#31
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Thankfully, he managed to offend Juston. Congratulations, Matthew!
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John |
#32
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#33
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Your knowledge of my thought process has brought you to the correct conclusion through a completely tangential and invalid process. Solid work.
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#34
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Ralph Bown and Robert Anderson are both outstanding
I own a Merrill. It isn't for sale. I had to sell my Franklin to pay the IRS. Of the 2 Kim Walker mahogany and Adirondack OM 18s I've played, one was stellar, the other just average. Everything on the original list is desirable.
__________________
rubber Chicken Plastic lobster Jiminy Cricket. |
#35
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Another vote for Ralph Bown; far better than any real Martin OM I've ever owned / played, both in terms of build and sound.
Unfortunately, on average, not comparable in terms of price either, so perhaps not a fair comparison? Cheers, Steve |
#36
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A definition of "best" is pretty important when we're talking about Martin replicas.
Collectors and players have different values about guitars. A Martin or a Martin replica can fall into either category. A collector would put value on hot hide glue construction, nitrocellulose finish, no adjustable truss rod, a dovetail neck joint, slotted bridge holes with slotless pins, a long "through" bridge, etc. etc. Any deviation from the above pretty much ruins a guitar for a collector of Martin-like vintage guitars. And in my opinion and experience (though it's smaller than many on here), a spectacular guitar can be made without any of those things. I'd be willing to bet that something very much like an excellent vintage Martin can be made without any of those things. Les Paul purists have these issues as well. |
#37
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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) |
#38
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The most detail-oriented repro that comes to mind someone above mentioned, Frankie Montuoro's bench copies.
Juston's Circa OM-28 may be the most detail-oriented guitar I've ever seen; I have yet to play it. Bar frets ebony rod banjo tuners etc. I think we all can agree that a guitar can be successful without being exacting in terms of closeness to original. 90% of what I like about the old guitars is probably visual. The one seemingly (at least to me) irreproducible feature of all "great" old Martins that I have played is that they all felt feather-light, like the dry-aging process loses a few molecules a year, so that they all lose weight |
#39
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I’d love to see one of Frankie’s bench copies, but they seem to be rather elusive. Anyone on the forum actually play one that could give us details? I know he makes his own tuners and cases that are supposed to be pretty much period correct, but even he makes substitutions, the most obvious being back & sides material. He describes it as consecia silva, a wood that mimics BRW, but as far as I can tell doesn’t really exist at least by that name. I’d love to know more.
If anyone has personal experience with one, let us hear from you! |
#40
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I have both. They both make great guitars, but I think John goes more towards a Martinesque copy than Kim.
__________________
GWF a few too many |
#41
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I have a Montuoro OM-28 bench copy on order. I have a D-28 with his mystery wood. He builds an AMAZING guitar.
__________________
GWF a few too many |
#42
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And we agree, not all those "touches" are necessary to achieving a legendary guitar. I'm a huge fan of bolt-on necks. |
#43
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DELETE: duplicate
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