#31
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I focus/bond with a single guitar at a time. I know it's not the popular opinion but it's something I've always done. With my current guitar the process has began again. I play the new guitar more and more frequently until it's exclusive. Right now I'm in the phase where I see the previous guitar as something simply taking up space in my closet. It will end up sold for upgrade money.
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Why would you be reading a signature when there's so much V-Brace stuff to talk about? |
#32
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I really tried hard to like my Godin 5th Avenue. Ultimately, I had to admit that the only thing I really got on with was how it looked - there was just something about the neck profile I could not get used to.
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Martin 0-16NY Emerald Amicus Emerald X20 Cordoba Stage Some of my tunes: https://youtube.com/user/eatswodo |
#33
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I had a lap steel built for me which has mostly sat in the cupboard gathering dust. (Loved the idea to begin with of not playing solo but playing lead lines in standard tuning over the top of others similar to a pedal steel player).
Might go back to it one day. |
#34
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Had an OM28V for a number of years, liked everything about it but the V neck. Finally decided to sell it and buy a 000-28.
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#35
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Taylor 214DLX - loved the tone and neck, but I could never adjust to the size (too uncomfortable to play.) Figured out I prefer parlors, now I'm happy, and the Taylor has a new home.
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#36
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I went through a stage a few years ago where I bought and sold several Chinese built guitars.
They all sounded great when I bought them but after playing them for several months, I lost interest in their tone. My guess is that for the money all of these imports sounded well above their price tags but when I put them up against my Martin D-35 and my Guild D-55, the imports just didn't hold up for me. The only exception to this is my Yamaha L-20A which I have owned for over 30 years. This guitar always impresses me when I play it. My newest addition to the family is a Washburn GA that I have had for a couple of months. So far, this guitar still gives me more than I expect from it. Time will only tell how long I keep it.
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Happiness Is A New Set Of Strings L-20A |
#37
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For me it was the Martin Tone.
I started with my first guitar being a Martin DX1. They are killer beginner guitars. However, it gave me dread only and Martin only blinders. Eventually I bought my second guitar, a Martin MMV. It was a step up in playability, but not really tone. Eventually I got tired of the muddy bass, and got a modern voiced Furch. I still have the DX1, but Ernie Ball Aluminum Bronze are they only strings that make it bearable tone wise to me. |
#38
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Quote:
X3. I started on Taylor & have gone through six of them. Visually, some of the worlds most beautiful guitars...as far as tonality goes, let’s just saw I prefer something else. |
#39
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Quote:
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Walker Clark Fork (Adi/Honduran Rosewood) Edmonds OM-28RS - Sunburst (Adi/Old Growth Honduran) |
#40
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Taylor 414ce and Gibson Les Paul for me.
The Taylor kind of fell apart on me (bridge came off, neck was out of whack, electronics went haywire) and the Les Paul felt like I had an anvil around my neck. Both are gone now and I don’t miss’em 1 bit. |
#41
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My CEO-7 was a beautiful, great sounding guitar. I had it almost three years and always kept it cased and humidified. If anything, it was too beautiful.
Then this winter, the worst one for guitars I can recall, things started to go wrong. The body binding came loose. It developed a scary belly bulge. The action went downhill and the intonation went haywire. After the neck reset, binding reglue, and bulge removal it was once again beautiful, but I couldn't trust it. I sold it quickly and at a considerable loss. I think and hope the new owner will not have any further problems with one of the most fun guitars I have ever had. |
#42
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[QUOTEGear is a Process.[/QUOTE]
True, very true! Most people just think once they've achieved the first three or four chords, it's over. Once you start working up the neck, you begin to truly hear what a guitar is capable of. This can take a couple of years of serious playing to achieve. A guitar can have very different tones up the neck than playing in the simple positions. And capos are not a true determining factor in this either. They simply mask some of the tone, thus making it harder to tell the true tone. If more people tried to learn guitar thoroughly, there would be less selling/trading and more keeping and/or adding. In the past, the early 1990s, I too went through this cycle, not so much anymore.
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Dump The Bucket On It! |
#43
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Quote:
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Dump The Bucket On It! |
#44
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I've had a couple of low-line Gibsons that ended up never making my heart thump, a faded finish Flying V and a '60s Tribute LP with P-90s. The Flying V had 498 pickups that were just to high-gain for my style. The '60s Tribute had P-90s that were the noisiest pickups I'd ever fought. Also, with both, the lack of pore filler under the finish was a bit of a turn-off. Petty, but true.
Bob
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"It is said, 'Go not to the elves for counsel for they will say both no and yes.' " Frodo Baggins to Gildor Inglorion, The Fellowship of the Ring THE MUSICIAN'S ROOM (my website) |
#45
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Despite my moniker, I'd have to say I've finally "fallen out of love" with my last Taylor, the 2008 GC Cocobolo Fall Limited. Despite being the most beautiful guitar I've ever seen, it's sound no longer appeals to me. Even with 80/20 bronze strings it seems dull and bass heavy, which I attribute more to a loss in my high frequency hearing over the last decade than I do to any physical changes in the guitar. The sound of both my Martin Authentics are more balanced, and even brighter to my ear.
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Larry Martin OM-28 Authentic 1931 Taylor Cocobolo GCce 2008 Fall Limited Edition Paragon Cocobolo/cedar GOM Cervantes Signature Rodriguez Eastman Cabaret JB Tacoma JM1612C |