#16
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I had a late '60s 212XL that was a *tremendous* fingerstyle-only guitar. Huge sound. If I were in the market for a custom-built trad 12 string I would go right to Haans.
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Larry Pattis on Spotify and Pandora LarryPattis.com American Guitar Masters 100 Greatest Acoustic Guitarists Steel-string guitars by Rebecca Urlacher and Simon Fay Classical guitars by Anders Sterner |
#17
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Joe,
If it's a 12 string custom built that you are looking for, the only person who comes to my mind is John Ostoff. He has build a remarkable 12 stringer for Kevin A. It looks really good. I had even called up Kevin to talk about the guitar and he told it looks and sounds spectacular. Best, Keyshore
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1991 Ovation 1719 Custom Legend 2005 Takamine EF400SC 12 string 2007 Bourgeois Vintage OM Madagascar with Bone LB6 |
#18
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Have we discovered what the OP means by "traditional" 12 string ?
I have a Del'Arte (kinnard) replica of the Stella Leadbelly - 26.5" scale tuned to B or C- (which is for sale in the UK)_ and I have a Martin Custom D12-20 which floats my boat. I would consider them both pretty traditional - but - what is your definition OP? |
#19
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I'm curious because I genuinely don't know, what is the hallmark of a traditional sounding 12 string?
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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) |
#20
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J. Brentrup Guitars & Mandolins www.brentrup.com |
#21
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Traditional 12 strings have a very strong, fundamental, room filling tone. It's a punchy sound compared to the modern "harpy" sound. Most all are ladder braced or some sort of ladder/tone bar bracing like Holzapfels. They sport cables instead of strings and tune down to as far as A. Stellas, Holzapfels or Vegas are mostly the ones to turn to. Mahogany is the back of choice, but white oak works too. I like sapele. Rosewood doesn't work well as there are too many overtones. Overtones make a 12 string really "harpy" sounding, and that is the modern 12 string tone. Red spruce is also the wood of choice as it is powerful and has the headroom.
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#22
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Tell that to Ralph Towner.
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#23
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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) |
#24
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Saw a post on UMGF some time ago on a player out of Australia, I believe. He had Martin do a custom one of a kind D12-20 that was quite amazing. Martin hasn't made this guitar in many years, but will apparently work with customers on this kind of individualized instrument. Just wanted to mention that. ( the D12-20 is a 12 fret slope shouldered dread). Very traditional guitar.
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1993 Bourgeois JOM 1967 Martin D12-20 2007 Vines Artisan 2014 Doerr Legacy 2013 Bamburg FSC- 2002 Flammang 000 12 fret 2000 McCollum Grand Auditorium ______________________________ Soundcloud Spotify |
#25
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A few fingerstyle players play Guild 12 jumbos.
James Blackshaw being the most revered modern player. Chuck Johnson is very special too. Glenn Jones & Jack Rose (RIP) favoured Taylor Jumbo 12's. For a 'traditional'/vintage luthier built 12, I'd go for Haans Brentrup. |
#26
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I have since acquired an H&D and I like the more focused sound that I get from it. I was just thinking out loud about the way that I feel about Guild jumbos and what I feel motivated to play when I pick one up -- not talking absolutes. |
#27
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#28
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#29
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Your 12-string headstock looks really good. Just the right balance of original and classic lines. |
#30
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I also do not have much of a 12-string repertoire -- therefore the music will come from the guitar. As for tone woods, I find I am not as sensitive as most players -- so I usually go with looks/tradition/prestige. |