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  #16  
Old 11-29-2021, 03:42 AM
Robin, Wales Robin, Wales is offline
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I think that this pairing is a fine example of two very different acoustic guitars complimenting each other as rhythm and lead.
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  #17  
Old 11-29-2021, 06:06 AM
EZYPIKINS EZYPIKINS is online now
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Maple Gibson J-185
Rosewood Martin OM-28 - GPCPA1
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  #18  
Old 11-29-2021, 10:57 AM
rmeyer7 rmeyer7 is offline
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I was just running sound for church services yesterday and the team did an acoustic set with 3 different guitars. Each of them played rhythm at different times, and 2 of them played lead at different points.

2 Martins (000-15, GPC4 Rosewood) and a Taylor (816CE I believe).

Acoustically the 3 complimented each other really well. The 000-15 was exclusively rhythm, which was perfect since it sounded so balanced and mellow. The other Martin and the Taylor sounded worlds apart because, well, Martin and Taylor! But that allowed a nice separation between their respective fill and lead parts.

Plugged in the distinctions were amplified (literally and figuratively) even more by 3 different types of electronics. The 000-15 playing rhythm just had a UST, the other Martin a Baggs Anthem, and the Taylor an ES2 system. The only thing that surprised me is that the 2nd Martin and the Taylor switched roles! The Taylor sounded big and full, while the Martin had some sweet, clear highs.

But for me that highlights what makes acoustics complement each other well: each sitting in its own space. So if you're looking for something that complements another guitar you play alongside, be very familiar with what type of tone that guitar has. If it's the darker sound of a Gibson, maybe a brighter Taylor would be the right way to get some separation. Or maybe it's a Martin and a Takamine, a Yamaha and a Guild, etc.

You can accomplish good separation even with 2 very similar guitars if you play in different positions, use a capo, etc. But when the tone of the guitars helps to do it for you, that's a big bonus.
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  #19  
Old 11-29-2021, 11:03 AM
bufflehead bufflehead is offline
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Quote:
Originally Posted by Silly Moustache View Post
Of course the prominence of bass or treble of a guitar can be altered , albeit subtle, by picking hand placement (you tone control) and the choice of picks used on both guitars.
Yes, and for me by palm muting.

Where I find this a challenge is in something along the lines of an old-time group with two guitars, a fiddle and a mandolin. The second guitar not only has the task of keeping rhythm, but also of filling in the bottom end. Every once in a while we have a stand-up bass, which is wonderful for me because I can drop the bass runs and focus more on my singing, the chord progressions usually being simple enough in old-time to happen automatically, especially in boom-chicka mode. At my age, when I'm singing a baratone part, and happy to put the guitar into auto-pilot mode.

We play outdoors a lot, farmers markets and art festivals, often without microphones. Each venue has its own challenges, and I often feel more like matching my guitar to the venue than to the instruments being played by the combo. If we're going to be miked and there's going to be a sound guy, it's an easy decision to go all-hog 000. Otherwise...
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  #20  
Old 11-29-2021, 11:05 AM
phydaux phydaux is offline
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Like the OP I also have a Guild spruce & mahogany D-25. I love the rich, warm tone it gives. I use it as my strumalong and finger picking guitar.

I just purchased a sitka & rosewood Eastman AC422EC. I love how bright the tone is, so different from my Guild. I plan to use this as my flatpicking, single note melody, and bluegrass guitar.
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Last edited by phydaux; 11-29-2021 at 04:19 PM. Reason: D-25 not D-18
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  #21  
Old 11-29-2021, 11:14 AM
DBW DBW is offline
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I would think that my Larrivee OM-40R and my Martin 000-18 would make a good pair. I've heard that Mahogany is good for backing/rhythm and Rosewood for lead. I would think that you could switch back and forth though. As someone mentioned earlier, one of the guitars played in a higher register would help differentiate as well.
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  #22  
Old 11-29-2021, 11:24 AM
sinistral sinistral is offline
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This thread reminded me of this video that was posted a while back in a “what guitar is he playing?” thread:



Different voices add texture. Those old guys’ voices sound pretty good, too.
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  #23  
Old 11-29-2021, 11:25 AM
mawmow mawmow is offline
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We have a great French duet up here, "Deux Freres", that caught me.
They play their (different) acoustics with capo in different position.
It sounds a good way to color their music.
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  #24  
Old 11-29-2021, 11:29 AM
jaymarsch jaymarsch is offline
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Another couple of guitar playing duos to check out their guitars:
Indigo Girls and Milk Carton Kids.
Best,
Jayne
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  #25  
Old 11-29-2021, 11:40 AM
nomey nomey is offline
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Seconding the milk carton kids and welch/rawlings comments!

My partner and I put a bit of thought into this and steal a few pages from some of the great artists people have already linked. We find a maple back archtop with a mahogany back flattop sounds really pleasant together. We try to either play different shapes or capo in different positions to accentuate it.

I posted a video in show and tell that showcases it a bit.
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  #26  
Old 11-29-2021, 02:56 PM
Dru Edwards Dru Edwards is offline
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I think it comes down to each guitar being heard and not getting lost in the mix, even if the mix is just two guitars.

A D-18 and D-28 make a great pair.
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  #27  
Old 11-29-2021, 03:26 PM
Glennwillow Glennwillow is offline
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I think contrast in tone can be helpful in a duo.

But as Rich pointed out in his Post #2, of more importance is how the two players play together. The rhythm guitar has to leave room for the lead guitar to be heard.

Jim Croce and Maury Muehleisen played the same model guitars together very often and Maury could always be heard and they sounded great.

One of the fundamental rules of playing music is that you should have only one soloist at a time. And that means that the rhythm player needs to back off into a more supportive role during solos so that there is no interference and a more coherent sound from both players.

- Glenn
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  #28  
Old 11-29-2021, 03:32 PM
woodbox woodbox is offline
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To echo Glenn above,
I quote the NUMBER ONE Rule of playing “live” music,
as taught to me by a seasoned player when I was just starting, many years ago.

Rule #1)
Play BEHIND the lead.
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  #29  
Old 11-29-2021, 11:08 PM
Tyeetime Tyeetime is offline
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I like the sound of the Milk Carton Kids J-45 and O-15, both vintage.
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  #30  
Old 11-29-2021, 11:20 PM
bufflehead bufflehead is offline
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Quote:
Originally Posted by woodbox View Post
Rule #1)
Play BEHIND the lead.
I get this. Honestly. And as a lifelong rhythm player I try to play behind the lead whenever the lead is still sober, especially if there's a monitor system where I can hear the lead.

However, as in the case I posed previously, where there is a combo with three leads (mando, fiddle and lead guitar) and only one rhythm guitar with no bass or percussion, and when the lead is being passed about every 24 measures, chaos will ensue if the various leads don't play ALONG WITH the rhythm.

This really wasn't my question as OP. As the title suggests, I'm interested in theory about what sort of guitars complement each other. Picture an acoustic setting such as an intimate coffee house with a two-guitar duo playing with voice mikes but no guitar mikes or pickups. Assume that they know enough to play different intonations where one is open and the other is playing with a capo, or perhaps one is playing open tuning while the other is in standard. Now, what guitars, or types of guitar, will best complement each other?
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