New Guitar Day: Ed Claxton EMc Brazilian/German

[Burton LeGeyt]

Originally Posted by iim7V7IM7

Ed n' Jeff... perhaps there is something in the Santa Cruz water?

Fascinating! Jeff makes his guitars in a parking lot while Ed just makes them in the middle of the road.

[JamesO]

Originally Posted by Burton LeGeyt

Fascinating! Jeff makes his guitars in a parking lot while Ed just makes them in the middle of the road.

The stars are on the north side of the building. I haven't been to Ed's shop, but Jeff's, at least, is on the south side, near where that little tree-looking blur is.

[gitarro]

Originally Posted by Burton LeGeyt

Fascinating! Jeff makes his guitars in a parking lot while Ed just makes them in the middle of the road.

Their wood stores must be pretty mobile and fast moving then!

[Jeff Scott]

Originally Posted by iim7V7IM7

Ed n' Jeff... perhaps there is something in the Santa Cruz water?

I see that they have a handy restaurant right there, too, in the lower right side of that photo.

[Doug Young]

Ed's doing most of his work from his home workshop these days, a very nice setup with the kind of cabinetry that you'd expect from a guitar builder, tho I think he still maintains the shop by Jeff's as well for doing the rough sawing and finishing.

[Diamondave]

So, we gonna get some video with tone...! ? ! 🙀

[bdm0509]

Originally Posted by Diamondave

So, we gonna get some video with tone...! ? ! 🙀

As a matter of fact...



If work would cooperate, I'll have it tonight.

I'm also hoping to get one more recorded before I have to send this thing back to Ed for SBAIC. :-(

-Brett

[dennisczech]

Definitely echo the love for Ed's guitars, the mahogany OM that Trevor had at TAMCO was one of the most musical and tonally wonderful guitars I've ever played, totally beguiling. I think you have been brave to share your GAS journey with us, as I suspect many of us have been on a similar trajectory but a bit more coy about revealing it, so respect to you for your honesty. When you can't quite settle down and find the one you love, it becomes an ongoing quest and a restlessness that is bothersome. It's easy to fall in love, but harder to sustain an ongoing commitment when we are scratchy with GAS and our needs feel ever more varied, specialised and complicated!

You have probably figured out there is no perfection, it's a question of good enough according to your needs. I have found a couple of guitars that meet my needs and demands, and I am happily married to them, so I know the GAS illness can get better. I suspect this guitar might be one to fall in love with and stay in love. Can't wait to hear some audio. Feel the love! Dennis

[steveh]

Originally Posted by gitarro

The only difference is that people used to say that Sobells were a little metallic and cold, though now that difference seems to have been elimiated from reports over Jonny Mosco's new Sobell Steinbeck which is said to be warm and having a good bass as well as the same fat trebles.

As you have also played his Steinbeck along with the Traugott and Claxton (not at the same time of course), how would you characterise their differences in sound?

I've owned 4 Sobells over the last 15 years or so, and have played loads more. Like Doug, I would place them nowhere near a Claxton/Traugott save to say that all are great guitars.

Sobell trebles are much colder and steelier than Claxton. Also far more separation and pretty much impossible to overdrive, irrespective of how hard your right hand attack is. Sobell trebles are also very prominent because the bottom end is very dry (less "bloom" than Claxton/Traugott), so the balance is very different vs. Claxton/Traugott (where I hear much warmer bottom end - relatively - and more balance overall).

Yes, I've had time on a "Steinbeck" Sobell but to my ears it is still very much a Sobell. Yes, it has a slightly bigger, warmer bottom end and yes, the trebles are perhaps less prominent but in absolutely no way has a Sobell suddenly become an Olson. "Eliminated" isn't what I'm hearing at all although the new models do move slightly more towards a conventional sound.

I know it's frustrating for people who have never played a Sobell, but I have to reiterate that they are very unique guitars (save for Nigel Forster and Rory Dowling's work, both of whom are very Sobell influenced). Nothing else sounds like them - there is plenty of Martin Simpson stuff around to hear that. I grew away from them because I realised I liked a more vanilla guitar (and they are not cheap!). However, nothing else will do if that sound happens to be what you are after. For my pal Jonny, that sound is exactly what he's looking for. He's played loads of instruments, but ultimately Sobell does it for him. He's also a very very good player: Sobells do not paper over the cracks at all. Having one made me a better player because you have to up your game quick - all errors are exposed mercilessly! Perhaps he'll chip in if he's around? As ever, I'm probably talking **** so please do try and listen for yourself.

Cheers,
Steve

[justonwo]

Does anyone know what Ed will be bringing to Santa Barbara?

[bdm0509]

Originally Posted by justonwo

Does anyone know what Ed will be bringing to Santa Barbara?

When last we talked, he was bringing my EMc in Brazilian and German and a Malabar in maple "in the raw" that he's not had time to finish. I'll probably talk to him again Monday so will pass on any findings...

-Brett

[jonnymosco]

Originally Posted by steveh

Yes, I've had time on a "Steinbeck" Sobell but to my ears it is still very much a Sobell. Yes, it has a slightly bigger, warmer bottom end and yes, the trebles are perhaps less prominent but in absolutely no way has a Sobell suddenly become an Olson. "Eliminated" isn't what I'm hearing at all although the new models do move slightly more towards a conventional sound.

I know it's frustrating for people who have never played a Sobell, but I have to reiterate that they are very unique guitars (save for Nigel Forster and Rory Dowling's work, both of whom are very Sobell influenced). Nothing else sounds like them - there is plenty of Martin Simpson stuff around to hear that. I grew away from them because I realised I liked a more vanilla guitar (and they are not cheap!). However, nothing else will do if that sound happens to be what you are after. For my pal Jonny, that sound is exactly what he's looking for. He's played loads of instruments, but ultimately Sobell does it for him. He's also a very very good player: Sobells do not paper over the cracks at all. Having one made me a better player because you have to up your game quick - all errors are exposed mercilessly! Perhaps he'll chip in if he's around? As ever, I'm probably talking **** so please do try and listen for yourself.

Cheers,
Steve

Cheers Steve, you're not so bad yourself!

Gitarro recently asked me how I'd place my Steinbeck with the Somogyi school guitars, I wrote this:

It is completely different in approach to the Somogyi school. Last month I had a Somogyi OM to compare with it for a few days - the Steinbeck is much louder and rings for longer. The sound is more direct, especially the mid and trebles. The full bass of the Steinbeck is very focused in comparison with the Somogyi’s which seems ethereal. The Somogyi seems to be more about those overtones and the 3D sound.

The Steinbeck is clearly still a Sobell, but a warmer one on steroids.

I agree with Steve, it is a unique sounding guitar - a guitar to offer a different tonal palette to almost anything else.

Jonny

[Thin Crust]

Ed is indeed a great guy. He and I have remained in contact since my first commission in 2013, and I'm fortunate to have an invitation to visit his shop and stay for dinner prior to the Santa Barbara show. I came across a pre owned Claxton earlier this year, and like you I called Ed to discuss the guitar. It had all my favorite specs; 1-13/16" nut, 2-5/16 saddle spacing, and 13th fret neck joint. Ed remembered the guitar, and was contemplating buying it back due to the overall condition and somewhat ridiculous price. I saved Ed the trouble and purchased it myself.

Another thing about Doug Young; he's definitely a class act. I asked him to audition a Claxton for me at Healdsburg 2013. He did, I loved the sound from "out front", and commissioned my first EM.

Now I'm just counting the days until SBAIC.

[bdm0509]

Originally Posted by Thin Crust

Ed is indeed a great guy. He and I have remained in contact since my first commission in 2013, and I'm fortunate to have an invitation to visit his shop and stay for dinner prior to the Santa Barbara show.

So YOU'RE the one! Ha ha... Ed has asked me to send back the EM this week rather than closer to the show because he has someone coming prior to the show and he wants to let them check it out.

Yes, I love Ed! And this is a GREAT guitar that I look forward to many years playing.

-Brett

[bdm0509]

Originally Posted by justonwo

Does anyone know what Ed will be bringing to Santa Barbara?

Hi Juston (and others)-

I talked to Ed today a bit, basically trying to make him feel guilty for making me send back the EMc :-) He's so sweet that I ended up feeling bad for making him feel bad, ha!

In any case, I asked him about SBAIC. He is bringing my EMc in Brazilian and German, and a Maple 12- or 13-fret Malabar that will be unfinished and "in the raw." Ed is really excited about this guitar, and says that it's a cool deal because anyone that might decide they want it could still customize the neck profile, string spacing, nut width, etc. (Nearly everything except the scale length which is set).

So if you want to check out Ed's work, a Brazilian EMc and a maple are great representatives. He is also being his personal 12-fret guitar, in Brazilian. We were just hanging up when he told me and I had to run, so I didn't get many more details, but I will add if I get any.

Should be a great show, and Ed is shy-ly excited about being to a show again.

-Brett