#31
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I've learned I can drink red wine with fish, and the world didn't end. In fact, everyone got along just fine and both the fish and wine tasted pretty good.
As for guitar stuff - I've learned that for me, what appears to be the biggest factor affecting my ability to play well is the shape of the neck. It's not the width of the nut, or even the string spacing so much. Thanks to AGF I now have a dozen or so guitars and they vary wildly in dimensions. But for some, there's a certain neck neck (and it's the entire length) that brings out better playing for my style. I can play just about anything (for what I have, nut widths vary from 43-50mm). But again there's something about just a few of these instruments and it feels like it has to do with the neck dimensionality. I don't have "numbers" so I can't back it up with "data". But that's my learned story for you -
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~~~~~Bird is the Word~~~~~ Martin D-41, Larrivee L-19; Gibson L-130; Taylor 614-ce-L30; R Taylor 2 H&D Custom OM; Bauman 000 Cervantes Crossover I; Kenny Hill 628S; Rainsong Shorty SGA; CA GX Player, Cargo; Alvarez AP70; Stella, 12-string; 2 Ukes; Gibson Mandola; Charango, couple electrics |
#32
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I have learned that the AGF continually causes me to desire “better and better” guitars in spite of the fact that I have perfectly fine and lovely guitars already.
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#33
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Better according to who? You? If so, why aren’t the best bluegrass guitarists in the world selling their $100k pre-war D-28s to buy a Ryan instead? There isn’t a single Ryan in existence that I would trade my Martin for, unless I was scheming to immediately sell the Ryan, buy back my Martin, and be $10k richer. That entire style of guitar is categorically unappealing to me. |
#34
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Here is what I’ve learned in 45 years of playing.
I like Rosewood dreadnought guitars, in particular Martin Rosewood dreadnought guitars. And that’s where I’m at.
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It won’t always be like this. |
#35
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Thanks. That is a brilliant comment and absolutely spot-on!
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Current: Tom Sands OMc Sobell New World Martin OM-28 Authentic '31 Mear & Gray OM18 Martin 0-28vs Stephen Eden Crossover Hahn 228 Telecaster National Delphi Resonator YouTube Past guitars from: Mear & Gray, Tom Sands, Stefan Sobell, Dana Bourgeois, Marc Beneteau, Nigel Forster, Peter Abnett, Avalon, Lowden, Martin (vintage & modern), Gibson, Taylor, Yamaha, Fender and more... |
#36
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That too...
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Emerald X20 Emerald X20-12 Fender Robert Cray Stratocaster Martin D18 Ambertone Martin 000-15sm |
#37
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Quote:
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Current: Tom Sands OMc Sobell New World Martin OM-28 Authentic '31 Mear & Gray OM18 Martin 0-28vs Stephen Eden Crossover Hahn 228 Telecaster National Delphi Resonator YouTube Past guitars from: Mear & Gray, Tom Sands, Stefan Sobell, Dana Bourgeois, Marc Beneteau, Nigel Forster, Peter Abnett, Avalon, Lowden, Martin (vintage & modern), Gibson, Taylor, Yamaha, Fender and more... Last edited by Adamski; 06-27-2022 at 10:50 AM. |
#38
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In 30 years of playing guitar and having next-to-no money free to buy them with (largely as result of trying to work as a musician and do something I love with my life), I've pretty much found that 'the best' for me is something I don't mind fitting a set of pickups to and taking out to places where I can share my music and, when things are good, get paid for it.
I'd love to play a Ryan Cathedral or even a 50 series Lowden, but just to experience it... much like I would a Stradivarius, for example. I don't want to own one. I'd rather those things go to people who'd look after them, given the craftwork, history and intrinsic value they possess. My guitars are going to have to survive airlines, get DPA4099 mounts clamped on them (often with painter's tape as well), they're going to mostly end up with two output jacks in the tail-block (although Fishman may have cured me of this with the Powertap Earth), they'll inevitably get some buckle rash no matter how careful I am and they'll be taken to festivals and played outdoors in all sorts of European and stereotypically bi-polar British weather conditions. That's how I enjoy them, and that's what guitars bring to me, fun-wise. I doubt I'd have had as many great social interactions, or even met my incredible wife, if I didn't take guitars (and fiddles, to a lesser extent) out into places where people are letting their hair down. But I'm glad people demand beautiful, sacred-tier instruments, and I love looking at and hearing other people's collections.
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Rick Yamaha MIJ CJX32 Avalon L32 Avalon A32 Legacy Lowden 022 Gibson J-185 Takamine TNV360sc Cole Clark Fat Lady 3 |
#39
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The nice thing about these is that all guitars seem cheap by comparison!
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Current: Tom Sands OMc Sobell New World Martin OM-28 Authentic '31 Mear & Gray OM18 Martin 0-28vs Stephen Eden Crossover Hahn 228 Telecaster National Delphi Resonator YouTube Past guitars from: Mear & Gray, Tom Sands, Stefan Sobell, Dana Bourgeois, Marc Beneteau, Nigel Forster, Peter Abnett, Avalon, Lowden, Martin (vintage & modern), Gibson, Taylor, Yamaha, Fender and more... |
#40
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Agree 100%. |
#41
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I only sell stuff I don't "bond" with. even tho some where nice guitars, me and "it" never saw eye to eye. those are few and far between, which probably a good reason leading up to me having about 20 guitars at the moment.
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Ray Gibson SJ200 Taylor Grand Symphony Taylor 514CE-NY Taylor 814CE Deluxe V-Class Guild F1512 Alvarez DY74 Snowflake ('78) |
#42
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isn't that were talking about here? Chairs?
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#43
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Quote:
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Doerr Trinity 12 Fret 00 (Lutz/Maple) Edwinson Zephyr 13 Fret 00 (Adi/Coco) Froggy Bottom H-12 (Adi/EIR) Kostal 12 Fret OMC (German Spruce/Koa) Rainsong APSE 12 Fret (Carbon Fiber) Taylor 812ce-N 12 fret (Sitka/EIR Nylon) |
#44
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"The reason a guitar is more expensive is because it can command a higher price."
In other news, we have nothing to fear but fearsome things. |
#45
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I’ve learned that these discussions never end, that’s the great thing isn’t it?
This is my subjective opinion in 20 or so years, which is one of things I’ve learned; statements made about “best” are solely subjective. There can a be a somewhat majority consensus though, regarding best and that drives sales/prices/demand etc. Best to me is Brazilian, but that’s not true for everyone. I have had Indian, Madagascar, Guatemalan and maybe some others over time and what I own now is Brazilian, 4 of them and none of the other rosewoods. So it’s not like im just biased. My ear evolved I like to think and that’s what it prefers. I do own other tonewood guitars and love them for what they are, variety is the spice no doubt. As one that looks to acquire/sell/trade the grass is always greener, its something about the hunt. I’ve got rid of some guitars and in the back of my mind a voice told me not to, should listen to that! I do have some regrets but overall it’s a honing of what really drives your interest and enjoyment. I’ve found some incredible guitars that I would never have searched for or wanted to consider just by the fact of keeping an open mind in diligently searching. Finding some at great prices is all it takes. A guitar that feels right in the hands way outweighs looks, thats paramount to me just above sound. If it doesn’t feel good I don’t want to pick it up, period. Then if it has the sound and look, it’s grail. Rarity adds to its hierarchy as well. Brands go back to the majority comment, consistent quality drives this. Although I’ve had some boutique guitars that were incredible but not crazy money. One in particular the voice told me to keep, I regret that. There are exceptions both ways of this. The D is overrated in my opinion, the Modified V neck is my favorite and so crucial in a good guitar. Lastly, there will always be more! Last edited by 383roller; 06-27-2022 at 01:09 PM. |