#166
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Yeah actually I am. I’m very impressed with his work and ability. Just don’t understood this one.
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'59 Gibson J-45 "Spot" '21 Gibson LG-2 - 50's Reissue '94 Taylor 710 '18 Martin 000-17E "Willie" ‘23 Taylor AD12e-SB '22 Taylor GTe Blacktop '15 Martin 000X1AE https://pandora.app.link/ysqc6ey22hb |
#167
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#168
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That’s why I want to play one before passing judgement.
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'59 Gibson J-45 "Spot" '21 Gibson LG-2 - 50's Reissue '94 Taylor 710 '18 Martin 000-17E "Willie" ‘23 Taylor AD12e-SB '22 Taylor GTe Blacktop '15 Martin 000X1AE https://pandora.app.link/ysqc6ey22hb |
#169
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Huh? I thought it was just a parody to demonstrate the ridiculousness of modern-day business ideas and even more ridiculous marketing methods used to promote them? Maybe the fact that people lots of money will spend it on literally anything?? Not sure what Martin guitars has to do with any of this, and I'm certainly unaware that there are Martins out there with corks in them?
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Don't chase tone. Make tone. |
#170
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An improvement in a product does not make previous iterations obsolete. I'm not sure why folks here are suggesting that this is a consequence of Taylor's hyping of their new bracing system.
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#171
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'49 Martin A Style Mandolin '76 S.L. Mossman Great Plains '78 Gibson Gospel '81 Martin 7-28 7/8 D-28 '03 Taylor Jumbo Custom '04 Ramirez 1-E Classical '09 Breedlove Roots OM/SR acoustic/electric ‘15 Martin Centennial DC - 28E |
#172
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It’s a design well suited to CNC manufacturing and automated assembly, and possibly to obtaining a patent, as many believe a patent means something is better - it may sound very good as well, but until there are a bunch out there to try, and general players can judge their consistency, it’s pretty pointless to guess about. But its always been one of the greatest challenges to get even-ness and volume at the same time - with all the improvements in electronics, opting for a well balanced instrument is probably the easiest option. Personally, I don’t think the design will offer as much dynamic range, or the range of attack and tone that a really great guitar offers - but I’m sure they’ll look fantastic -
If one of their marketing goals was to try and get players who had decided that Taylor was not a sound they were particularly interested in to try them again, I think they’ve succeeded. But they still won’t be offering anything that would make me consider replacing one of my Santa Cruz’s -
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More than a few Santa Cruz’s, a few Sexauers, a Patterson, a Larrivee, a Cumpiano, and a Klepper!! |
#173
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I think Andy must be using the word "intonation" differently than *I* use it (and probably most other guitarists).
I think of that word as meaning how the FUNDAMENTAL frequency of each note on the fretboard (coming from the strings) must increase precisely by 2 raised to the 1/12 power as related to the half-step below it. That's how "equal temperament" intonation works. Period. At least by my definition. How the top and its bracing might affect all of the actual frequencies (including harmonics) that get generated by the fundamental note from the string is an entirely different subject, and isn't really about intonation. IMO. |
#174
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I'm still waiting to see charts showing the pros and cons of ...forward shifted x bracing, and back-shifted x bracing
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#175
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To the OP, Taylor has been marketing this way for years. I am not really sure why you are all of a sudden shocked by it? Just look at the Expression System, which first came out around 10 years ago now. When it was first introduced, Taylor went nuts with marketing. It was the new revolutionary pickup! They even got Rupert Neves onboard and created the K4 preamp, which was also promoted like crazy. What happened? The expression system ended up getting two more updates because of a poorly designed first version (all of which were marketed as the next big thing), the K4 was pretty much forgotten and then the ES2 came out with all of the same hype and marketing.
Bringing Andy onboard has just been the next big step for them. They market him as this luthier who is is a miracle worker. In reality, when they started redesigning the 800's and the remaining models, Andy wasn't doing anything revolutionary, even though Taylor marketed it this way. This new bracing seems cool enough and I applaud them for trying something new but at the end of the day, it's just another flavour, it's not going to replace the bracing that manufacturers have used for years. |
#176
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At least nobody claimed those changes affected "intonation". As far as I know.
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#177
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How bracing can improve intonation...
Here's a video of Andy Powers being asked, and answering this exact question:
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2017 Alvarez Yairi OY70CE - Sugaree c.1966 Regal Sovereign R235 Jumbo - Old Dollar 2009 Martin 000-15 - Brown Bella 1977 Gibson MK-35 - Apollo 2004 Fender American Stratocaster - The Blue Max 2017 Fender Custom American Telecaster - Brown Sugar Think Hippie Thoughts... |
#178
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So, you mean that this is at the Taylor level. Pfff, get real. Just make sure you find the best specimen of a V-braced guitar, test it, and then speak again.
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#179
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"It's painful to go backwards! You get use to this... and say, 'Oh Man, I don't want to give that up!'" "There are things you have worked around, and once those barriers are taken away..." and in this video, "...a level of 'in-tuneness' that we haven't had before." So, all previous Taylor guitars aren't really in tune high on the fretboard? Again, I don't have a horse in this race, and I'm a pretty big Taylor fan over all, but I must admit, I am also glad I hadn't decided to buy a "lifetime" Taylor guitar up to this point. Oh, I should add that both these videos are great, and Powers is clearly enthusiastic about the new bracing!
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2017 Alvarez Yairi OY70CE - Sugaree c.1966 Regal Sovereign R235 Jumbo - Old Dollar 2009 Martin 000-15 - Brown Bella 1977 Gibson MK-35 - Apollo 2004 Fender American Stratocaster - The Blue Max 2017 Fender Custom American Telecaster - Brown Sugar Think Hippie Thoughts... |
#180
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Braving and intonation. Bracing influences top resonance frequency. If that resonance frequency happens to be close to a scale note (dependant on the chosen reference pitch of course), the top's resonance can push that note off pitch, leading to an intonation problem. So a bracing system can only improve intonation when it is able to move the top's resonance peak to a place right between scale notes. That needs specific tuning of the braces, and is not related to a general bracing layout. That is the way I understand it. And then there's main air and back resonance as well. See Trevor Gore.
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