#16
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My current opinion is that a guitar constructed with:
- Well seasoned, quartersawn woods; - By a master luthier skilled in the art who has; - An understanding of the goals and playing style of a guitarist and; - Adjusts their build based upon this understanding and the properties of the materials on the bench; Is far more important than; - A guitar constructed to target dimensions; - Using top woods that have been exposed to simulated conditions - To accelerate the kinetics of physical changes that occur with real-time static aging (no playing). I am not saying that it does nothing. I would argue the top list results in a first order effect and the latter is likely a second order effect. There is too much focus on the novelty of static age, and no recognition that the guitars have not been played nor have they been built with an understanding of their owner nor the mechanical properties of the woods used. My $.02
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#17
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can you elaborate on what you mean by this?
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#18
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I mean having a target thickness based on dimension vs. using flexure or tap tone of the specific set dictate the target thickness. Shaping braces to a target dimension/geometry vs. evaluating how they are interacting with the top or back in situ to create a desired mechanical properties.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#19
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I have my doubts that the tone of pre-war Martins (or post-war either) was achieved by tap-tuning rather than constructing to dimensions.
I could be wrong, of course ... |
#20
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Yes, thanks. My Error - a mis-spelling by an Englishman! What next?
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#21
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I have no intention of changing or upgrading my guitars - even my "basic" Sitka topped Collings and Santa Cruz, but for us fading Baby boomers who (like me) feel that we don't have the playing time left to break in and open up new adi-topped instruments - this may be a good way of getting us old fellows to part with some more green. Ah - if I were only 25 years younger! |
#22
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Today, if you are presented in a room with a dozen D-28s or OM-28s do they all sound the same to you, or do some sound better than others? They have been built to dimension, but have wood sets (tops and backs) with differing properties. I suspect that there will be some as a result that will sound better to you. Do you think that the ones that you didn't like as much 70-years later (or assuming the top treatment simulates that) will sound better than the one's that you liked when they were new? My point is even with a treated top, like any factory guitar you need to play a bunch of these to find one that you like. The pleasing euphonics of the degradation process does not overcome the fundamental structural differences. The process cannot overcome that basic limitation of a factory process.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#23
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#24
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eric, (), it's not just you, it's also me and it would seem seem like more than half of those who use the term. |
#25
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#26
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Fascinating to me that by controlled drying/heating of wood, they can target a particular year guitar's tone.
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12 Fret Tinker Dread 12 Fret EJ Henderson Dread 12 Fret Hotrod Tricone 13 Fret Charis SJ Martin D-41 Halcyon 12 Fret 000 A&L Ami McIlroy A30c Taylor 610 LTD Martin DCPA1 Seagull Original Gretsch White Falcon Epi LP 60's Tribute Plus (Ebony) Epi LP 60's Tribute Plus (HC Burst) Epi Swingster Royale Gibson LP Trad Pro II Godin Exit 22 |
#27
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on the other hand, one torrefied top was targeted as from the 1930s, and the other was no specific date. to me that indicated hype of one sort or another.
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#28
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I think you might be missing the point of this new process/offering - as I think they are supposed to be "pre-opened-up and played-in" as it were.
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#29
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Smaller more expensive and more craftsmen like made instruments will be all made to a standard but someone skilled will assess each top and adjust thickness (even by a couple of thou, or even reject some tops) - to ensure that every unit is made to give its very best. Please folks - watch this video. By the way - whilst Bill Collings seems to be telling the guy with the 'tache how to do it - the guy (Bruce Van Wart) is actually (I understand) the guy that selects and suits the top, and he seems to do a ****ed fine job judging by mine. "The best ones are the ones that have been humanly manipulated to be a great guitar". (Bill Collings) |
#30
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My experience with torrefied guitars so far is that I hear a distinct and immediate improvement in sound over a similar model without it. I think it's as noticeable a difference as that between a solid wood guitar and one with laminate back and sides - not a subtle difference at all. Maybe it's not as great a difference as buying custom-tailored vs. ready-to-wear, but that's not really relevant to many of us. And why not both, anyway? I wonder if Bruce Sexauer or Howard Klepper would build with torrefied wood if it was requested and they could acquire it?
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Hatcher Woodsman, Collings 0002H, Stella Grand Concert |