#16
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Sheesh. I don't get the hostility toward the Tacoma headstock. I always liked how the shape was a design element repeated in the bridge and in the sound hole on the models that had the paisley-shaped offset sound hole. To paraphrase The Dude, it really tied things together.
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#17
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soooooooooooo coooooooooooooool
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Emerald X30 Padauk Custom Emerald X20 Koa 1998 Gibson J200 Elite 1972 Martin D-28 McPherson Sable Breedlove Masterclass Taylor PS16ce Macassar |
#18
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This is a Jayson Bowerman design...
IMG_2030.jpg |
#19
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I really love the look and operation of slotted headstocks. The look is old-school and the position of the tuning machines to the rear makes for much easier operation when wearing/playing the guitar, IMO.
As for string changes, I know many people say they don't like doing them on slotted headstocks but after you've done a few they really are no harder than a regular paddle headstock string change. I love the Martin Torch inlay on my 000-18GE. |
#21
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Well, I will try to keep the spittle away from the screen, but yeah, that Tacoma headstock looks pretty bad to me. I don't like the Seagull headstock either.
Headstocks are funny. I don't care about bling (except to dislike it if there is too much of it), but I care about headstocks. |
#22
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To answer the OP’s question, I like the doves a lot on that Gibson, but I’d change the tuner buttons to something plainer, maybe the ivory or mint colored plastic in the same shape. I find these etched buttons way too distracting.
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1986 Martin Std. D-28P: Sitka/Rosewood 2004 Gernandt Custom D: Sitka/Walnut 2010 Taylor LTD DN-5e: Engelmann/Mah. 2015 Larrivee OM-40: Sitka/Mahogany 2016 Godin S & P Woodland Pro Folk (LG) 2017 Martin Retro 000-15M: All-Mahogany 2019 Taylor LTD 512ce 12-fret: Cedar/Koa 2022 Gibson Original L-00: Sitka/Mahogany 2023 Larrivee OM-40R: Bearclaw/Rosewood |
#23
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There are some headstocks that I dont like. It seems that builders try to be different rather than stick with an adequate design. I dont like the birds of the op sample but the Gibson shape is great. What would be wrong with everyone using that shape. I dont mean a law but, maybe there should be.
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#24
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Goodall, Martin, Wingert |
#25
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As a 'design guy,' I'm always fascinated by headstocks, because I see them as the luthier's calling-card-cum-logo, so it's my 'introduction' to both the builder and the instrument, and as such, it's where first impressions are formed.
I think I can actually learn a lot about a builder from their headstock. If it appears to be well-thought out, distinctive and complementary to the rest of the guitar's design, I get a favorable first impression. However, if the headstock looks like an afterthought, borrowed from elsewhere, or something clumsy or poorly integrated with the guitar's design, that indicates to me a certain artistic laziness on the part of the builder and results in a less than favorable first impression. So threads about headstocks catch my eye... see post #47 in this headstock thread. However... Many headstock threads wind up going sideways because some folks seem to conflate the headstock design (its form, visual balance, integration with its functionality as a platform for the tuners, integration with the rest of the instrument, etc.) with the decoration or maker's logo inlaid on it, or both. Since I'm not a 'bling' person myself, it's the design, not the inlay that interests me. Besides, slapping an inlay on a headstock is straightforward and fairly common, while developing a fresh, distinctive and elegant design is challenging and decidedly uncommon. So what do you mean by 'headstock'? Last edited by jmagill; 12-10-2018 at 10:06 AM. |
#26
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Most of my guitars have Plain Jane headstocks. This one, however, remains my favorite because it speaks so eloquently to a specific time and place.
As far as being sexy, this one rises to the top of the heap.
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"You start off playing guitars to get girls & end up talking with middle-aged men about your fingernails" - Ed Gerhard |
#27
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A headstock can carry a sense of history, Wade's Loar photo is a great example. Gibson's Banner is another. The plain Martin headstock on the 000-30 1919 and 1931 OM28 are modern examples.
A headstock can be an opportunity for a luthier to display a sense of design, this is where your interest is. The Mark Hatcher and Emerald headstocks displayed here fall into this category. A headstock can be an example of simple elegance, an example of which you describe as "slapping on an inlay." The headstock is a mixture of form and function so tastes vary. I think the variety of photos in this topic express that pretty well.
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Goodall, Martin, Wingert |
#28
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This is absolutely gorgeous!
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Taylor 512ce Urban Ironbark Fender Special Edition Stratocaster Eastman SB59 |
#29
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Quote:
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#30
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I'm not a big fan of too much pearly ornamentation, but I do like broader headstocks with curved sides and some variation of a curve on top. I really like Baranik's style as an example, though I'm not able to afford one or capable of reproducing that elaborate style of an inlay on my own attempts at luthery.
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(2006) Larrivee OM-03R, (2009) Martin D-16GT, (1998) Fender Am Std Ash Stratocaster, (2013) McKnight McUke, (1989) Kramer Striker ST600, a couple of DIY builds (2013, 2023) |