The Utility of the Cutaway Dread

[Wadcutter]

Or maybe it isn’t, as my knowledge of this is admittedly all anecdotal. First off let me say that what piqued my interest in this topic was a Glennwillow post a few days ago saying that he disliked the look of the cutaway dread. My issue isn’t with the look however as much as the utility of this configuration. Glennwillow’s post caused me to think about how many times have I actually seen anybody playing a cutaway dread using that part of the neck that is afforded access by the cutaway design? And I have to admit amigos, I don’t think I ever have. Now I’m no globe trotting guitar aficionado by any means, but I have been around guitars and guitar people for 40 years, been to a lot of concerts, open mics, etc, and in all those years I don’t think I can ever recall seeing one cutaway dread player actually employing the cutaway access in their playing. Anyway, I would be very interested in your experiences and opinions on the utility and actual real world use of the cutaway dread.

[6L6]

Got to agree with you there.

No cutaway acoustics for me. Full size Dreads only.

[ewalling]

I don't particularly like the bulkiness of dreads and do not currently own one. However, although I don't like cutaways on OMs, jumbos, and 000s and smaller, I do like them on dreads. It's not because of access to the higher frets - I hardly ever go 'up there' on an acoustic - it's because the cutaway somehow makes the large size of the dread seem a little more manageable. I feel more physically comfortable playing a cutaway dread than a non-cutaway, even if this feeling is mainly psychological.

Also, I think the non-cutaway dread, for all its majesty of sound, is rather a boring design, visually speaking. Dreads all seem to look the same, and the lack of any interesting deep curves and crannies makes them look uninteresting. A cutaway can add a little panache. I remember a cutaway Alvarez-Yairi I briefly owned that had a very appealing look.

[j3ffr0]

A cutaway dread CAN make a great all-a-around guitar. I know a guy who has played one for a long time as his main guitar and he plays all over the neck. In addition to removing a little bulk, the cutaway actually cleans up a bit of the low-end dreads are known for making for a better all around guitar.

[Mark Stone]

I play up the neck frequently and find a cutaway to be very practical. But the appearance of a cutaway dread is merely a matter of personal taste. If people don't like it - fine; if people like it, also fine.

[Dotneck]

Ive got a 12 fret 000 with a cutaway…it makes a bit more sense on a 12 fretted although I rarely go up there…

[CarlE]

I strongly dislike the look of a cutaway on a dreadnought guitar, but am generally fine with them on smaller bodied guitars. My two main acoustic guitars are a Martin D-16RGT (non cutaway) and a Taylor 214ce (cutaway). I play in an acoustic duo and generally take my Taylor to gigs, as a few of the tunes we do involve playing a lead up the neck in the cutaway area (generally an acoustic cover of a song where the original lead was done on an electric). If I know I am mostly just going to be playing chords, I am more apt to break out the Martin.

[Pdubs76]

Not a fan myself, but a beveled armrest would be nice to have on a dread for more comfort, especially in a seated position.

[tadol]

Didn’t really like them myself - until I got one. Now I like them -

[Wcguzzi]

I tend to agree that few players take advantage of cutaways, regardless of body shape. However, I have a Taylor 12 string Venetian cutaway dread that allows me to mimic a mandolin when playing up the neck. Similar to a jumbo style, the large internal volume compensates for what can be a weak 12 string sound. And since I play sitting down, I find the body shape more comfortable than a similar sized OM.

[Tom60]

Originally Posted by Dotneck

Ive got a 12 fret 000 with a cutaway…it makes a bit more sense on a 12 fretted although I rarely go up there…

I agree.. it is the only time I feel frustrated with a 12fretter... if I rarely try to go up there, I wish I could

[Glennwillow]

Originally Posted by Wcguzzi

I tend to agree that few players take advantage of cutaways, regardless of body shape. However, I have a Taylor 12 string Venetian cutaway dread that allows me to mimic a mandolin when playing up the neck. Similar to a jumbo style, the large internal volume compensates for what can be a weak 12 string sound. And since I play sitting down, I find the body shape more comfortable than a similar sized OM.

Hi Wcguzzi!

I see that this is your first post on the AGF! I just wanted to say, "Welcome to the AGF"! I hope you enjoy it here!

- Glenn

[Glennwillow]

I have seen Tommy Emmanuel play with a cutaway on a fairly beat up Maton dreadnought. Tommy tunes his dreadnought down two half tones below normal pitch and then uses medium gauge strings. So he gets a lot of bass from this guitar, particularly since he normally plays using amplification through the guitar's pickup system.

Here's a video of Tommy playing "Amazing Grace" on that dreadnought and at about time = 1:57 he does get up in the cutaway territory. The guitar has always sounded very "quacky" to me and it does in this video, as well. But, here is an example of an accomplished guitar player using the cutaway as intended. I still dislike the looks but I understand why Tommy would want this cutaway.



- Glenn

[rstaight]

Rare that I go that far up the neck but sometimes I do. What I see, and maybe it's just me, but it seems that the only options on mid to sub mid priced guitars with electronics is a cut away.

I was at a jam last night and after a couple of hours my fingers were starting to feel it. So I started playing bar chords. Which I had my cutaway then.

[Bob Womack]

Contrarian, as always.

I fell in love with the large body fingerstyle sound when I heard Ed Gerhard play his jumbos and dreads. As a result, I pursued and bought a dread of my own. I've been playing over fifty years, both acoustic and electric, and I am used to using most of the neck. Studio work means building chord inversions up the neck. The cutaway is an absolutely practical thing for me. Yes, classical guitar players work around the body but the type of playing I do means I often have minutes, not months, to create a part and learn it well enough to record. Why fight it? The cutaway has been a boon. A song example: Jan Akkerman's piece, "Le Clochard/The Bread," ends on a G#m11 with the anchor at the eleventh fret and the b string stopped on the twelfth. On my twelve fret that is nearly impossible and definitely not possible in real time. When playing a barred-E C# chord, my wide palm is against the body. On a fourteen fret guitar you are up against the body. On a fourteen fret guitar with a cutaway I could shift the G#m11 up three frets to become a Bm11 without being blocked by the body.



You know, a little pragmatism goes a long way when stuff has to get done.

Bob