#16
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All interesting stuff, but I am always a little perplexed by the number of 'dream' guitars that end up in classifieds. I do understand if its really not what was expected... BUT, for me the whole purpose of a custom build with a particular luthier is that you will get something unique. For me, its about getting something I might never otherwise chose... why? Because instead of an instrument that simply gives me what I always turn to (and lets be honest, most of us have a sound in our head that works for our playing), I want something that is going to challenge me... in every way. If I want an easy to get on with, 'perfect for me' instrument, I would simply go out and try 200+ and pick one.
But with a custom build from a respected maker, you know you will get a very good instrument. The challenge the is to learn how to make it give its best for you. It might mean a change in style of playing, or tuning, or simply practicing more - whatever, it should make you want to be a better player, it should sometimes frustrate as I heard bette payers make its sound much sweeter than I can ... but for me that is a motivator to improve, not ditch it... if only I had the talent and time ;-) |
#17
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Plenty to consider, but my most valuable two cents?..
By my definition the best instruments must feel great and play really well. Otherwise I’ll never get it to sound excellent regardless of any other considerations. Feel is of course highly subjective so make sure the string geometry and neck dimensions are dialed in to what you like. Otherwise you might not like playing guitars made by even the finest builders alive.
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Martin 000-1 Santa Cruz FS Beneteau CS Kostal Jumbo Taran Tirga Mhor Gerber RL15.5 |
#18
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Don't forget that as-built does not have to be the final iteration of the instrument. I've done post-production changes to many instruments to fine-tune to my preferences.
Whether it's a few thousandths off a too-sharp neck edge profile, a bit of fine-tuning the bracing, or perhaps voicing the bridge, some adjustments after a month of playing can get you from a very good instrument to one that is nearly "perfect for you". |
#19
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Quote:
I'm very fortunate to be happy and content with the instruments, custom-built and off-the-rack, that I have. I don't think they're necessarily any better than the dream guitars in the classifieds. I'm just wired to set a goal, reach it and enjoy it more than striving for the constantly moving goalposts. |
#20
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I think the biggest mistake is over-thinking it. Find the luthier you like and trust them as it sounds like you have already done. Talk about the big things, ie. wood types even if as simple as light vs. dark, what you like to play, if you like a lot of sustain or a quick decay etc. At that point step back and let them work. If they are good at what they do, they will ask you for design choices along the way like headstock overlay, do you want a bound fretboard and headstock, end wedge wood, maybe heal cap choices, fretboard markers etc. They will know what to ask you along the way, neck carve, string spacing etc.
I think over thinking leads to unnecessary worry and takes away the enjoyment. You can relax after making your luthier choice and if you can't perhaps you do not have the correct person making your custom.
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PS. I love guitars! |
#21
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This, and….
Quote:
Ergonomics! Make SURE you are getting the neck and scale you find most comfortable. COMMUNICATION is key. I still recommend a Manzer Wedge and soundport at least. If not bevels etc. Cheers. Paul
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4 John Kinnaird SS 12c CUSTOMS: Big Maple/WRC Dread(ish) Jumbo Spanish Cedar/WRC Jumbo OLD Brazilian RW/WRC Big Tunnel 14 RW/Bubinga Dread(ish) R.T 2 12c sinker RW/Claro 96 422ce bought new! 96 LKSM 12 552ce 12x12 J. Stepick Bari Weissy WRC/Walnut More |
#22
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So many mistakes can be made but Ive decided after having several guitars built that the most important mistake to avoid is not playing the builders guitars. The guitar Im playing now Ive played his guitars before so I got what I expected.
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#23
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The most important thing is to play multiple examples of the builder’s work before you commission. No amount of reading on the internet or talking to the builder can replace that experience. Not all builders can create a guitar that will really move you. In fact, in my experience, most can’t.
Play their work. Play their work. Play their work. Everything else pales in comparison.
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Circa OM-30/34 (Adi/Mad) | 000-12 (Ger/Maple) | OM-28 (Adi/Brz) | OM-18/21 (Adi/Hog) | OM-42 (Adi/Braz) Fairbanks SJ (Adi/Hog) | Schoenberg/Klepper 000-12c (Adi/Hog) | LeGeyt CLM (Swiss/Amzn) | LeGeyt CLM (Carp/Koa) Brondel A-2 (Carp/Mad) |
#24
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But it's a two-way street. Not all customers can do a guitar justice. In fact, most can't, and end up disappointed. There has to be a marriage of what you bring as a player to the guitar, and what the guitar brings to you. Fancy woods, inlays, purflings, and designs are fun to talk and think about, but at the end of the day it's the music that matters, and that takes a guitar AND a player.
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Tags |
acoustic, binding, inlay design, luthiers, parlor guitar |
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