#91
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If the guitar is good enough, the name on the head stock becomes irrelevant.
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Seagull Entourage w/ K&K PW Eastman AC420 |
#92
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I think of the names on guitars to be a sort of fashion statement. Years ago I used to race bicycles and the team had bikes and 'kits' (uniforms) with really gaudy logo's and sponsorship's on them. But since they gave us money is was just part of the deal. Now when I go for a bike ride I kind of feel like a dork wearing advertising for free so I just wear plain cloths...
I do like logo's though they can be pretty cool and for the most part the big brand guitars seem to have well thought out logo's that don't look too bad on a head stock. And again I think for a lot of people it's not unlike wearing a certain brand of jeans with their logo's on it. I don't get it really but I don't have to get it either. With guitars a lot of young and up and coming guitarists want to have guitars like their idols do. It's just the way marketing works. |
#93
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I always check out the headstock first, along with the body type. The brand name is going to be a strong indicator of the type of quality I'll come to expect from that company, and the body type will indicate the tone that the brand is known for.
I just know that a Gibson slope will sound different than a Martin dread, or a Collings dread. Not better mind you, just different. Each brand has their own characteristics. Mind you that some of the larger companies will also produce less expensive guitars (entry level) and those have a particular tone to them as well. When I see logos like Huss & Dalton, Franklin, Kopp or Froggy Bottom on that headstock, I'll hold those instruments to a higher standard and so far, none of them have ever disappointed me.
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Fingerpicking Acoustic Blues/Rag/Folk/Slide Lessons https://www.tobywalkerslessons.com/ |
#94
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Hey Fazool.
There have been situations that I bought a guitar because of brand reputation (Martin) and before that I have had a Guild D55, because that's the brand that my father was playing for years (exposure). This year, I played a lot of brands, and I was settled with my SCGC OM because of the sound and the neck that fits like a glove. Until that time, I did not know much about the company, the owner, players, and so forth. After having an outstanding experience in dealing with SCGC, I do support them any way possible, and I am proud of been able to afford one of their instruments. For me, this year was sound and playability research, because I knew that this will be my only guitar for a long time or probably forever.
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SCGC Custom OM Mars spruce/cocobolo |
#95
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Quote:
All I care about is tone, playability, and whether the materials were sourced ethically. Who made it, where, when? I don't care.
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Solo acoustic guitar videos: This Boy is Damaged - Little Watercolor Pictures of Locomotives - Ragamuffin |
#96
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"Young and up and coming"? I'd wager a sizable portion of people here have guitars because their idols do, and the median age is over 50.
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Solo acoustic guitar videos: This Boy is Damaged - Little Watercolor Pictures of Locomotives - Ragamuffin |
#97
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When I want to buy a car, I go to the Ford dealership, or I go to the Toyota dealership, or I go to the _______ dealership. Right there, you are basically looking at the name on the headstock so to speak.
For me, it's no different with guitars. I want to see what Gibson has in their lineup, I like to see what guitars Martin has in their lineup. You go in with your own experiences, biases, expectations and tastes. Absolutely, first thing I do is look at the name on the headstock, if it's not a Gibson or Martin, I don't look, H |
#98
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To me, the way a guitar plays and sounds is the only thing that is important. Not branding. I'll happily play a Chinese made Epiphone version of a Gibson, my fingers and ears can't tell the difference.
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#99
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Yes the name is important -to a certain extent -but a quality name means it gets a try out - ( also will help down the road for resale - sometimes )
But ( heres the important part ) I do like high quality - the maker is important , But the two most important aspects is the quality of the build ( high grade top and other woods ) and number #1 is -does it have a killer tone , something very different and outstanding . Im kinda surprised when i see some phenominal guitars go for chunk change just because they don't say on the head stock Martin or Taylor . I am a stickler for American made ( us old farts are dyed in the wool about that ) and adore small builders and small shop guitars -that nobody is aware of - When i found my C Fox sloped dread and my Horton 12 fret Dread , i was amazed that their isnt a bigger following for these , over the mass produced , brands like Martin and Taylor, unfortunately If i was to sell either of those they probably wouldn't sell as fast because their not very popular or common. Their tone is amazing -and way different than anything you'd find at a guitar center.
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--------------------------------- Wood things with Strings ! |
#100
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Quote:
Apres nous, le deluge. |
#101
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Quote:
Quote:
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Why would you be reading a signature when there's so much V-Brace stuff to talk about? |
#102
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Having played as a working musician for most of my life I've owned Guild, Lowden, Goodall, Avalon, Takamine & Martin...after extensive experience with all these, they've all had something I enjoyed in each.
I have never found any affinity to Larrivee, Taylor, or Gibson signature characteristics, especially their electronics since I play for a living; however, I've played individual guitars from each of those brands that were exceptional. My ears, style & feel tho gravitate to mahogany Martin dreads, MIJ cedar-topped Takamines & '70's era Guild dreads the most...and btw, I love their headstocks eric
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NOLE TUNES & Coastal Acoustic Music one love jam! Martin D18 & 3 lil' birdz; Takamine KC70, P3NC x 2 |
#103
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Fender has chosen wisely to really not make any serious effort into acoustic guitars. They are sticking to what they do really well and you can't argue with the success.
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Seagull Entourage w/ K&K PW Eastman AC420 |
#104
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You can be 50 and 'young and up and coming' in the guitar world.
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#105
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There was once a time in my life when I owned next to nothing, little more than the clothes on my back. It's called "poverty". Owning nothing did not make me nothing. Since then I've owned Porsches and Rolexes and houses in the wealthy part of town. I'm still the same person. All that stuff is incidental to who you are. |