posted 03 August 2004 07:00 AM
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I know little about a Franklin. I have only seen one under the hood. And THAT is mostly where it counts. Cosmetics and eshetics create NO sound. 
The reason I had the opportunity to look under one was because Paul Franklin had said on this forum, "The stops on a Franklin are rock solid. You can stand on the pedals and the string will not budge". When a person makes a statement like that, this person perks up!
So in that year's ISGC I made it a point to see for meself. It just so happened that Paul was in his dad's booth in Stlouis when I walked up. And I said, "Ok, I wanta see stops that are so solid you can stand on the pedals and the strings won't budge."
He WAS a man of his word. He plopped that Franklin upside down quick as could be; and took the time to show me. I admired and respected him for that. And he was correct. I was indeed impressed.
I have only heard Paul, Donna Hammit and Hal Rugg play one. And what I hear is crystal clear tones and it appears they are playing it effortlessly. Course we are talking about a coupla giants in the world of PSG, whose hands could make a shoestring sing.
As Bud Carter does for Carter Guitars, I feel confident Paul Franklin Sr does for Franklin guitars. They both go a long way back. They are far from the new kid on the block. PF's tenure at Sho-Bud says a lot!
I only found one "con" in the short time I looked at the Franklin. I do not care for the shape and style of the pedals. They appeared to be perfectly flat on top and very smooth. I feel this goes against the way the foot works from an ergonomic standpoint.
But hey, it certainly doesn't seem to bother Paul, Hal or Donna. So whose to say it would ever bother any one but me.
If you are thinking about one, do explore it further. And the absolute best way is to put one thru the test. Who knows, it might just say to you the moment you sit down to it,
"Let's me and you make music." If you are fortunate for that to happen, order that sapsucker yesterday! 
carl