Donald Hubert Duffy III

This provides great value and service in housing and protecting your guitar without being an all-encompassing hardcase unit.

A parent purchased it new in the 1970s, and by the time this reviewer had his hands on it in the early '90s, it was practically unplayable but for a few open chords. Without the pre-existing, underlying, intergenerational, sentimental value attached, this model is not worth the time and energy required to make it comfortable to play or pleasant to hear. That said, the reviewer's model is held in high regard now that he has repaired it following hours of watching on-line tutorials about neck and truss rod adjustments and saddle carving. For the first time, string bends beyond the twelfth fret are possible with a light gauge set! The guitar can now be passed down for at least one more cycle of humanity.

She plays like new to this day, despite some heavy gigging with her across the world, first at St. Augustine's School, New Jersey, USA in first grade and then at Colegio Mater Purissima, Lima, Peru, in first grade.

My other electric guitars, including my only other mainstay, a Matsumoku-made ES-330 clone acquired in adolescence, are mere slutty mistresses, whereas I have been married to my Squier since childhood. Hers is the rare NC4 model with full Fender thickness, which has allowed for revitalization in adulthood with professional-grade hardware. The set of stock tuners, being reliable and the one kind to fit the peculiar headstock, is the only component of old that remains, aside from the main points of our physical contact--body and neck--through which we developed our chemistry and have grown accustomed to each other's touch over our three decades together. In spite of all the work done, I look at my Bullet and can still see my dearest lifelong companion.

An incredibly sturdy and durable microphone, given the price range. It's gone through all manner of abuse such as gigs or periods of neglect in undesirable elements, and still works as always. Surprisingly impressive.

It feels smooth to play and is an inspiration to behold, but in the end, the sound itself is a bit thin and insufficient for a jumbo.

This is truly a remarkable guitar for its price and materials used. Somehow, it boasts both fabulous response and beautiful resonance, a true credit to the luthiers at the Takamine factory in Indonesia (now defunct).

The Speedster plays well and sports decent tone for what it is, though it failed to serve its purpose in my case as it was still just a touch too long to fit comfortably into airline suitcases without my having to check it as its own piece of luggage. At that point, I might as well check in a full-sized guitar in its stead.

The cogs in the tuning machines turn to dust with even medium tension strings.

As far as I am aware, this Roosebeck* is the only option when it comes to manufactured baroque guitars. Beyond this, there seems to be a leap in price point that jumps directly to luthier-commissioned units and historic, museum-worthy antiques that are several times more expensive. Having not played any other five-course model, I can only say that I am happy with the Roosebeck and have not had any issues with it in the nearly three years that I have owned it. It is louder than I would have expected, has cooperative wooden tuning pegs, and has withstood plenty of abuse from my percussive playing style. * *Made in Pakistan and distributed in the U.S. by Ensoul Music, in the U.K. by Early Music Shop under the name Heritage, and in Ireland by Muzikkon as Heartland baroque guitars.*

For everything 1960s, from American classic rock to Latin psychedelic cumbia, this unit ignites the imagination.

Throughout my youth, other than my instrument itself, no item was more vital to the development of my musical creativity and critical thought than the Tascam Porta 02.

This wholly uninteresting and uninspiring pedal offers only the stupidest and most muddled "butt rock" sonic explorations of its namesake genre and, in a way, also 1970s rock aesthetics.