#31
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As a Gibson guy I have to say I love the (H)D-35. Great guitar.
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The Big Fat Lady 02' Gibson J-150 The Squares 11' Hummingbird TV, 08' Dove The Slopeys 11' Gibson SJ (Aaron Lewis) The Pickers 43' Gibson LG-2, 09' Furch OM 32SM (custom) , 02' Martin J-40 The Beater 99' Cort Earth 100 What we do on weekends: http://www.reverbnation.com/doubleshotprague |
#32
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I pretty much agree with everything that's been said above. However, I've owned 2 D-35s (a late 60's and an early 70's) over the years and really liked them both. As you can see from my sig I'm a hard core Collings guy now, but Martin still makes some great guitars. And there are times I think the D-35 gets a bad rap. It does produce more bass but perhaps not to the extent that is sometimes characterized. Being a bluegrass flatpicker I have a slight preference for hog dreads, followed closely by rose dreads. But don't just dismiss a D-35 without playing one. I suspicion that there have been a number of D-35s with great tone summarily overlooked because someone told a prospective buyer they were too "bass-ey". Play one and decide for yourself.
Tom |
#33
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Finally got a D-35
Spent about three months in several stores trying all the rosewood Martins in there from custom guitar center ones to the HD-35. It came down to a D-35 that had been hanging high in a corner for a year with dead strings, and a newer D-28 with new strings. The D-35 was louder and had more tonal variation when played in different positions from bridge to fretboard. This really jumped out at me. The fact that a guitar with dead strings had such great projection and sustain won me over, and I believed it would be more amazing with new strings, so I bought it, threw on Medium elixirs (phosphor), and I had found my new orchestra.
The one response I have to the "muddy" critique is this: consider pianos. If you have an upright bar piano and a steinway grand, what would happen if you played both with just as much force? I can answer because I have done this. The upright will sound awesome, while The Steinway will sound like muddy garbage unless you really work the pedals. Bottom line: if you expect the instrument to adapt to your playing style, you are looking at it all wrong. With a great guitar you have to be willing to adjust, and in my case, I am glad to be able to use less effort to get a full sound. I also have to shift a bit toward the bridge if I want less bass. C'est La Vie. On youtube I see alot of amateurs with really good guitars, which is fine, but too often they are "beating" the strings, not strumming, and this will make any good guitar sound muddy. The best videos on youtube btw are from the Acoustic Letter and also from that guy Jarvis in Singapore..I think it's the Guitar Spa of Singapore. When these professionals play/demo guitars, you don't EVER hear anything muddy sounding. Jarvis especially you can see adapting to the guitars he plays to let them speak with their own voice instead of the force of his strum. Bottom line: any guitar will sound muddy if you play it harder than is necessary. Last edited by zalzan; 07-25-2014 at 07:04 AM. |
#34
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Quote:
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website: https://www.steveyarbrough.net Bourgeois, Collings, Eastman, Gibson, Martin |
#35
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D-35 vs D-28??
I haven't played a D-28 since I bought my D-35. I has a Piezo passive pickup and it's everything I need it to be, with Martin "Silk & Steel" strings! I think the 3-piece back adds to the tone.
If I need something brighter, I'll play my Martin 0000-28H, which also has a passive pickup. Still plenty of base, but well balanced across the tonal spectrum. Glen
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Yamaha FG-375S Jumbo Martin DXME/D-35E/DC Aura/000-14 Custom/D-16E Custom/ 000C Nylon/0000-28HE/Concept IV Jumbo/00-16C/D-4132SE Gibson LP Deluxe/ES-347 TD/Chet Atkins CE Fender MIA Deluxe Strat Art & Lutherie 12-string Bellucci Concert Sigma CR-7 Recording King ROS-06 FE3/RPH-05 D'Angelico "New Yorker" New Masters "Esperance SP" Hermosa AH-20 “I never met a guitar I didn't like.” |
#36
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Many solo artists over the years have preferred the traditional, proven sound of the D-28 over the johnny-come-lately marketing department driven raison d'etre D-35. Plenty rich to accompany the voice... As well, a good D-28 has all the cut a D-18 has, PLUS some additional, but balanced fullness. LOTS of D-28's used as a lead guitar. Back in the day, the D-18 was more sought after due to simple economics. If a guy could afford the extra, he got a D-28; if not, the D-18. IMO, but not my opinion alone, the use of 1/4" bracing is just a bad choice for a dreadnought. The D-35 was introduced to use up smaller pieces of the dwindling supply of Brazilian. The changes were introduced to make it less obvious that that was the main reason. IMO, and that of more than a few people I've encountered over many decades of playing Martins... |
#37
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I have a D-28 (a couple), a D-35, and a D-18 (2011). I play bluegrass, and play folk and country solo. The D-28 is by far my favorite. But I do enjoy the others, too. The D-35 has the best bass response, the D-18 has a certain crispness and sweet tone, and the D-28's seem to have that combination of qualities that I am looking for, like good bass and treble, volume, punch, note separation, and tone. I would surely hate to have to part with any of them, but I do find that the D-28's get the majority of playing time.
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