A free plug for four builders

[gitarro]

Originally Posted by rogthefrog

I didn't see a pre-war Martin, and if I had I don't play anything that would do it justice, so I can't answer.

The Klein was super cool. They all are. Mine is still my favorite

Thanks for your feedback. There's not a lot of descriptions out there on klein guitars. How would you describe their strengths and how they differ from conventionally braced guitars?

[rogthefrog]

Originally Posted by gitarro

Thanks for your feedback. There's not a lot of descriptions out there on klein guitars. How would you describe their strengths and how they differ from conventionally braced guitars?

The bracing scheme gives them a characteristic "bloom" to the notes, especially on the bass side. You pluck the note and get an immediate response, but that response gradually expands like a drop of ink into a glass of water. Other guitars with post-Kasha style bracing have that characteristic (Boaz, Tom Bills). You also get thick trebles--they're not plinky at all.

The L45.7 is also physically very large (18" across), which gives you enormous bass. Not woofy or boomy, just stupendously huge. It really is like nothing else I've played. This allows for very low alternate tunings. This model is the only guitar that can handle one of my tunes with a low G on the bass.

The ones with drier woods like walnut have great clarity and note separation, and so they're great for busy fingerstyle pieces. The ones with lusher woods like mine (ABW and redwood) or BRW have the characteristic lushness you'd expect and work great for slower or less note-y pieces, or wide altered chords a la Allan Holdsworth.

I can't speak to strumming chords because I don't think I've ever done that on a Klein.

Kleins haven't had the success they deserve for a number of reasons--unconventional looks, no availability for 10-15 years, high price tag--but they're every bit as good as the top shelf stuff (Somogyi, Traugott, Kostal etc). They're not quite as consistent--I've played some disappointing ones--and not due to workmanship, which is always ridiculously perfect. So I'm guessing that bracing style doesn't work reliably with all woods the way an X brace seems to.

If you get a chance to play one, I suggest you jump on it, because they're really special. The good ones are some of the best guitars you'll ever play. The tone may not be for you if you're looking for a traditionally voiced guitar, but there's nothing quite like it.

[gitarro]

Thanks for the description.

Originally Posted by rogthefrog

The bracing scheme gives them a characteristic "bloom" to the notes, especially on the bass side. You pluck the note and get an immediate response, but that response gradually expands like a drop of ink into a glass of water. Other guitars with post-Kasha style bracing have that characteristic (Boaz, Tom Bills). You also get thick trebles--they're not plinky at all.

The L45.7 is also physically very large (18" across), which gives you enormous bass. Not woofy or boomy, just stupendously huge. It really is like nothing else I've played. This allows for very low alternate tunings. This model is the only guitar that can handle one of my tunes with a low G on the bass.

The ones with drier woods like walnut have great clarity and note separation, and so they're great for busy fingerstyle pieces. The ones with lusher woods like mine (ABW and redwood) or BRW have the characteristic lushness you'd expect and work great for slower or less note-y pieces, or wide altered chords a la Allan Holdsworth.

I can't speak to strumming chords because I don't think I've ever done that on a Klein.

Kleins haven't had the success they deserve for a number of reasons--unconventional looks, no availability for 10-15 years, high price tag--but they're every bit as good as the top shelf stuff (Somogyi, Traugott, Kostal etc). They're not quite as consistent--I've played some disappointing ones--and not due to workmanship, which is always ridiculously perfect. So I'm guessing that bracing style doesn't work reliably with all woods the way an X brace seems to.

If you get a chance to play one, I suggest you jump on it, because they're really special. The good ones are some of the best guitars you'll ever play. The tone may not be for you if you're looking for a traditionally voiced guitar, but there's nothing quite like it.