder*. We don't always get the best of environments to work in do we?

For my own project in which I have the time to do things properly, I will absolutly not direct line my accoustic. I was considering using a certain studio here locally for some cuts (because I've been traveling to Houston to do all my recording at my best friend's house), but ended up not using it because the sound engineer was insistant on lining the guitar. I don't care how close a lined guitar can sound to the real thing, nothing beats micing.

I think its funny that earlier you were saying this, but now you are looking at guitars that have tons of sound modeling built into them.

LOL, I am going down a different road aren't I. See, I have an open mind: my point of view can change in only a matter of hours!

FWIW, my feelings of wanting simplicity was the reason I was resistant toward the "guitar modeling" approach. It was also the reason I was resistant toward getting a POD. However, that was one of the best purchases I've ever made, so I thought I'd at least explore this a bit. And simplicity is still the name of the game: In a perfect world I'd have to carry at least four guitars on stange with me: A "rock" electric, a "texturing" electric, my primary acoustic, and my tuned down acoustic. Add this to my rythem guitarists acoustic and electric and you've got quite a bit on stage. Looks impressive but quite a pain when switiching between songs. If I could eliminate a few guitars by adding knobs, I'm willing to make a sacrifice.

The bottom line, though, is that I have no idea what I want, just glimmers of insight at various times! I keep thinking "wouldn't it be cool if . . ." and then realizing that that would mean a tradeoff somwhere else. After exploring all the options perhaps I'll figure out what things are really important to me and be able to make an informed purchase.

As far as tone control, I think I'd like one extreme or the other: give me complete control or no control at all. I'd rather either not have to worry about it or be able to get exactly what I'm looking for. The middle is having to worry about it and not being able to get the result I want.

Coming in very late here, but thought I'd add my tuppence worth. For the last 13 years I have been gigging with a guitar I made myself with an ESP rosewood neck, Kahler trem and DiMarzio humbuckers - it is probably the fastest guitar I have ever played, and I have the humbuckers wired in so as well as being able to switch pickups out of the loop it is also possible to phase shift one of a pair to get some interesting cancellation effects - one of which gives a very fat sound with sparkly treble.

For basic jamming I have a Charvel Predator (about 10 years old now) which has a very bluesy sound, but when ramped up high is excellent for heavy metal stuff.

A nice all round guitar is my Ibanez JS100, which is mellow and has pretty good sustain for a Floyd Rose trem.

And for any fixed bridge work I use a cheap (sub £500) copy of a Les Paul. It has no 9th fret due to an accident, but it is useful for practicing different shapes and patterns.

For lighter work I have an old Epiphone acoustic and an ancient 12 string - which both sound fine through a cheap mic setup.

For home practicing I hook everything up through a Zoom 4040 (yes I know...but it does do some things very well), and some older stuff (original CryBaby and some nice early DOD pedals) into a Marshall and a Gorilla.

I do find that for everything from Flamenco and Classical through Rock and Roll to Thrash and Metal they give a wide enough range.

Anybody want a jam....?

Anybody want a jam....?

That'd be fun, especially given all of our different backgrounds. Pehraps at Jim's 2010 (or whenever it's supposed to be, I don't remember specifics) meet?

Just as a follow up, I’ve been quietly researching and finally decided on this guitar. After all the discussions I was going to go ahead and get a Highway 1 Strat, but I never really felt good about it. Then I picked up my Bass player’s Carvin bass and I was hooked. It played great, looked great, and sounded fantastic. So I went to the Carvin website and started picking out my dream guitar. Then I found a guitar on Ebay that was the exact model I wanted with the exact options I wanted. It just felt right so I bid on it and picked it up at about 60% of the retail price. It was a risk (since I didn’t get to play it first), but one that paid off. I can’t believe how perfect it feels and sounds. The fretboard seems so long compared to the Mexican Strat I’ve been borrowing for the last few months, even though it only has three more frets. The Ebony fretboard is nice, and what I’m used to because of my HD-28. And the wood finish is gorgeous. Before I bought I would have said that looks don’t really matter to me, but now I’m not so sure!

Because I bought the guitar on Ebay I got a pretty good deal on it, saving about $400 off what it would have cost new, but if I’d have had the cash I would have easily paid $1,000 for it new. I’ve play tested so many guitars I can hardly keep them straight anymore, but this guitar sounds and plays better than any of them, including a vintage Les Paul, an American Strat, a Highway 1 Strat, the Japanese Wolfgang, and a Parker Fly (which is actually probably a better guitar, I just didn’t like it for what I’m doing). The tone is fantastic, especially with the humbucker on. I’ll be able to do some really great clean stuff or rock out as necessary.

So thanks for all the help here. You guys all gave me quite a head start in learning about electric guitars and what things I needed to keep in mind as I went searching. I can’t wait for our next gig.

Looks like a very sweet instrument. Congratulations!

The fretboard seems so long compared to the Mexican Strat I’ve been borrowing for the last few months, even though it only has three more frets.

Probably because it's a through-body neck and not a bolt-on. Much slimmer and easier to get your hand around down below the 20th fret or so.

Probably because it's a through-body neck and not a bolt-on.

Yup, that's exactly why. I don't know that I'll ever get up there, but it just feels nice having it available!

Also the guitar has a massive amount of sustain, which some attribute to the through-body neck. I've read others who say that a proper bolt on can do just as well. Either way, this one sustains much better than the strat I've been playing.