#106
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Multi dimensional for sure
Larry,
I sooo agree with The guitar truly touches us on some many levels of our senses...we are all so lucky to be able to play such an amazing instrument... Lisa |
#107
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The 0-15 14-fret in 1935 and the 1940-61. The 0-17 12-fret from 1929 to 32 and 14-fret from 1932. The 00-15 from 1998. The 00-17 12-fret from 1930 to 34 and 14-fret from 1934. |
#108
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Vibration begets vibration.
Things that tend to vibrate will vibrate better or with greater ease as they vibrate over time. I'm a mechanical engineer; I see this all the time. I can hear volume and harmonics improving with age in many of my guitars and recordings that I did 5 years ago don't have the harmonics that yesterday's recordings have. I live in Wisconsin...in winter it can be 38 degrees and wet one day and 5 below zero and bone dry the next day. I have fine solid wood guitars that sound like they are stuffed with old sock one day and they sound stunning the next day. Guitars change. Guitars react. Guitars improve. Guitars can be down right moody. In our living room we have a 6' tall x 10" wide glass window that overlooks our woods. Sitting and playing in front of that sheet of glass is heavenly. It's real. John
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Acoustic..........Electric 4 Martin...........9 Gibson 2 Larrivee........5 Fender 2 Taylor...........3 Squier 1 Fender..........1 Epiphone 3 Yamaha Last edited by studio1087; 07-06-2009 at 08:30 AM. |
#109
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That said, some of my solid body electrics do likewise. One in particular, a basswood super strat style that I play unplugged for that particular reason. |
#110
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Psychoacoustics is a wonderful thing;
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#111
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multi is good
I really like Larry's comment on the multidimensional experience of the guitar.
How do we remember someone we have not seen in let's say 20 years, especially if they have lost or changed hair, developed a limp, or changed their accent by living in another part of the world? Guitars are not people ( does everyone agree) but they are very complex and when coupled with a complex person, it's no wonder folks can remember a certain guitar experience from years past. I like the multidimensional idea much better than relying of tone descriptions. This moves us no closer to a system for agreeing though. |
#112
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Among my favorite Wendell Berry poems (I have many) is this one titled "A Meeting"...
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Grabbed his jacket Put on his walking shoes Last seen, six feet under Singing the I've Wasted My Whole Life Blues ---Warren Malone "Whole Life Blues" |
#113
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I don't think they sounded the exact same when they were new but I agree with the last part of your statement. I think most would agree Martin has made some serious mistakes. The good thing is they and others are trying to build them like the old ones. Some of the best guitars I've played were over 70 years old but like I said in an earlier post some of the worst I've played were 30-40 years old. |
#114
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LOTS of a guitar's "opening up" is in peoples heads.
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"Use what talents you possess; the woods would be very silent if no birds sang except those that sang best." Henry Van Dyke "It is in the world of slow time that truth and art are found as one" Norman Maclean, |
#115
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But how do Surely My guitars seem to change enough to me on a month to month basis (well, at least I *think* they do ) that I would be hard-pressed to "remember" exactly what a particular guitar sounded like. Sounds a bit contradictory (and I suppose it is at some level), but it's the way I feel. There's just no way to remember how my guitar sounds . . it changes too much! The "ups and downs" (probably more like a sinusoid) of its sound, to me, completely mask any kind of possible up or down linear trend it might have. In other words, the "noise" swamps whatever signal there might be. BTW, have |
#116
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I just think about when I was playing it...and remember it. My memories are not fickle nor the impressions of my personal instruments. They don't sound different to me month-to-month. I have played one of Tim's double backed guitars, and didn't like that aspect of it...and he & I chatted about it. That would be a feature I'd not be interested in having incorporated into any guitar I play. They were not only diminished, but nearly non-existent. I don't block the back from vibrating, and almost always play sitting down (except for when I'm leading worship). |
#117
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What a great picture that makes... Thanks for that, Glenn |
#118
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[QUOTE]I don't think they sounded the exact same when they were new but I agree with the last part of your statement. I think most would agree Martin has made some serious mistakes. The good thing is they and others are trying to build them like the old ones. Some of the best guitars I've played were over 70 years old but like I said in an earlier post some of the worst I've played were 30-40 years old.[QUOTE]
A couple of weeks ago I played a 1929 OM-28 that was the most pristine and unblemish Martin I have ever seen or played. Obviously it had not been played or handled much in its 80 years. However, it had the tone normally associated with a prewar lightly braced Martin. What Martin has is a life time warrantee that could be catastrophic economic burden if it had continued to build guitars according to prewar constructs. In 2005 Martin introduced the D-18 Authentic which is very similar to the prewar model it was patterned after. Most noticeable is the tone and volume of this guitar in comparison to its other models. I would venture to suggest that this guitar sounds like the prewar Martins did when new. Thee is no valid reason to suspect that there was that much difference. The Authentic has a price tag approaching $8000. Since this model has the same tone woods as a D-18GE, I suggest that the price difference is to compensate for possible warrantee claims from having a non adjustable truss rod and being lightly braced.
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#119
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And old marketing trick. |
#120
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http://www.youtube.com/watch?v=K7UtKDmtDu0
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