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  #1  
Old 04-10-2010, 11:56 PM
ifcowscouldfly ifcowscouldfly is offline
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Default Goodall TrOM vs CJ

I've been looking into both these models and there doesn't seem to be much concrete information comparing the two. There have been threads comparing the TrOM and GC (as they are the same size), and the general consensus is that the TrOM has a more fundamental sound, is louder and more bassy.

How would the TrOM compare to a CJ. The bigger body of the CJ should mean its louder and more bassy. But as they are braced differently, I can't really make draw a conclusion from body size alone.

Has anyone A-Bed a TrOM to a CJ and care to weigh in their thoughts?
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Old 04-11-2010, 06:40 AM
dwalton dwalton is offline
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I've owned two Goodall CJs (RW/Adi, RW/Palo Escrito), and two Goodall TROMs (both RW/Adi).

My current sweetie is the second TROM, a minty 2003 model that has really opened up and is utterly alive.

Differences: I'd say that my TROMs had a slight advantage in terms of bigger basses, but it wasn't that big.

The TROMs have somewhat less of the Goodall overtone thing going on compared to the CJs, which, depending on your playing style and the kind of music you play, is either a plus or minus. I'm pretty sure that the TROM model is braced differently than their GC guitar.

The TROM has a more direct tone - a bit more punchy - and perhaps a bit louder.

Goodall markets their TROM model as a "flatpicker", and I always thought that was just marketing fluff. Now that I have one, I can say it's true, and as far as OMs go, my TROM is hands-down the most powerful and toneful OM I've owned so far (compared to several std. and deep-body Collings, Bourgeois OMC, Martin OM-35, probably some others I'm forgetting). It is comparable to some dreads I've played. I don't know how they do it in that body size.

My favorite CJ was a RW/Palo Escrito CJ that was utterly lovely and the best CJ I'd played - a very musical, "lyrical" tone, if that makes sense. I wish I hadn't sold it. I believe someone here now happily owns it.

I think for these two Goodall models, it boils down to individual guitars, and your preferences.
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Old 04-11-2010, 04:43 PM
ifcowscouldfly ifcowscouldfly is offline
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Wow, how does the TrOM have more volume and bass than a CJ? Thats amazing! Why did you decide to go from a CJ to a TrOM? Any regrets?
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Old 04-12-2010, 06:34 AM
OddManOut OddManOut is offline
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Quote:
Originally Posted by dwalton View Post
I've owned two Goodall CJs (RW/Adi, RW/Palo Escrito), and two Goodall TROMs (both RW/Adi).

My current sweetie is the second TROM, a minty 2003 model that has really opened up and is utterly alive.

Differences: I'd say that my TROMs had a slight advantage in terms of bigger basses, but it wasn't that big.

The TROMs have somewhat less of the Goodall overtone thing going on compared to the CJs, which, depending on your playing style and the kind of music you play, is either a plus or minus. I'm pretty sure that the TROM model is braced differently than their GC guitar.

The TROM has a more direct tone - a bit more punchy - and perhaps a bit louder.

Goodall markets their TROM model as a "flatpicker", and I always thought that was just marketing fluff. Now that I have one, I can say it's true, and as far as OMs go, my TROM is hands-down the most powerful and toneful OM I've owned so far (compared to several std. and deep-body Collings, Bourgeois OMC, Martin OM-35, probably some others I'm forgetting). It is comparable to some dreads I've played. I don't know how they do it in that body size.
Having owned a TROM and several CJs, I totally echo the above with the exception of the bass comment. I have found that CJs can vary in the amount of bass they produce. I think you'll find a EIR/Sitka CJ to be very full. The CJs that have been wanting in bass have been the cutaways I've played.

The TROMs in EIR/Adi are amazing guitars...they do it all well and have the tonal complexity turned down a notch.

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My favorite CJ was a RW/Palo Escrito CJ that was utterly lovely and the best CJ I'd played - a very musical, "lyrical" tone, if that makes sense. I wish I hadn't sold it. I believe someone here now happily owns it.
I am the current owner of this fine guitar. It is a wonderful instrument...the finest blend of mahogany and rosewood tonal characteristics and all the signature Goodall complexity. This guitar in particular doesn't have the same type of bass as a TROM, but this is because of the palo escrito. i.e. it wasn't "meant" to. If this guitar were EIR, it would have that "BIG" bass.

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I think for these two Goodall models, it boils down to individual guitars, and your preferences.
I would rate the TROM as the finest do-it-all guitar you can find. They are pretty astounding. If I could have only one guitar, it would be another TROM.

Best of luck...
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Old 04-12-2010, 06:47 AM
akustic akustic is offline
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TROM: more fundamentals, closer to vintage sound

CJ: more balance, overtones... nice modern guitar
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Old 04-12-2010, 08:53 AM
Huckleberry Huckleberry is offline
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Quote:
Originally Posted by akustic View Post
TROM: more fundamentals, closer to vintage sound

CJ: more balance, overtones... nice modern guitar
Agree with this summary. But, I'd go a bit further than that with the CJ - the EIR/sitka example I played was lush and very complex sounding. Probably not much good for strumming, but for those simple slow airs with lots of single notes, certainly in the top two or three guitar I've ever played.

Very nice indeed, and I regret not buying that one.
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Old 04-12-2010, 01:07 PM
Sain't Sain't is offline
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TROM: more fundamentals, closer to vintage sound

CJ: more balance, overtones... nice modern guitar
Wow, I don't think anything Goodall makes is close to vintage sound - by which I would guess we're talking Martin early 30s. While the TROM might have more fundamentals than other Goodalls I've never played one that I thought had tight fundamentals.

Also, though Goodall calls it an OM, it's nowhere close to an Martin OM in sound or design. Different beasty. But there are so many Martin copies out there I think what sets Goodall apart is it has its own defining sound which is a good thing, no?

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Old 04-12-2010, 01:40 PM
wcap wcap is offline
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....but for those simple slow airs with lots of single notes, certainly in the top two or three guitar I've ever played...
This is exactly the sort of situation where I think my rosewood/cedar CJ really shines, and for this sort of thing I don't think I've ever played another guitar that was quite like this Goodall.

Single notes and simple two note harmonies sound so absolutely amazing on this guitar that I find myself arranging things differently than in the past. My tendency was always to fill in space with lots of notes (I played 5-string banjo for many years, so this comes naturally to me), but now I tend to come up with simpler but much more elegant sounding arrangements that make the most of the Goodall's lovely tone and amazing sustain. Interestingly, this has spilled over into my music on my other guitars as well - these sorts of arrangements also tend to sound really lovely (in a different way) on my classical guitar, and I'm a bit different in how I approach music on my Martin now as well.

Interestingly, my Martin is now tending to get me to develop more as a flatpicker rather than only playing fingerstyle, and this spills over to my playing on the Goodall.

It is interesting how each instrument's unique capabilities, strengths, and weaknesses shapes and influences the sort of musician you become.

Last edited by wcap; 04-12-2010 at 01:59 PM.
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Old 04-12-2010, 03:54 PM
dwalton dwalton is offline
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This is exactly the sort of situation where I think my rosewood/cedar CJ really shines, and for this sort of thing I don't think I've ever played another guitar that was quite like this Goodall.

Single notes and simple two note harmonies sound so absolutely amazing on this guitar that I find myself arranging things differently than in the past. My tendency was always to fill in space with lots of notes (I played 5-string banjo for many years, so this comes naturally to me), but now I tend to come up with simpler but much more elegant sounding arrangements that make the most of the Goodall's lovely tone and amazing sustain. Interestingly, this has spilled over into my music on my other guitars as well - these sorts of arrangements also tend to sound really lovely (in a different way) on my classical guitar, and I'm a bit different in how I approach music on my Martin now as well.

Interestingly, my Martin is now tending to get me to develop more as a flatpicker rather than only playing fingerstyle, and this spills over to my playing on the Goodall.

It is interesting how each instrument's unique capabilities, strengths, and weaknesses shapes and influences the sort of musician you become.
Well said.
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  #10  
Old 04-12-2010, 04:26 PM
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It is interesting how each instrument's unique capabilities, strengths, and weaknesses shapes and influences the sort of musician you become.
I agree with that.
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Old 04-12-2010, 04:34 PM
Steve Berger Steve Berger is offline
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I currently own a Goodall CJ - Cedar/Koa and I used to own a Goodall TROM - Addy/Mad Rose. The CJ has/had a much bigger, and to my ears, a much better sound than the TROM. Obviously they were made of very different tone woods, but I also believe they were braced differently as well. And I also believe that TROMS generally sound different than GCs.

I kept the TROM for three years but I never grew to love the sound. I hate to use the overworked term "open-up", but in truth, that was part of the problem, the guitar just sounded tight and small to me even after three years of daily playing.

I ended up doing something I never thought I would ever do as I really love Goodall guitars. I traded in the TROM for a Martin OM-28V Custom. It was actually one of the Martin 2008 Winter NAMM Show display guitars. It is Italian Alpine Spruce/Mad Rose . . . and I've loved it from the first note.

Note . . . I still have the Goodall CJ as I believe it is a wonderful finger style guitar.
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Old 04-12-2010, 05:56 PM
Pitar Pitar is offline
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TROM: more fundamentals, closer to vintage sound

CJ: more balance, overtones... nice modern guitar
I'll go with this. I played the Goodalls and ended up with the cut sitka/eir CJ. BTW, I don't think the cut causes any guitar any tonal grief but those are my ears. The bass on this CJ is just fine for the guitar. Goodall designs balance into these things and using a thumbpick (Delrin vs polycarb) it does just that. If you want more bass, you dig for it and it's there. Play even-handedly and the balance follows. Though I can play this thing all day long it isn't my go-to player. The neck shape/size I've come to decide just isn't the glove I need on my hand. Tonally, it is one of the best I've ever heard. It can give a very good fundamental depending upon the way it is picked. Bare flesh won't give it. It needs fingernails or picks for that. I use fingernails. I play a lot in the upper registers and will say that the bass, if not accentuated, remains weaker. A little digging brings out the balance. For the upper registers I use a polycarb thumbpick and just pull back a little when walking down to the lower ones. The guitar really isn't the Swiss Army Knife I've read from some people but it is a very good sounding guitar that just asks for a little varying technique to make it a good all-around player. Personally, I chose it over a Collings because I could get fundamental from the Goodall but I couldn't get warmth from the Collings.
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Old 04-15-2010, 12:09 AM
wcap wcap is offline
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...... Tonally, it is one of the best I've ever heard. It can give a very good fundamental depending upon the way it is picked. Bare flesh won't give it. It needs fingernails or picks for that. I use fingernails. I play a lot in the upper registers and will say that the bass, if not accentuated, remains weaker. A little digging brings out the balance. For the upper registers I use a polycarb thumbpick and just pull back a little when walking down to the lower ones. The guitar really isn't the Swiss Army Knife I've read from some people but it is a very good sounding guitar that just asks for a little varying technique to make it a good all-around player. Personally, I chose it over a Collings because I could get fundamental from the Goodall but I couldn't get warmth from the Collings.
I agree regarding the picks or fingernails bringing out the fundamental tone. With my CJ (cedar/EIR) I get the best tone using the same basic right hand technique I use playing my classical guitar, and this requires good fingernails. With good nails, and good attack, you can get wonderful clear fundamental tones and good note separation along with the richness that comes from the overtones. I don't use a thumbpick, but a thumbpick would certainly bring out wonderfully strong and rich base notes - thats what I get with my thumbnail, and with a flatpick the base note are even more wonderful. In fact, the bass notes are one of the things that I found so mesmerizing about this guitar when I was first trying it out - they are strong and clear, yet with a rich three-dimensional quality to them that I really have not heard in other guitars.

When I was trying this guitar out prior to purchase I was so smitten by it for fingerstyle playing that I didn't even get around to trying it out with a flatpick (at the time I didn't play much with a flatpick, but I did normally try out some flatpicking on every guitar I played in shops - except for this one because it was so wonderful otherwise I didn't even care whether it was a good flatpicker or not). Well, when I got it home and did some flatpicking on it I was very pleasantly surprised. Really, I think this is one of its particularly great strengths - it sounds superb played with a flatpick. It does not have, say, the martin dreadnaught flatpicking sound, and I have no idea how it would work in a bluegrass situation, but it has a strong, powerful flatpicked voice with a clear yet rich tone.
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Old 04-15-2010, 02:18 AM
ifcowscouldfly ifcowscouldfly is offline
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Has anyone compared a TrOM to a Taylor GA? I have a 2009 714ce Spring Ltd and I absolutely love its bell-like sound and overtones. I understand that the TrOM is smaller than the GA, would it be softer or sound like a smaller guitar? As its braced more tradiitonally, would it have less overtones?
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Old 04-15-2010, 02:36 AM
Tony Burns Tony Burns is offline
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Ive played alot of Goodalls and currently own a '06 AKS -Goodalls are wonderful instruments -but you really need to visit a dealer with a wide assortment so you can see the differences in them .They can be as different as night and day - but all have some simalar characteristics . Its really hard to discribe a sound or other characterisitcs about a brand to someone who hasnt played a bunch of them -take a road trip .

My personal thoughts about Goodalls is that i feel they are primarily fingerstyle guitars -with their over-ring .Their necks are fat , but yet they are fast . GC and Trom are both great guitars - but if you were looking for a OM in particular Id have you put it up against other brands like Martin, Collings, SC etc. Troms are not my personal favorite OM -but many think their the Bees Knees ! Im more of a Standard model guy---- Good Luck !
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