Quote:
Originally Posted by Goat Whiskey Picks
I think I'm with him on the chaos of tones thing because I've heard it myself in some guitars. Especially when strummed. I think where he whent off track was using the term intonation. I'm interested to play one but what I think we're going to hear is a very clean and well-balanced guitar. Now the question is how pleasing that will be. Looking forward to playing one to see.
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" I think where he went off track was using the term intonation. "
Yes... and no. IMO he used the word "intonation" in a very generic way without explaining what he meant. It served him no purpose to provide an explanation as the claim was great marketing.
What we have to recognize is that there is general fundamental intonation and intonation of the harmonics which are not always in tune with the fundamentals. What makes vintage Martins sound like vintage Martins is that some of the overtones are NOT in tune with the fundamentals. When that happens there are fewer resultant harmonics. As an example of "chaos" I hear a lot of that going on with the classic Martin D28, which I believe Martin is trying to relieve with their forward shifted bracing in the 2017 D28.
The upper end of Taylor's line is a great illustration of how Taylor has brought fundamentals and overtones closely in line with each other compared to other brands. Their more expensive models are often misconstrued as simply being "bright", but are perceived as such because of extended resultant harmonics. [In most cases their upper end models have extended bass projection as well.] I have to presume that the V-Class bracing has tapped into more of that. The resultant harmonics of course will result in the additional perception of projection. The "chaos" that I think Andy Powers is alluding to are those errant overtones that don't contribute to the overall gestalt of the sound.