#31
|
|||
|
|||
Charles is saying it's objective - for him. His wants may not be the same as yours, but if you know what you want, his test can help you decide in an objective way. You may pick the guitar he rejects or vice versa, but each of you have done it in an objective way.
Remember, this is one of several things that he examines, and is not his sole criterion. When we look at a guitar we want one that works for us, not for Charles Tauber (unless of course we both like the same things). A method such as he uses brings objectivity to a subjective process.
__________________
The Bard Rocks Fay OM Sinker Redwood/Tiger Myrtle Sexauer L00 Adk/Magnolia For Sale Hatcher Jumbo Bearclaw/"Bacon" Padauk Goodall Jumbo POC/flamed Mahogany Appollonio 12 POC/Myrtle MJ Franks Resonator, all Australian Blackwood Goodman J45 Lutz/fiddleback Mahogany Blackbird "Lucky 13" - carbon fiber '31 National Duolian + many other stringed instruments. |
#32
|
|||
|
|||
Being a retired music teacher I suspect that everyone knows I'm not rich. But I do perhaps allocate a higher portion of my spending money toward instruments (because I want to, not because it necessarily makes sense).
I don't seem to have any problem evaluating instruments before they come home, and have never had that kind of buyer's remorse. I'm already playing a nice guitar (see first paragraph), so when I'm shopping it's to replace the nice guitar with a nicer guitar. I do play as many instruments in my target pool as I can get my hands on and I do take a guitar buddy or two along so I can hear the guitar from the audience perspective. But I don't have a big collection of guitars and I have very specific wants and needs which no doubt eliminate a lot of guitars from my process, so that makes it all a lot easier.
__________________
Keith Martin 000-42 Marquis Taylor Classical Alvarez 12 String Gibson ES345s Fender P-Bass Gibson tenor banjo |
#33
|
|||
|
|||
When I have evaluated guitars, I have found this guideline useful to add to the mix. I think that probably using a combo of subjective and objective criteria is ideal but I generally have had the best success with using what my ears and hands know is true for me along with a luthier's advice from their experience and perspective.
https://www.premierguitar.com/articl...c_Guitar_Sound Best, Jayne |
#34
|
|||
|
|||
I have three guitars, all dreads and each a little different. I deliberately built up the collection for differences, and I remember before each purchase thinking if the prospective new guitar sounds different enough to buy it. I still like looking and I think now my strategy will change- if I'm getting a new one now I'll will trade one of the ones I have.
__________________
2017 Martin HD 28 VTS 2018 Gibson Southern Jumbo 1993 Guild JF 30 Gibson Nick Lucas L 100 Maple Quantity and quality of my guitars should not be seen as indicative of the quality of my playing ability |
#35
|
|||
|
|||
I bought my first acoustic because it was very cool looking (Epiphone PR5E) and my second because it was very cool looking, a cool brand (Guild) and affordable for a US built acoustic. Then I sold them (along with most of my other guitars). Bought a Yairi because of looks and hype, didn't get along with it. And finally picked the guitar I loved both sound and feel of, in a proper guitar store ...for a 'measly' Eur 300 (about 350 dollars). Still really like it! So, my advice is now: play tons of guitars and buy what your ears and fingers suggest.. And don't ignore guitars from around 200 bucks upwards.
__________________
Hofner Classic Steel CS-7 Dowina Puella Cedar Hofner Verithin Special Hofner Club 50 (currently for sale) Jose Rodriguez estudente classical Formerly owned: K. Yairi NY0021 Guild D25-NT Epiphone PR5E Heritage H-127 Godin SG Summit Ibanez TTR30 Talman Nylon Epiphone Telecaster copy Hofner 175 (II) Eko 'SG' short scale bass |
#36
|
|||
|
|||
Quote:
What other methods do you apply? It seems several of us have expressed interest. |
#37
|
|||
|
|||
I really like the idea of Tauber's test. It seems like a neat way to possibly add a measure of objectivity to the quite subjective task of evaluating the sound of a particular guitar.
I wanted to note here that pianos are laid out so that each hammer strikes its strings at a point that is about one seventh of their vibrating lengths from the bridge. This is to try to achieve the same ratio of harmonics for each note. Might one want to keep this in mind when plucking the 'E's on the guitar? The effective string lengths in that test are very different. |