#46
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By the way, where are you in Oklahoma? I was in Tulsa for 5 years until just recently.
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"I'm just a nobody, trying to tell everybody about Somebody that can save anybody." Guitars Martin ALternative X Taylor 914ce-L7 Brazilian Rosewood 1 11/16" nut Taylor Big Baby Taylor T5 Custom Quilted Maple BlueBurst Taylor 354ce Martin DC-Aura |
#47
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The term "Out There" has been used a fare bit in this thread (and other similar threads).
Out there can have many different locations, destinations, quality of player, living rooms, kitchens stages or studios. I think a something to consider is what "out there" means for your early guitars. All of my guitars are within 4 hour driving distance from me, with most of them within 1/2 hour driving distance. None of them are used by professional musicians, none are use for much more than the living room for personal use or the odd church service. I'm confident in my quality to let them get "out there" as far as they are. the next 4 guitars also fall into the 1/2 hour drive or less, living room, odd church service or maybe coffee shop gig. I guess knowing what "out there" means is important in knowing when to well, get out there.
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Rod True, aspiring luthier My current project A guitar I built for my Father in Law The Celtic Beauty - The Epic Journey True SJ - #9 |
#48
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JohnM
It is a delicate balance, isn't it? At some point the work must be presented to the public, but too soon and a negative image may be out there, too late and one may never get their work "out there" in a never-ending search for perfection. Its actually a place I am now. After being so embarrassed by my initial projects (most of which were not mine) I've spent years in the woodshed trying to cobble together my next venture, and nothing ever seams good enough. Lots I never thought about in this thread! All I can say is, if any luthiers want to send me all those initial prototype guitars I swear I will keep them safely locked away from public eyes! |
#49
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The market will ultimately decided if you are ready... there is no magic formula or number... you do your thing and don't worry about numbers, worry about being the very best you can at what you do. Ask a lot of questions, never be afraid to ask, and be accepting of the mistakes you will make along the way. It happens to everyone! The most successful learn from their mistakes. Good luck.
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A brand new duet I wrote with my daughter: https://youtu.be/u0hRB7fYaZU Olson Brazilian Dread #1325 Olson Brazilian SJ #1350 Olson Tiger Myrtle Dread #1355 Olson Brazilian Jumbo #1351 Olson 12-string Jumbo (one of only a few) Martin D-42 Johnny Cash #51/200 (only 80 made) And a few others Quite a few limited edition and rare Martins ----------------- http://www.kekomusic.com |
#50
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I hear all and some great advise. I wish I was rich like some of you fellas building that I could give away my first 20 or 80. I can't. I am in biz. But I will tread as wisely as I can. I'll get a few more under my belt before I go Global. |
#51
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Listening to those who have gone before you is the best way to procede.
To ask for wisdom from those who have gone before shows good judgement. To head those instruction shows wisdom. Good for you for asking. Now you have your choice to make. What will it be? Quote:
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“Reason is itself a matter of faith. It is an act of faith to assert that our thoughts have any relation to reality at all.” ― G.K. Chesterton |
#52
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I was having this discussion some years ago with a very famous pro from the archtop world (not going to say who), and he went on and on how you should build around 25 guitars or so before you sell one, that in the long run they will hurt your name and reputation, and was really making a good case for his arguments.
Then I asked him. How did you get started in the business and he told me he has sold every one from #2 on. I found that amusing. In the end I think he is right, you should wait until you have a number of them under your belt before you start selling, but it has less to do with the fact that you are building guitars worth buying and more about you are still trying to find your voice and style. After you find it you will look at those early guitars and wish you could get them back ... no matter how good they are. |
#53
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I asked earlier in the thread what you builders did with those first 25 prototypes you decided not to sell. No takers?
Why not do what some famous writers did? Use a pseudonym. Call your first 20 or so "White Label Guitar," sell them, and then put your name on the later models once you've found your voice and build chops.
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gits: good and plenty chops: snickers |
#54
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Outside of #1 the oldest I have is #32 which has about 50 signatures of famous pickers on it. Harv
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Harvey Leach |
#55
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If I played it and liked it, I'd buy it whether it was number 2 or 2002.
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#56
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I think it is unrealistic is this economic climate to suggest anyone pile up the first 10-20 guitars they make. You build a guitar and play it. And if it sounds good, and you have a buyer, you sell it. I can assure you there is a great relationship between price and quality of the instrtument. Too high, and you won't sell any which should tell you that you have the wrong price for the quality you delivered. And you move along like that. I can assure you someone is not going to beat you down in 10 years with #7 saying how did you make such an inferior guitar to your current one. And if they show up, you tell them that I will give you credit in the amount of the original sale price you sold it for towards a guitar at least 200% of the original sale price and have that be that. Otherwise, you can honestly say it was one of my earlier works when I was still poor and learning.
Go for it. If it is not worth what you are asking, people won't buy it.
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A brand new duet I wrote with my daughter: https://youtu.be/u0hRB7fYaZU Olson Brazilian Dread #1325 Olson Brazilian SJ #1350 Olson Tiger Myrtle Dread #1355 Olson Brazilian Jumbo #1351 Olson 12-string Jumbo (one of only a few) Martin D-42 Johnny Cash #51/200 (only 80 made) And a few others Quite a few limited edition and rare Martins ----------------- http://www.kekomusic.com |
#57
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As everyone has already stated - it's a simple case of supply and demand. Trying to "pin" a number to it is futile. Even if you made the worst acoustics on the planet (which I doubt is the case) and there was a demand at that particular price point - then you've succeeded!!
Of course if you add artistic integrity, creative satisfaction and the pursuit of your own minimum reference point of quality and craftsmanship that's a different ball game altogether. |
#58
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Me too.....
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Steve |
#59
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I've finished one acoustic to date, but started and failed at many before it; I've built, I think, 5 amps, all a bit different; a number of electrics; three drum kits; and a few really nice snare drums. I'll consider making one for a close friend when parts of the guitar don't embarrass me I'm finishing #2 now. There's definite progress made, but still a lot to learn, improve, and PRACTICE! |
#60
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I have sent 276 mandolins out the door with S/N's, and a few that never made it. If I don't like it, it doesn't go.
For guitars, I stopped numbering them. If I don't like them, they don't go either. |