|
|
#16
08-10-2010, 08:58 PM
|
|||
|
|||
Quote:
|
|
#17
08-11-2010, 02:49 PM
|
|||
|
|||
|
Quote:
__________________
'08 Goodall KCJC (Koa/Englemann) '09 Fujii MD (Camatillo RW/German) '11 Martin J custom(EIR/Sitka w/PA1 appts.) '14 Collings SJ(Wenge/German)
|
|
#18
08-12-2010, 10:49 AM
|
||||
|
||||
|
Quote:
Are all luthier built guitars meant only to be played "unplugged"? If so, then this has ramifications to those of us who plan to play out. Buy a guitar like a Taylor T5 and not a hand built. If not, then, are there things that can be done to work with a preferred amplification system, or not? LC
__________________
Still crazy after all these years.
|
|
#19
08-12-2010, 12:05 PM
|
|||
|
|||
|
I think the question is too vague and not really answerable. Just like anything in the guitar world, what's "perfect" for one person may be terrible for someone else.
One thing I've found is that usually, if someone is a casual performer with average equipment, average sound engineering experience, and playing in venues with moderate to lousy acoustic properties then the single most important aspect of the guitar is probably comfort and playability. Nothing is likely to sound fabulous in those conditions. On the other hand, players who are working in nice spaces with nice equipment and a professional engineer have figured out how to get their favorite guitars to work. They choose their "perfect" guitar based on their own unique criteria and figure out how to get it to work for their specific needs.
__________________
Chasson Guitars Web Site
|
|
#20
08-12-2010, 04:03 PM
|
||||
|
||||
|
Quote:
You are saying that there is nothing you would do differently for a custom build that was destined to be played amplified? LC
__________________
Still crazy after all these years.
|
|
#21
08-12-2010, 05:23 PM
|
|||
|
|||
|
There's no one thing.
Your question seemed to be about sound but the main things I would recommend would be unrelated to sound. Playing amplified might imply touring which implies humidity changes. That's one reason I like adjustable necks. Easy to tweak the action day to day. For some people, it implies multiple pickups so I designed an access panel like this one to make it easier to install and maintain more complex systems.  As for sound, any pro acoustic player I've worked with or talked to wants the acoustic guitar they want regardless of amplification. I've never been asked to change the sound of a guitar to make it more suitable to amplify. I and the players I've worked with see it as a sound engineering issue, not a guitar issue. If for no other reason, the requirements for amplification change so much from venue to venue. I'm sure there are other ways to look at it but that's been my personal experience. Maybe David Berkowitz will chime in. He's got a good joint perspective as a builder and sound engineer.
__________________
Chasson Guitars Web Site
|
|
#22
08-12-2010, 06:16 PM
|
|||
|
|||
|
Quote:
One thing I do for a guitar that's destined to be amplified. Soundport. I don't understand it, but a soundport, in the bass side upper bout actually helps prevent feedback. I had a local client buy a spec guitar I'd built. He plays in a pretty loud rock band.(drums, bass ect) He has to use a soundhole cover with his other 2 acoustics. I made him a soundhole cover, and a soundport cover, since the guitar already had a sound port. If he takes the soundhole cover out, but leaves the soundport covered he gets feedback. With both covers removed, no feedback. I suspect it has something to do with soundwaves getting "trapped" inside the guitar with no way to escape. The soundport gives them an escape route. Perhaps that's why Ovations (years ago pretty much the only amplified acoustic) have multiple sound holes. I love the access panel Kent.
__________________
woody b politically incorrect since 1964
|
