Peerless Port Town

(INTRO: Hartley again, but a different guitar, see below also. I was tough on the Port Town below, but after it was set up it became my favorite squeeze - so much so when I - amazingly - spotted a brand-new-old-stock first-edition model [ie the ones with the wooden tails] I had to have it. I opened the box & braced myself for disappointment and a solid morning of fret work and set ups. Now read on....)

Same old Peerless PT: Korea, 20 frets, pressed laminated maple arched top/back f hole jazzer (14 frets to body, no cutaway), laminate sides, bound top and back & bound rosewood fretboard, beautiful black bound & inlaid headstock (it is stunning, with the narrow top allowing a straighter string pull like some Gibson custom shop models), medium frets single floating (mini '57) humbucking pickup, tasteful block abalone inlays with trapezoid inset, solid Grover tuners, wooden tail, superb passive electrics on pickguard which complement the superb pickup. Of particular note, this wiring system is dead simple but top notch.

And to befit this classy guitar a deluxe Peerless logo shell case in brown faux leather and gold fittings c/w a Peerless cloth (nice touch)

It is perfect for what it is, and wants for nothing, that's a 10 in my book. The headstock design is pure class. Unlike PT#1 the bridge is solid and plays in tune - so I will not deduct a mark.

(See review below also...)

Any doubts I had about the tone possibly not being as good as PT#1 were quickly dispelled, with the characteristic wide sweep tone and sensitive volume allowing subtle mixes of electric and acoustic to achieve everything from biting Delta Blues to smooth jazz smooch a la Burrell.

This one is a tad louder acoustically that PT#1 even with the factory fitted strings, so eminently usable as an punchy acoustic for singers or better still un-amplified Sunday jass-band rhythm chops a la Freddy at the old Frog and Carrot. A PT will happily take flat wound or normal strings, so I now have each PT strung differently to bring out different traits.

In the excellent case it again looked a thousand dollars. This time, straight out of the box, it tuned up with no intonation issues (honest!!), I was pleasantly surprised. The action was low and, get this, buzz free; not a single rogue fret. More to the point the bridge was fine and intoned well. In fact it almost played as well out of the box after months on a shop wall as PT#1 did after a full set up.

Although built to a budget, no flamed maple filigree here, the woods are well chosen, and the workmanship first rate. As I said below finish is as good as a Gibson 175, I do not waver on this, and this one is no exception. The only minor imperfection is a minuscule edge wobble on the neck heel binding, otherwise superb. The inlays, purfling & binding are excellent.

For the price I paid in the Nilam Music Sale the quality is unreal. For the current rrp of 499GBP it is still way under priced. It's not perfect, but is as close as ANY factory guitar gets at ANY price.

If this won't last nothing will. The epitome of a bomb proof jazzer. But remember, dudes, this is a crafted acoustic not a plank of wood so crash test caveats apply. Look after it and it will look after you is always good advice. Yes, it is the sort of guitar that you would use without backup.

I have recently dealt with the company on an enquiry about obtaining a prototype Tonemaster model that was shown with 3 x p90 and 22 frets. Two days later I received a personal reply from Korea from the Managing Director (no less) explaining why the prototype never made it into full production, and that for structural reasons the 20 fret format was decided upon.

Over the years only Reverend Guitars and Jarrett Guitars have ever been so helpful.

Derrick at Nilam Music, a Peerless dealer, was also more than helpful in the purchase stages as I asked loads of questions to avoid a repeat of the last purchase (from a different dealer). I know Nilam would honor any warranty issue that might arise.

See review below also, except this one was brand new and spot on from the off so no compunctions in giving top marks this time. The design is a traditional classic made to work. I even questioned whether this was too glowing a review, and no it isn't. I'm a miserable git at the best of times, so the fact I'm even counting on two hands tells me something is dead right about this plain little jazz box.

I am so glad I took the plunge again and didn't let the initial niggles of the last one dissuade me. Having two of these allows me to set them to set them accordingly (flat / wound) to explore the different sides of the guitar's personality. If I was a Pharaoh I would have both buried with me to help annoy the other mummies in the afterlife; you know, playing Derek Bailey style dissonance one minute and strumming novelty songs like Groucho Marx the next.

I have nothing else which gets close to the sheer range of music this guitar can contribute to. There's something very deep about playing a guitar that (pickup aside) could have been made a century ago.

Isn't simplicity wonderful...?

Korean made (at the fabled Peerless factory). 2007 or 2008. 20 fret non cutaway f-hole acoustic jazzer (think Hofner Congress) with floating neck mounted mini hb pickup (termed an renovated Epi '57, whatever that means!). Pickguard mounted vol and tone. Laminated maple top. Maple neck. Rosewood fretboard. Traditional SB finish. 24.75 scale. Wider neck than the old Hofners ever were, very comfortable. Feels like my 70's Gibson 175. Med frets. Grovers. Nice deluxe Peerless case (the cheaper Peerless cases are useless with hinges made to break!). Wibbly-wobbly floating Rosewood bridge and saddle which I have replaced. This early one has a Rosewood tailpiece as well.

(NOTE: the newer Port Town models have a aesthetically questionable generic MIK fan style chromed tailpiece that can be found on Samick jazzers as well, it truly is breathtakingly horrible and should be banned on grounds of taste alone. K.I.S.S. applies; see the Godin 5th Avenue arch top for how it should be done.

Check out the Peerless web site for the full SP.

9/10: It has everything a guitar like this should have, no more no less, including a tone control to die for (more later) and a superb case. The bridge rattles and wobbles and should be a lot better than this rubbish so I deduct a mark.

I am amazed just what this can do through my Pod XT. With just one pickup and the best vol/tone combinaion ever I have it veering from Charlie Christian to George Harrison via Freddy Green to Frank Zappa and Chet Atkins. Great little humbucker, but the real secret is a tone control that shifts it from smooth jazz to biting telecaster in a half a turn. I'm going to copy the wiring cause something is really cooking under the pickguard. Less is more, and in this case you don't want to put it down. Change the bridge to maximise what this wee gem can deliver.

Sounds nice acoustically too, but would need heavier strings to be heard without an amp in a small jazz group. Great for small solo gigs and solo practice minus amp though.

Well considered and a real revelation when plugged in. 10/10, no hesitation in spite of the caveats.

Ooops... well there is good news and bad news on this. I bought this second hand from a Peerless dealer in the UK so no excuses. So lets start with the good.

Overall the finish is as good as my Gibbo 175, the MOP/Acrylic/Abalone inlays are very nicely executed without detracting from the core simplicity. The binding is top notch and the 'Lady Lip' headstock style is fiendishly cleverly executed without stepping into law suit territory. Sitting in her deluxe case she looks a thousand dollars.... BUT!

How did this guitar escape twice from registered Peerless dealers??? The first owner obviously didn't play it or he/she couldn't fail to notice the dodgy fretwork. It took over and hour of careful levelling and re-crowning to sort it all out. FIVE frets were set high causing no end of buzzing (jeez even the 2nd fret was proud, how the f*** do you not notice this?).

I see in other reviews Peerless refutes this fret problem, well I'm sorry guys this was horrible when I got it. I didn't kick up a fuss with the shop as I had it sent mail order and had access to a good tech who sorted it, but surely you don't expect to sell guitars sounding like this? Even my Hofner Congress was better!

The tone control is also scratchy, but I don't touch it as it has the mojo!! Seriously - I might risk a squirt of switchcleaner, one day...

6/10 and consider yourself lucky, Peerless. If I had received it as I have it set up now it would have scored an easy 9.

NOTE: Peerless, you should be ashamed given the clear thought that has gone into this guitar. Spoiling the ship for a ha'peth of tar as my old Gran would say. Slapped wrists all round.

Live playing? Yes!
Hardware? Top Notch except the bridge!
Finish? Excellent! Solid strap buttons and dependable.

I replaced the bridge as it was cheap and nasty and let the guitar down (it also knocked it out of tune as the posts were flimsy). Now sorted I'll gladly use it for solo and trio gigs without backup.

Never tried, but if Peerless quality control allowed this out on the street then it doesn't exactly inspire confidence!

Playing for 3.5 decades, ha, ha!! I own and have owned everything that I need/needed to. More to the point I have another Peerless guitar (a ToneMaster Standard) and two Peerless made Epiphones (a Zephyr Blues and ES295) so despite my reservations I do think they are worthwhile instruments with much to commend them.

I should have asked the dealer whether it had been set up or checked over, but then again I really shouldn't have to - maybe the dealer thought it was? Now there's a scary thought!

Would purchase another despite my criticisms, it is a wonderful little guitar.

Love the simplicity, hate the cheap bridge (and detest the new tailpiece). Fave feature is the tone control and not forgetting the Grovers. Great case and sweet pickup.

Compared it with the Godin 5th Avenue, I liked the vibe of this (also like the name having being born in a port town). As nice to play as my Gibson and lots more fun. It quickly became my main studio axe once it became best friends with my Pod XT.

Wish it had come with a better bridge without me having to buy it, at least this one had the wooden tail or that would have meant even more expenditure.

Intend to get another and will put a Bigsby on it and fling the factory fitted chrome monstrosity into the recycling box!! I will make the shop set it up properly first this time.

TO ALL POTENTIAL PEERLESS PUNTERS - BE RUTHLESS WITH THE DEALER AND REALLY CHECK OUT THOSE ANNOYING BUZZES AND RATTLES BEFORE PARTING WITH YOUR CASH. THESE TRULY ARE NICE LITTLE GUITARS LET DOWN BY POOR QUALITY CONTROL IF THIS EXAMPLE IS ANYTHING TO GO BY.

NOTE: THE 1999 DeARMOND's WERE THE SAME IN THIS RESPECT. THEY PLAY GREAT ONCE THEY ARE SET UP SO IT'S WELL WORTH PERSEVERING.

I would love to give this a TEN but in all conscience I really can't on this evidence. Great idea, not so great execution. BUT FIXABLE FOR ANOTHER FIFTY TO SEVENTY QUID TO REPLACE BITS AND SET IT UP SO DON"T BE PUT OFF!! In many ways I am pleased I didn't try it out first or I might have walked away from what is a cracker of a guitar. Shame.

8/10, despite all my grumbles a very nice guitar hides underneath.