#106
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#107
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In my forty-plus years of working with professional musicians I've discovered that they are as diverse and varied as we are here.
Some are gearheads because they love the instrument. Some like to own what they think is the best or the most expensive and want everyone to know. Some have instruments that have a backstory or are dear to them and they don't care to risk on the road. Some are fretboard wizards and want to show everyone that it isn't the instrument, it is the player. Some are paid to play brands. Some have many guitars and prefer to use the ones that they used to record the albums. Bob
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"It is said, 'Go not to the elves for counsel for they will say both no and yes.' " Frodo Baggins to Gildor Inglorion, The Fellowship of the Ring THE MUSICIAN'S ROOM (my website) |
#108
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If everything goes to plan, I will be posting a NGD post that will be quite blasphemic in nature in a few months' time... The so-called plan will only work if someone else doesn't buy the guitar...
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#109
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#110
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Tons of different reasons. |
#111
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Jackson Browne travels with a rack of expensive modified guitars, many over 80 years old.
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All of my guitars are rescues. '85 Gibson J30e '75 Ovation Balladeer '99 HD28V '99 Gibson WM-00 '75 Takamine "guild" Jumbo '46 Harmony Silvertone H700 '12 GS-Mini '?? Epiphone Dr-212 CSU Rams |
#112
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My high-end guitars are 3D works of art I can hold and play and have around me and that sound magical to me, and that connect with my fingertips and up my fingers to my wrists to my arms to my shoulders to my chest, where it all connects with the sound coming in through my ears to pave that “longest 18 inch distance” between my head and my heart.
My holding and connecting with these guitars is part of it all, but performing (for me, the too-occasional open mic, lately) is a different experience. Many others collect other kinds of Art to have around as their human expression of beauty and purpose; for me, that’s guitars, whether a single-luthier in his shop (thanks David Eichelbaum!!!) or a hybrid (thanks Eric Schoenberg and TJ Thompson and the team at Martin) or the industrial wizards at a small factory (thanks Collings!) — at their best, these instruments awaken me to revere the sublime. As so many have mentioned, performance is about a different thing than this love of Art; it’s really a *different* art. So picking the robust tool with the pickup and resistance to feedback that’s not a one-off (or nearly so). The boutique/single-luthier instruments are a special kind of art. The Collings-like guitars are craftsmanship-industry. Just wow! I had a handyman in my house yesterday, and moved the Schoenberg and a Collings UT2 Ukulele out to another room, and he was commenting about how he doesn’t know anything about guitars and what’s expensive or not. My comment was that “there’s really very little difference between them.” And really, if I were to perform a song for him, any decent Martin/Gibson/Taylor/Eastman/Recording King would present > 95% of the experience of him hearing me perform it with my Eichelbaum OM. These amazing guitars are for *me*, not the audience.
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