#31
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I don't know how to express my opinion without it being labeled a judgement.
If that's the case, your opinion of my opinion is judging my judgment.
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Pray, Hope, and Don't Worry - Padre Pio Last edited by menhir; 11-12-2019 at 06:19 PM. |
#32
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Look at that battered guitar... rusty pickup cover, worn edges on the headstock.
John Lennon was such a poseur!
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1955 Gibson ES-125 1956 Fender Champ lap steel 1964 Guild Starfire III 1984 Rickenbacker 330 1990s Mosrite (Kurokumo) Ventures 2002/2005 Fender Japan '60s Tele [TL-62-66US] 2008 Hallmark 60 Custom 2018 Martin Custom Shop 00-18 slot-head 1963 Fender Bandmaster (blonde blackface) 1965 Ampeg Gemini I 2020 Mojotone tweed Champ kit build |
#33
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#34
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I have read this many times, and find it baffling.
Some people like their stuff neat and some don't care. I get that. I've had rides from people where they had to remove a pile of stuff so I could find the seat, and there was so much crap on the floor I couldn't put my feet down without stepping on some of it. But we got where we were going. I purchased a used Schilke trumpet on the bay that had about 30 small dents all up and down the bell. The price reflected the condition and it played like a dream - so I sent it out to be plated and all dents removed. It's certainly not difficult to imagine that the former owner could have played just as well with the beat up horn. I get that - he obviously didn't care. But why suggest that gives the instrument more mojo? Seems ridiculous. A few years back I sold a trumpet from the late 60's that I played 4 hours a day - didn't have a dent. Strumming way past the strings and scratching the finish to heck gives the music more soul? Maybe. Or maybe with a couple of technique lessons you could transmit the same soul without all the excess movement? In any case, if you like them beat up it's fine with me. It's a choice. Keeping them neat doesn't make the mojo meter go up either.
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Keith Martin 000-42 Marquis Taylor Classical Alvarez 12 String Gibson ES345s Fender P-Bass Gibson tenor banjo |
#35
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Like with my grandfather's old Yamaha from the late 60s. He had an old DeArmond pick-up in there. I believe the last time I tried hooking it up the pick-up wasn't working, so I removed it. The soundhole on the guitar is only about three inches, so to get the pick-up to fit, he had to notch out just an itty-bit of the soundhole. So when I pull out the guitar, I don't see a soundhole pick-up, but I know one was there. You can see part of its story. Some people care about that, others don't, and good for both sides. |
#36
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I don't have the guitar I started on when I was 12, but my Gibson electric has been with me since I was around 19/20. I played 6 nights a week, 5 hours a night with that guitar. It has been my only electric gigging guitar for the past 50 years and if you really want to compare practice hours . . . It doesn't look brand new, but it could probably pass for 6 months old. There is no correlation between the condition of an instrument and one's ability to make money using it. Just as there is no correlation between time on the forum and practice hours - at least not for this retired guy with more time than I know what to do with on some days.
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Keith Martin 000-42 Marquis Taylor Classical Alvarez 12 String Gibson ES345s Fender P-Bass Gibson tenor banjo |
#37
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That is kind of what opinions are: one person's judgement about something.
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#38
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#39
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whats the attraction with beat up guitars?
First off, I have purchased a number of instruments used. Most of them in good condition, a few in near mint condition. Near enough to be better than many floor demoes. For the most part, I go to great lengths to keep my instruments in the best possible condition. But I got a couple that were in far less than stellar condition. So maybe it's kind of like adopting a shelter animal? A few years ago, there was one was sitting on a shop stand looking forlorn and lonely. But it caught my eye. Then I played it a bit. Barely, because it needed work. But there was something about it. Seemed structurally sound, so I got it (cheap), took it to another place which I trust, and with new nut, saddle, some fret work, a new set of strings . . . boy am I happy with it now. Even bought a brand new manufacturer's case for it. So even though it does have some noticeable wear, it also sounds and plays real well. The guitar I'm talking about is my Epiphone EJ-200. It's now dependable enough to use playing out. Most obvious wear is on the pickguard, the design having been worn almost completely off over half the pickguard surface. I amuse myself with the thought that it just displays it's character and street cred. Don .
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*The Heard: 85 Gibson J-200 sitka/rosewood Jumbo 99 Taylor 355 sitka/sapele 12 string Jmbo 06 Alvarez AJ60S englmn/mpl lam med Jmbo 14 Taylor 818e sitka/rosewood Grand Orchestra 05 Taylor 512ce L10 all mahogany Grand Concert 09 Taylor all walnut Jmbo 16 Taylor 412e-R sitka/rw GC 16 Taylor 458e-R s/rw 12 string GO 21 Epiphone IBG J-200 sitka/maple Jmbo 22 Guild F-1512 s/rw 12 string Jmbo Last edited by donlyn; 11-12-2019 at 05:46 PM. |
#40
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I banged it on the door!
I dropped it on the floor! But I couldn't tell if it scratched or dinged... Because it already had so many more! BluesKing777. Last edited by BluesKing777; 11-12-2019 at 08:39 PM. |
#41
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We could flip this around. Is there a prejudice against older guitars with mileage? |
#42
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I let my friend use my guitar at a gig I came to support her at for a few songs, when I got home my jaw dropped when I saw this. She must have been wearing a sharp belt or something. I did notice the guitar kept slipping as the strap was too long for her, didn’t think anything of it at the time.
Thankfully I quite like natural wear and tear (although that much damage in less than two hours took a bit of getting used to), if you gig with it especially in pubs it’s pretty inevitable. I accidentally bashed the side on a table tonight, no biggie. The artificially worn ones are daft though. They usually go way over the top. The Martin Streetmaster version of my guitar looks ridiculous, nothing looks that worn even well played 1930s 17 series. Last edited by foxo; 11-12-2019 at 06:53 PM. |
#43
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Unless I missed it, it’s hard to believe that no one has specifically mentioned The Pre-War Guitar Company. If I was more talented I could reference/link to a very recent thread that spoke to the really good sound that these guitars have...and also that they have the unique distinction of coming as beat up as you want. Would I buy one? No. But I have learned to love the ding, scratch and dent. (I’m a little dinged, scratched and dented myself now that I think of it!)
Yes, some guys are trying to be cool. Others just play and play and play a great sounding guitar until the wheels fall off. It’s all guitar, and it’s all good. |
#44
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#45
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Years ago my thinking was that a worn brand-name guitar meant:
- discount - somebody obviously enjoyed it, so it was less likely to be a lemon - reduced pressure to “walk on rice paper” (leave no trace of my usage) In truth another factor was: - it would make ME look more experienced Nowadays those benefits have shrunk but still remain somewhat. I’ll buy a beat-up guitar if I like it, but the price has to be right. My recent 1973 Guild F-48 is a great example of this. My new Martin terz was(is) not.
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Respectfully, Mike Taylor 415 --- Epiphone Texan --- Collings D1A --- Martin 5-15 --- etc Take a sad song and make it better. |