> >>>> I tend to play anything from Indie to Blues
> >>> How would you characterize "Indie" as a genre? I'm just curious. So
> >>> far I've thought of it as a marketing category with little specific
> >>> musical meaning.
> >> Yours is a good question, Hank, and the same one I've asked myself a
> >> couple of times. My son's band, The Narrative, is classified as an
> >> "indie" band.
> >> While it doesn't really define an exacting genre of music, it stems
> >> from the fact (as I think you know) that they retain complete
> >> control over their artistic production.
> > Lately I've seen it used as an add-on buzzword for loads of stuff,
> > particularly "indie folk".
> >> If you think about it, what is "rock"? We consider that
> >> a genre, but The Stones don't sound anything like The Eagles,
> >> neither of which seem related to, say, U2.
> > Agreed. Then there is rock 'n' roll, which from that list only the
> > Stones can muster, sometimes, IMO.
> >> In the genre of "bluegrass", a band with a 5-string Scruggs-style
> >> banjo and a fiddle and 5 men is going to sound somewhat different
> >> than one that features the mandolin, dulcimer and a female vocalist.
> > In my view the latter ensemble may draw material from bluegrass, but
> > that can't be an actual bluegrass band. Shaidri and I appeal to some
> > bluegrass fans, though I can't call us a bluegrass ensemble.
> > My mind wants at least a guitar, a five-string banjo, and a mandolin
> > for bluegrass. The rest of it I feel is optional. That's just me.
> > These things get blurred as time passes, people jam, and bands arise
> > therefrom.
> Just to make that part clearer, I took the guitar as a"given" in both band
> setups. I was not leaving it out because I didn't mention it in the list.
> Prior to Earle Scruggs joining Bill Monroe's band, the banjo was a minor
> part of the "original" bluegrass sound as far as I understand it. Scrugg's'
> playing style brought it to prominence. I think Monroe's mandolin, and the
> fiddler played the key soloist roles until then.
> I have seen bands that classified themselves as "bluegrass" that did not
> have a 5-string banjo. And, likewise, Lester Flatt was not much of an
> instrumentalist on his geetar, nor did I hear the guitar used much as an
> instrumental instrument in bluegrass until The Greenbriar Boys and John
> Herald made use of his skills on several tunes. I do recall there was, at
> the time (early 60's) a 15 year-old guitar prodigy (whose name I've long
> forgotten) who was a featured instrumentalist with Roger Sprung.
> >> I think this article does a pretty good job of answering our
> >> question (much better than my feeble attempt anyway)
> >>http://en.wikipedia.org/wiki/Indie_rock
> > Yes, the standard outline, cogently presented.- Hide quoted text -
> - Show quoted text -- Hide quoted text -
> - Show quoted text -
From what I've read and heard, when Monroe was forming his band, he
experimented with instrumentation. At times, using a piano or
accordian. He didn't like dobro in his band. Charlie was a more than
adequate guitarplayer but did seem to stick with a solid rhythm.
>> "Peter Weber" wrote in message
>> news:ORqyr.1324127$xD4.526306@fx06.am4... Hi All
>> Having played a Simon and Patrick SP6 spruce for >13yrs I'm now
>> planning to spend some money (?1800 pounds) on a quality guitar,
>> probably dreadnought again. I looked at a Gibson J-45 which was OK,
>> but not a massive improvement over what I've got already. Any
>> recommendations (I'm lost as far as the various Martins are
>> concerned)? many thanks in advance
>> Peter
>> ***************
>> You don't need to spend big$, or big sterling in your case, to get
>> good sound, I've recently played a $150 Chinese Ashton that sounded
>> as good and played as well as the most expensive guitars in the
>> shop; my own favourite guitar for fingerpicking has a plywood top.
>> However, I'm strongly prejudiced
>> against non-resettable necks, and that does cost. I could find
>> something I really liked in any of the Big Three - Martin, Taylor
>> and Larrivee. Maton would also be on that list here in Oz. Beyond
>> that, only you can decide what
>> you like. Most recently the inexpensive Taylor 114 and 214 have
>> impressed me
>> a lot. I've played a (very!) few nice modern Gibsons I liked, in the
>> J-45 and Blues King models.
>> Tony D
>> *******************
>> The way this thread is likely to shape up I would like to offer a
>> comment on something I feel quite strongly about:
>> Take any specific advice with a large grain of salt. We know nothing
>> about your tastes in music, tone, string gauges, aesthetics,
>> whatever, so I think the best anyone do is comment on what they like, and >> what
>> options are available. For example, of the Big Three I mentioned, I
>> know from experience that I stand a lot less chance of finding one I
>> like in one of those than the other two, but it is a **personal**
>> opinion with which many would disagree, and I wouldn't want to
>> impose it on anyone else. Just go out and try a lot of guitars in
>> all the price ranges that you can afford.
>> Tony D
> Thanks for all the comments so far. I realized that I should add a bit
> more info: I tried a few different guitars, e.g. Tanglewood and
> Breedlove, at a local shop (fine guitars in Abingdon). I didn't like
> them that much (I tend to play anything from Indie to Blues, I mainly
> play with a pick). None of them were Dreadnoughts, which is why I
> thought I should maybe stick to those (also liked the J-45 much better
> than the J-200).
> Hope this makes sense, thanks again
> Peter
> **************
> I can't tell you how to choose guitars, but I can explain how I do
> it. For fingerpicking in the John Hurt style I like tight-sounding
> guitars eg Matons, rather than ones with big orchestral voices. For
> slide I like evenness across the whole range, especially the high
> registers, loud and with good sustain. Requirements for ensemble
> playing would be different again, but these days the pickup system
> often has a lot to do with suitability for that role rather than the
> instrument itself.
> One thing I have found is that it is easy to be beguiled by
> interesting big sounds in the music store, but I get the guitar home
> and find it isn't that well suited to the more intimate environment
> of my lounge room or amplification via a pickup system.
> FWIW, I never tried a J-200 I liked, though I understand that good
> ones do exist, and J-45s seem well suited to my style - <g> I also
> like that Gibson teardrop sunburst.
> Tony D
What's your take on an early '20's Gibson L-3 for the style you play? I have one. It's a c.1923 in excellent original condition. Or are you strictly a flattop man? (for those who don't know, the early L3's were archtop guitars with round holes).
>> "Peter Weber" wrote in message
>> news:ORqyr.1324127$xD4.526306@fx06.am4... Hi All
>> Having played a Simon and Patrick SP6 spruce for >13yrs I'm now
>> planning to spend some money (?1800 pounds) on a quality guitar,
>> probably dreadnought again. I looked at a Gibson J-45 which was OK,
>> but not a massive improvement over what I've got already. Any
>> recommendations (I'm lost as far as the various Martins are
>> concerned)? many thanks in advance
>> Peter
>> ***************
>> You don't need to spend big$, or big sterling in your case, to get
>> good sound, I've recently played a $150 Chinese Ashton that sounded
>> as good and played as well as the most expensive guitars in the
>> shop; my own favourite guitar for fingerpicking has a plywood top.
>> However, I'm strongly prejudiced
>> against non-resettable necks, and that does cost. I could find
>> something I really liked in any of the Big Three - Martin, Taylor
>> and Larrivee. Maton would also be on that list here in Oz. Beyond
>> that, only you can decide what
>> you like. Most recently the inexpensive Taylor 114 and 214 have
>> impressed me
>> a lot. I've played a (very!) few nice modern Gibsons I liked, in the
>> J-45 and Blues King models.
>> Tony D
>> *******************
>> The way this thread is likely to shape up I would like to offer a
>> comment on something I feel quite strongly about:
>> Take any specific advice with a large grain of salt. We know nothing
>> about your tastes in music, tone, string gauges, aesthetics,
>> whatever, so I think the best anyone do is comment on what they like, and >> what
>> options are available. For example, of the Big Three I mentioned, I
>> know from experience that I stand a lot less chance of finding one I
>> like in one of those than the other two, but it is a **personal**
>> opinion with which many would disagree, and I wouldn't want to
>> impose it on anyone else. Just go out and try a lot of guitars in
>> all the price ranges that you can afford.
>> Tony D
> Thanks for all the comments so far. I realized that I should add a bit
> more info: I tried a few different guitars, e.g. Tanglewood and
> Breedlove, at a local shop (fine guitars in Abingdon). I didn't like
> them that much (I tend to play anything from Indie to Blues, I mainly
> play with a pick). None of them were Dreadnoughts, which is why I
> thought I should maybe stick to those (also liked the J-45 much better
> than the J-200).
> Hope this makes sense, thanks again
> Peter
> **************
> I can't tell you how to choose guitars, but I can explain how I do
> it. For fingerpicking in the John Hurt style I like tight-sounding
> guitars eg Matons, rather than ones with big orchestral voices. For
> slide I like evenness across the whole range, especially the high
> registers, loud and with good sustain. Requirements for ensemble
> playing would be different again, but these days the pickup system
> often has a lot to do with suitability for that role rather than the
> instrument itself.
> One thing I have found is that it is easy to be beguiled by
> interesting big sounds in the music store, but I get the guitar home
> and find it isn't that well suited to the more intimate environment
> of my lounge room or amplification via a pickup system.
> FWIW, I never tried a J-200 I liked, though I understand that good
> ones do exist, and J-45s seem well suited to my style - <g> I also
> like that Gibson teardrop sunburst.
> Tony D
What's your take on an early '20's Gibson L-3 for the style you play? I have
one. It's a c.1923 in excellent original condition. Or are you strictly a
flattop man? (for those who don't know, the early L3's were archtop guitars
with round holes).
****************
I've never really played archtops; we don't get to see a huge selection of anything here in O, except beer. What I would be looking for is a playable neck and bright well-defined notes that jump out like peas from a pea shooter, also very good note separation in chords and double stops - that last is a major attraction of the plywood Maton I've mentioned before. The other thing I notice immediately and avoid is any hint of dullness in the bass.
> >> "Peter Weber" wrote in message
> >> news:ORqyr.1324127$xD4.526306@fx06.am4... Hi All
> >> Having played a Simon and Patrick SP6 spruce for >13yrs I'm now
> >> planning to spend some money (?1800 pounds) on a quality guitar,
> >> probably dreadnought again. I looked at a Gibson J-45 which was OK,
> >> but not a massive improvement over what I've got already. Any
> >> recommendations (I'm lost as far as the various Martins are
> >> concerned)? many thanks in advance
> >> Peter
> >> ***************
> >> You don't need to spend big$, or big sterling in your case, to get
> >> good sound, I've recently played a $150 Chinese Ashton that sounded
> >> as good and played as well as the most expensive guitars in the
> >> shop; my own favourite guitar for fingerpicking has a plywood top.
> >> However, I'm strongly prejudiced
> >> against non-resettable necks, and that does cost. I could find
> >> something I really liked in any of the Big Three - Martin, Taylor
> >> and Larrivee. Maton would also be on that list here in Oz. Beyond
> >> that, only you can decide what
> >> you like. Most recently the inexpensive Taylor 114 and 214 have
> >> impressed me
> >> a lot. I've played a (very!) few nice modern Gibsons I liked, in the
> >> J-45 and Blues King models.
> >> Tony D
> >> *******************
> >> The way this thread is likely to shape up I would like to offer a
> >> comment on something I feel quite strongly about:
> >> Take any specific advice with a large grain of salt. We know nothing
> >> about your tastes in music, tone, string gauges, aesthetics,
> >> whatever, so I think the best anyone do is comment on what they like, and > >> what
> >> options are available. For example, of the Big Three I mentioned, I
> >> know from experience that I stand a lot less chance of finding one I
> >> like in one of those than the other two, but it is a **personal**
> >> opinion with which many would disagree, and I wouldn't want to
> >> impose it on anyone else. Just go out and try a lot of guitars in
> >> all the price ranges that you can afford.
> >> Tony D
> > Thanks for all the comments so far. I realized that I should add a bit
> > more info: I tried a few different guitars, e.g. Tanglewood and
> > Breedlove, at a local shop (fine guitars in Abingdon). I didn't like
> > them that much (I tend to play anything from Indie to Blues, I mainly
> > play with a pick). None of them were Dreadnoughts, which is why I
> > thought I should maybe stick to those (also liked the J-45 much better
> > than the J-200).
> > Hope this makes sense, thanks again
> > Peter
> > **************
> > I can't tell you how to choose guitars, but I can explain how I do
> > it. For fingerpicking in the John Hurt style I like tight-sounding
> > guitars eg Matons, rather than ones with big orchestral voices. For
> > slide I like evenness across the whole range, especially the high
> > registers, loud and with good sustain. Requirements for ensemble
> > playing would be different again, but these days the pickup system
> > often has a lot to do with suitability for that role rather than the
> > instrument itself.
> > One thing I have found is that it is easy to be beguiled by
> > interesting big sounds in the music store, but I get the guitar home
> > and find it isn't that well suited to the more intimate environment
> > of my lounge room or amplification via a pickup system.
> > FWIW, I never tried a J-200 I liked, though I understand that good
> > ones do exist, and J-45s seem well suited to my style - <g> I also
> > like that Gibson teardrop sunburst.
> > Tony D
> What's your take on an early '20's Gibson L-3 for the style you play? I have
> one. It's a c.1923 in excellent original condition. Or are you strictly a
> flattop man? (for those who don't know, the early L3's were archtop guitars
> with round holes).
> ****************
> I've never really played archtops; we don't get to see a huge selection of > anything here in O, except beer. What I would be looking for is a playable > neck and bright well-defined notes that jump out like peas from a pea > shooter, also very good note separation in chords and double stops - that > last is a major attraction of the plywood Maton I've mentioned before. The > other thing I notice immediately and avoid is any hint of dullness in the > bass.
> >> "Peter Weber" wrote in message
> >> news:ORqyr.1324127$xD4.526306@fx06.am4... Hi All
> >> Having played a Simon and Patrick SP6 spruce for >13yrs I'm now
> >> planning to spend some money (?1800 pounds) on a quality guitar,
> >> probably dreadnought again. I looked at a Gibson J-45 which was OK,
> >> but not a massive improvement over what I've got already. Any
> >> recommendations (I'm lost as far as the various Martins are
> >> concerned)? many thanks in advance
> >> Peter
> >> ***************
> >> You don't need to spend big$, or big sterling in your case, to get
> >> good sound, I've recently played a $150 Chinese Ashton that sounded
> >> as good and played as well as the most expensive guitars in the
> >> shop; my own favourite guitar for fingerpicking has a plywood top.
> >> However, I'm strongly prejudiced
> >> against non-resettable necks, and that does cost. I could find
> >> something I really liked in any of the Big Three - Martin, Taylor
> >> and Larrivee. Maton would also be on that list here in Oz. Beyond
> >> that, only you can decide what
> >> you like. Most recently the inexpensive Taylor 114 and 214 have
> >> impressed me
> >> a lot. I've played a (very!) few nice modern Gibsons I liked, in the
> >> J-45 and Blues King models.
> >> Tony D
> >> *******************
> >> The way this thread is likely to shape up I would like to offer a
> >> comment on something I feel quite strongly about:
> >> Take any specific advice with a large grain of salt. We know nothing
> >> about your tastes in music, tone, string gauges, aesthetics,
> >> whatever, so I think the best anyone do is comment on what they like, > >> and
> >> what
> >> options are available. For example, of the Big Three I mentioned, I
> >> know from experience that I stand a lot less chance of finding one I
> >> like in one of those than the other two, but it is a **personal**
> >> opinion with which many would disagree, and I wouldn't want to
> >> impose it on anyone else. Just go out and try a lot of guitars in
> >> all the price ranges that you can afford.
> >> Tony D
> > Thanks for all the comments so far. I realized that I should add a bit
> > more info: I tried a few different guitars, e.g. Tanglewood and
> > Breedlove, at a local shop (fine guitars in Abingdon). I didn't like
> > them that much (I tend to play anything from Indie to Blues, I mainly
> > play with a pick). None of them were Dreadnoughts, which is why I
> > thought I should maybe stick to those (also liked the J-45 much better
> > than the J-200).
> > Hope this makes sense, thanks again
> > Peter
> > **************
> > I can't tell you how to choose guitars, but I can explain how I do
> > it. For fingerpicking in the John Hurt style I like tight-sounding
> > guitars eg Matons, rather than ones with big orchestral voices. For
> > slide I like evenness across the whole range, especially the high
> > registers, loud and with good sustain. Requirements for ensemble
> > playing would be different again, but these days the pickup system
> > often has a lot to do with suitability for that role rather than the
> > instrument itself.
> > One thing I have found is that it is easy to be beguiled by
> > interesting big sounds in the music store, but I get the guitar home
> > and find it isn't that well suited to the more intimate environment
> > of my lounge room or amplification via a pickup system.
> > FWIW, I never tried a J-200 I liked, though I understand that good
> > ones do exist, and J-45s seem well suited to my style - <g> I also
> > like that Gibson teardrop sunburst.
> > Tony D
> What's your take on an early '20's Gibson L-3 for the style you play? I > have
> one. It's a c.1923 in excellent original condition. Or are you strictly a
> flattop man? (for those who don't know, the early L3's were archtop > guitars
> with round holes).
> ****************
> I've never really played archtops; we don't get to see a huge selection of
> anything here in O, except beer. What I would be looking for is a playable
> neck and bright well-defined notes that jump out like peas from a pea
> shooter, also very good note separation in chords and double stops - that
> last is a major attraction of the plywood Maton I've mentioned before. The
> other thing I notice immediately and avoid is any hint of dullness in the
> bass.
> Tony D
You want Fresh Strings!!! Ed
****************
FWIW, I change my strings more often than I change my socks.
If buying a new, it is always a good idea to ask for a new set of strings to be installed if the guitar sounds a bit dull. Sometimes it is just the strings, but often enough the guitar is inherently clunky. A few years ago a lot of Martins were like that. You'd put new strings on, and the bass couple would sound OK for about an hour, then everything would go dull again.
> FWIW, I change my strings more often than I change my socks.
> If buying a new, it is always a good idea to ask for a new set of strings to > be installed if the guitar sounds a bit dull. Sometimes it is just the > strings, but often enough the guitar is inherently clunky. A few years ago a > lot of Martins were like that. You'd put new strings on, and the bass couple > would sound OK for about an hour, then everything would go dull again.
> Tony D
smelly feet : ' ) - yeah new string can make a big dif. ed
On Jun 2, 12:06 pm, Peter Weber <p.we...@ntlworld.com> wrote:
> Hi All
> Having played a Simon and Patrick SP6 spruce for >13yrs I'm now planning
> to spend some money (≈1800 pounds) on a quality guitar, probably
> dreadnought again. I looked at a Gibson J-45 which was OK, but not a
> massive improvement over what I've got already. Any recommendations (I'm
> lost as far as the various Martins are concerned)?
> many thanks in advance
> Peter
Official advice on this matter: Take your sweet time shopping.
Play everything. Travel, if necessary, for a better selection. You
owe it to yourself to play a number of Martins at least before even
thinking the word "Gibson." Become an expert. Do not, under any
conditions, just "settle" for anything. Wait until you fall madly in
love and you know. THE guitar is out there, waiting for you.
On Jun 2, 12:06 pm, Peter Weber <p.we...@ntlworld.com> wrote:
> Hi All
> Having played a Simon and Patrick SP6 spruce for >13yrs I'm now planning
> to spend some money (≈1800 pounds) on a quality guitar, probably
> dreadnought again. I looked at a Gibson J-45 which was OK, but not a
> massive improvement over what I've got already. Any recommendations (I'm
> lost as far as the various Martins are concerned)?
> many thanks in advance
> Peter
Official advice on this matter: Take your sweet time shopping.
Play everything. Travel, if necessary, for a better selection. You
owe it to yourself to play a number of Martins at least before even
thinking the word "Gibson." Become an expert. Do not, under any
conditions, just "settle" for anything. Wait until you fall madly in
love and you know. THE guitar is out there, waiting for you.
************
OK, I know I've got a fixation about this, but I just can't risk the temptation.
It isn't just Martin, Larrivee and Taylor should be treated with equal consideration, plus a number of European and boutique makers, to say nothing of Maton. Gibson fill a specific niche, like the old Guilds (and maybe the new ones), and should IMO not be dismissed out of hand - it all depends what you are looking for in terms of tone and aesthetics.
It is certainly true that making an informed decision involves a fair amount of educational effort, but it is a whole lot better than taking someone else's word for it or buying on a name.
> On Jun 2, 12:06 pm, Peter Weber <p.we...@ntlworld.com> wrote:
>> Hi All
>> Having played a Simon and Patrick SP6 spruce for >13yrs I'm now planning
>> to spend some money (≈1800 pounds) on a quality guitar, probably
>> dreadnought again. I looked at a Gibson J-45 which was OK, but not a
>> massive improvement over what I've got already. Any recommendations (I'm
>> lost as far as the various Martins are concerned)?
>> many thanks in advance
>> Peter
> Official advice on this matter: Take your sweet time shopping.
> Play everything. Travel, if necessary, for a better selection. You
> owe it to yourself to play a number of Martins at least before even
> thinking the word "Gibson." Become an expert. Do not, under any
> conditions, just "settle" for anything. Wait until you fall madly in
> love and you know. THE guitar is out there, waiting for you.
I would recommend a system that evolved the last time I had saved a goodly stash and decided to buy a really nice acoustic. I figured at my age I oughta have a really nice box sometime before I get planted in one.
I took my wife to a number of places (a unique situation, but we were out of town). I wouldn't play some guitars that were out of my price range, but didn't like some that were in my price range.
The wife was adamant that I disregard the price and my accrued attitude (good and bad) towards certain brands. She began bringing me guitars (with little general knowledge of the brands/qualities) and I sat there with my eyes closed and gave my viewpoints. It was *fantastic*. The Martins I had longed for felt uncomfortable and didn't sound so great. Some German guitars played and sounded excellent great but were way out of the price range. We continued this across a few towns over the next few months and at least 6 stores.
Frankly I was surprised how few I liked. But she encouranged me not to buy something because it "was in range", but first to assess that it was something I would really enjoy regardless of cost. This blindfold thing was a friggin' revelation!
Finally I found a guitar that sounded excellent, played well and was in my price range. It was a Larivee L-09 40th Anniversary that they had at a Sam Ash. It listed much higher but I managed to get the price way down. I was quite happy.
Sadly, I've not playing acoustic these days so it has languished in the closet. But one of these days…!
> On Jun 2, 12:06 pm, Peter Weber <p.we...@ntlworld.com> wrote:
>> Hi All
>> Having played a Simon and Patrick SP6 spruce for >13yrs I'm now planning
>> to spend some money (≈1800 pounds) on a quality guitar, probably
>> dreadnought again. I looked at a Gibson J-45 which was OK, but not a
>> massive improvement over what I've got already. Any recommendations (I'm
>> lost as far as the various Martins are concerned)?
>> many thanks in advance
>> Peter
> Official advice on this matter: Take your sweet time shopping.
> Play everything. Travel, if necessary, for a better selection. You
> owe it to yourself to play a number of Martins at least before even
> thinking the word "Gibson." Become an expert. Do not, under any
> conditions, just "settle" for anything. Wait until you fall madly in
> love and you know. THE guitar is out there, waiting for you.
> ************
> OK, I know I've got a fixation about this, but I just can't risk the
> temptation.
> It isn't just Martin, Larrivee and Taylor should be treated with equal
> consideration, plus a number of European and boutique makers, to say
> nothing of Maton. Gibson fill a specific niche, like the old Guilds (and
> maybe the new ones), and should IMO not be dismissed out of hand - it
> all depends what you are looking for in terms of tone and aesthetics.
> It is certainly true that making an informed decision involves a fair
> amount of educational effort, but it is a whole lot better than taking
> someone else's word for it or buying on a name.
> Tony D
Just had a look at a dreadnought by David Webber (http://www.webberguitars.com),very nice indeed. I'll take your advice though and play more...
many thanks for all your comments
Peter
I'd say FORGET looking at the names - I've played Yamahas that sound better than Martins. Just go find one that talks to you.. Also don't fret to hard cause 1 guitar just isn't enough.. I have 17 now.. prob enough.. Ed
<esham...@yahoo.com> wrote:
> On Tuesday, June 5, 2012 11:09:50 AM UTC-5, hank alrich wrote:
> > jgoska <jgo...@my-deja.com> wrote:
> > > You
> > > owe it to yourself to play a number of Martins at least before even
> > > thinking the word "Gibson."
> > Perhaps not if one includes older, as in decades older, Gibsons.
> I'd say FORGET looking at the names - I've played Yamahas that sound
> better than Martins. Just go find one that talks to you.. Also don't
> fret to hard cause 1 guitar just isn't enough.. I have 17 now.. prob
> enough.. Ed
Well, there are names that appeal to me, like McCollum, McAlister,
Wingert, and more. Were I factory guitar chasing I'd go see Bill
Collings.
I have two steel string acoustics, both McCollums. They'll do unless I
get to a point that I have to travel outside the US with a guitar. I
have spent almost no time at all in my life shopping for guitars.
On Thursday, June 14, 2012 6:36:44 PM UTC-5, hank alrich wrote:
> <esham...@yahoo.com> wrote:
> > On Tuesday, June 5, 2012 11:09:50 AM UTC-5, hank alrich wrote:
> > > jgoska <jgo...@my-deja.com> wrote:
> > > > You
> > > > owe it to yourself to play a number of Martins at least before even
> > > > thinking the word "Gibson."
> > > Perhaps not if one includes older, as in decades older, Gibsons.
> > I'd say FORGET looking at the names - I've played Yamahas that sound
> > better than Martins. Just go find one that talks to you.. Also don't
> > fret to hard cause 1 guitar just isn't enough.. I have 17 now.. prob
> > enough.. Ed
> Well, there are names that appeal to me, like McCollum, McAlister,
> Wingert, and more. Were I factory guitar chasing I'd go see Bill
> Collings.
> I have two steel string acoustics, both McCollums. They'll do unless I
> get to a point that I have to travel outside the US with a guitar. I
> have spent almost no time at all in my life shopping for guitars.
<esham...@yahoo.com> wrote:
> On Thursday, June 14, 2012 6:36:44 PM UTC-5, hank alrich wrote:
> > <esham...@yahoo.com> wrote:
> > > On Tuesday, June 5, 2012 11:09:50 AM UTC-5, hank alrich wrote:
> > > > jgoska <jgo...@my-deja.com> wrote:
> > > > > You
> > > > > owe it to yourself to play a number of Martins at least before even
> > > > > thinking the word "Gibson."
> > > > Perhaps not if one includes older, as in decades older, Gibsons.
> > > I'd say FORGET looking at the names - I've played Yamahas that sound
> > > better than Martins. Just go find one that talks to you.. Also don't
> > > fret to hard cause 1 guitar just isn't enough.. I have 17 now.. prob
> > > enough.. Ed
> > Well, there are names that appeal to me, like McCollum, McAlister,
> > Wingert, and more. Were I factory guitar chasing I'd go see Bill
> > Collings.
> > I have two steel string acoustics, both McCollums. They'll do unless I
> > get to a point that I have to travel outside the US with a guitar. I
> > have spent almost no time at all in my life shopping for guitars.
> Pretty bad argument - since you have spent so little time trying/compairing
> other guitars. ed
Doesn't mean I don't know something about guitars, or buying guitars.
Apparently with little time and effort I have been able to get the
guitars I've needed.
I started on a Silvertone Deadnought in 1959. Moved form there to a J-50
a year and a half later. Played my first real gig in the summer of 1962,
six sets a night, seven days a wekk, first week of June through the
first week of September. Got a J-200 in late 1963. Played that until it
collapsed about fifteen years ago. Switched to a '57 000-28 that is a
fabulous instrument, until we sent it off with my singing daughter. Had
Lance build a guitar for me.
There were other guitars along the way, many different electrics, a few
acoustics, some 12-strings, a couple of nylon stringers, of which I
still have a good one.
I'm not arguing with you. I'm saying I don't need to play guitars all
over the place to find ones that suit me. I don't know if you're
familiar with builders on Lance's level, but that world of instruments
is rather different from any factory guitars I've ever met.
Along the way I have played hundreds of guitars that have belonged to
others. I've spent a bit of time in Luke WIlson's shop, playing guitars
ranging from an 1865 Martin to a variety of new, inexpensive factory
offerings, as well as mandolins and banjos of many vintages, makes, and
styles.
> On Thursday, June 14, 2012 6:36:44 PM UTC-5, hank alrich wrote:
>> <esham...@yahoo.com> wrote:
>> > On Tuesday, June 5, 2012 11:09:50 AM UTC-5, hank alrich wrote:
>> > > jgoska <jgo...@my-deja.com> wrote:
>> > > > You
>> > > > owe it to yourself to play a number of Martins at least before
>> > > > even thinking the word "Gibson."
>> > > Perhaps not if one includes older, as in decades older, Gibsons.
>> > I'd say FORGET looking at the names - I've played Yamahas that
>> > sound better than Martins. Just go find one that talks to you..
>> > Also don't fret to hard cause 1 guitar just isn't enough.. I have
>> > 17 now.. prob enough.. Ed
>> Well, there are names that appeal to me, like McCollum, McAlister,
>> Wingert, and more. Were I factory guitar chasing I'd go see Bill
>> Collings.
>> I have two steel string acoustics, both McCollums. They'll do unless
>> I get to a point that I have to travel outside the US with a guitar.
>> I have spent almost no time at all in my life shopping for guitars.
> > On Thursday, June 14, 2012 6:36:44 PM UTC-5, hank alrich wrote:
> >> <esham...@yahoo.com> wrote:
> >> > On Tuesday, June 5, 2012 11:09:50 AM UTC-5, hank alrich wrote:
> >> > > jgoska <jgo...@my-deja.com> wrote:
> >> > > > You
> >> > > > owe it to yourself to play a number of Martins at least before
> >> > > > even thinking the word "Gibson."
> >> > > Perhaps not if one includes older, as in decades older, Gibsons.
> >> > I'd say FORGET looking at the names - I've played Yamahas that
> >> > sound better than Martins. Just go find one that talks to you..
> >> > Also don't fret to hard cause 1 guitar just isn't enough.. I have
> >> > 17 now.. prob enough.. Ed
> >> Well, there are names that appeal to me, like McCollum, McAlister,
> >> Wingert, and more. Were I factory guitar chasing I'd go see Bill
> >> Collings.
> >> I have two steel string acoustics, both McCollums. They'll do unless
> >> I get to a point that I have to travel outside the US with a guitar.
> >> I have spent almost no time at all in my life shopping for guitars.
>> > On Thursday, June 14, 2012 6:36:44 PM UTC-5, hank alrich wrote:
>> >> <esham...@yahoo.com> wrote:
>> >> > On Tuesday, June 5, 2012 11:09:50 AM UTC-5, hank alrich wrote:
>> >> > > jgoska <jgo...@my-deja.com> wrote:
>> >> > > > You
>> >> > > > owe it to yourself to play a number of Martins at least before
>> >> > > > even thinking the word "Gibson."
>> >> > > Perhaps not if one includes older, as in decades older, Gibsons.
>> >> > I'd say FORGET looking at the names - I've played Yamahas that
>> >> > sound better than Martins. Just go find one that talks to you..
>> >> > Also don't fret to hard cause 1 guitar just isn't enough.. I have
>> >> > 17 now.. prob enough.. Ed
>> >> Well, there are names that appeal to me, like McCollum, McAlister,
>> >> Wingert, and more. Were I factory guitar chasing I'd go see Bill
>> >> Collings.
>> >> I have two steel string acoustics, both McCollums. They'll do unless
>> >> I get to a point that I have to travel outside the US with a guitar.
>> >> I have spent almost no time at all in my life shopping for guitars.
>>>> On Thursday, June 14, 2012 6:36:44 PM UTC-5, hank alrich wrote:
>>>>> <esham...@yahoo.com> wrote:
>>>>>> On Tuesday, June 5, 2012 11:09:50 AM UTC-5, hank alrich wrote:
>>>>>>> jgoska<jgo...@my-deja.com> wrote:
>>>>>>>> You
>>>>>>>> owe it to yourself to play a number of Martins at least
> before
>>>>>>>> even thinking the word "Gibson."
>>>>>>> Perhaps not if one includes older, as in decades older,
> Gibsons.
>>>>>> I'd say FORGET looking at the names - I've played Yamahas that
>>>>>> sound better than Martins. Just go find one that talks to you..
>>>>>> Also don't fret to hard cause 1 guitar just isn't enough.. I have
>>>>>> 17 now.. prob enough.. Ed
>>>>> Well, there are names that appeal to me, like McCollum, McAlister,
>>>>> Wingert, and more. Were I factory guitar chasing I'd go see Bill
>>>>> Collings.
>>>>> I have two steel string acoustics, both McCollums. They'll do
> unless
>>>>> I get to a point that I have to travel outside the US with a
> guitar.
>>>>> I have spent almost no time at all in my life shopping for guitars.
>>>> Pretty bad argument - since you have spent so little time
>>>> trying/compairing
>>>> other guitars. ed
>>> Not an issue when you have them made for you.
>> But... but... but... you won't know what you're going to get!!!<g>
> You're right!!!! It might sound like a sousaphone!
> Steve Hawkins
If you're able to articulate what you want a guitar to sound like and what physical features that get in the way of your playing many luthiers will exceed your expectations. Roy McAlister has a real talent for building *your* guitar.
> >>>> On Thursday, June 14, 2012 6:36:44 PM UTC-5, hank alrich wrote:
> >>>>> <esham...@yahoo.com> wrote:
> >>>>>> On Tuesday, June 5, 2012 11:09:50 AM UTC-5, hank alrich wrote:
> >>>>>>> jgoska<jgo...@my-deja.com> wrote:
> >>>>>>>> You
> >>>>>>>> owe it to yourself to play a number of Martins at least
> > before
> >>>>>>>> even thinking the word "Gibson."
> >>>>>>> Perhaps not if one includes older, as in decades older,
> > Gibsons.
> >>>>>> I'd say FORGET looking at the names - I've played Yamahas that
> >>>>>> sound better than Martins. Just go find one that talks to you..
> >>>>>> Also don't fret to hard cause 1 guitar just isn't enough.. I have
> >>>>>> 17 now.. prob enough.. Ed
> >>>>> Well, there are names that appeal to me, like McCollum, McAlister,
> >>>>> Wingert, and more. Were I factory guitar chasing I'd go see Bill
> >>>>> Collings.
> >>>>> I have two steel string acoustics, both McCollums. They'll do
> > unless
> >>>>> I get to a point that I have to travel outside the US with a
> > guitar.
> >>>>> I have spent almost no time at all in my life shopping for guitars.
> >>>> Pretty bad argument - since you have spent so little time
> >>>> trying/compairing
> >>>> other guitars. ed
> >>> Not an issue when you have them made for you.
> >> But... but... but... you won't know what you're going to get!!!<g>
> > You're right!!!! It might sound like a sousaphone!
> > Steve Hawkins
> If you're able to articulate what you want a > guitar to sound like and what physical features > that get in the way of your playing many luthiers > will exceed your expectations. Roy McAlister has a > real talent for building *your* guitar.
Oh yeah? Let's see him make one that sounds like Sousaphone.
> > >>>> On Thursday, June 14, 2012 6:36:44 PM UTC-5, hank alrich wrote:
> > >>>>> <esham...@yahoo.com> wrote:
> > >>>>>> On Tuesday, June 5, 2012 11:09:50 AM UTC-5, hank alrich wrote:
> > >>>>>>> jgoska<jgo...@my-deja.com> wrote:
> > >>>>>>>> You
> > >>>>>>>> owe it to yourself to play a number of Martins at least
> > > before
> > >>>>>>>> even thinking the word "Gibson."
> > >>>>>>> Perhaps not if one includes older, as in decades older,
> > > Gibsons.
> > >>>>>> I'd say FORGET looking at the names - I've played Yamahas that
> > >>>>>> sound better than Martins. Just go find one that talks to you..
> > >>>>>> Also don't fret to hard cause 1 guitar just isn't enough.. I have
> > >>>>>> 17 now.. prob enough.. Ed
> > >>>>> Well, there are names that appeal to me, like McCollum, McAlister,
> > >>>>> Wingert, and more. Were I factory guitar chasing I'd go see Bill
> > >>>>> Collings.
> > >>>>> I have two steel string acoustics, both McCollums. They'll do
> > > unless
> > >>>>> I get to a point that I have to travel outside the US with a
> > > guitar.
> > >>>>> I have spent almost no time at all in my life shopping for guitars.
> > >>>> Pretty bad argument - since you have spent so little time
> > >>>> trying/compairing
> > >>>> other guitars. ed
> > >>> Not an issue when you have them made for you.
> > >> But... but... but... you won't know what you're going to get!!!<g>
> > > You're right!!!! It might sound like a sousaphone!
> > > Steve Hawkins
> > If you're able to articulate what you want a > > guitar to sound like and what physical features > > that get in the way of your playing many luthiers > > will exceed your expectations. Roy McAlister has a > > real talent for building *your* guitar.
> Oh yeah? Let's see him make one that sounds like Sousaphone.
> > > >>>>>> On Tuesday, June 5, 2012 11:09:50 AM UTC-5, hank alrich wrote:
> > > >>>>>>> jgoska<jgo...@my-deja.com> wrote:
> > > >>>>>>>> You
> > > >>>>>>>> owe it to yourself to play a number of Martins at least
> > > > before
> > > >>>>>>>> even thinking the word "Gibson."
> > > >>>>>>> Perhaps not if one includes older, as in decades older,
> > > > Gibsons.
> > > >>>>>> I'd say FORGET looking at the names - I've played Yamahas that
> > > >>>>>> sound better than Martins. Just go find one that talks to you..
> > > >>>>>> Also don't fret to hard cause 1 guitar just isn't enough.. I have
> > > >>>>>> 17 now.. prob enough.. Ed
> > > >>>>> Well, there are names that appeal to me, like McCollum, McAlister,
> > > >>>>> Wingert, and more. Were I factory guitar chasing I'd go see Bill
> > > >>>>> Collings.
> > > >>>>> I have two steel string acoustics, both McCollums. They'll do
> > > > unless
> > > >>>>> I get to a point that I have to travel outside the US with a
> > > > guitar.
> > > >>>>> I have spent almost no time at all in my life shopping for guitars.
> > > >>>> Pretty bad argument - since you have spent so little time
> > > >>>> trying/compairing
> > > >>>> other guitars. ed
> > > >>> Not an issue when you have them made for you.
> > > >> But... but... but... you won't know what you're going to get!!!<g>
> > > > You're right!!!! It might sound like a sousaphone!
> > > > Steve Hawkins
> > > If you're able to articulate what you want a > > > guitar to sound like and what physical features > > > that get in the way of your playing many luthiers > > > will exceed your expectations. Roy McAlister has a > > > real talent for building *your* guitar.
> > Oh yeah? Let's see him make one that sounds like Sousaphone.
>>>>>> On Thursday, June 14, 2012 6:36:44 PM UTC-5, hank alrich wrote:
>>>>>>> <esham...@yahoo.com> wrote:
>>>>>>>> On Tuesday, June 5, 2012 11:09:50 AM UTC-5, hank alrich wrote:
>>>>>>>>> jgoska<jgo...@my-deja.com> wrote:
>>>>>>>>>> You
>>>>>>>>>> owe it to yourself to play a number of Martins at least
>>> before
>>>>>>>>>> even thinking the word "Gibson."
>>>>>>>>> Perhaps not if one includes older, as in decades older,
>>> Gibsons.
>>>>>>>> I'd say FORGET looking at the names - I've played Yamahas that
>>>>>>>> sound better than Martins. Just go find one that talks to you..
>>>>>>>> Also don't fret to hard cause 1 guitar just isn't enough.. I have
>>>>>>>> 17 now.. prob enough.. Ed
>>>>>>> Well, there are names that appeal to me, like McCollum, McAlister,
>>>>>>> Wingert, and more. Were I factory guitar chasing I'd go see Bill
>>>>>>> Collings.
>>>>>>> I have two steel string acoustics, both McCollums. They'll do
>>> unless
>>>>>>> I get to a point that I have to travel outside the US with a
>>> guitar.
>>>>>>> I have spent almost no time at all in my life shopping for guitars.
>>>>>> Pretty bad argument - since you have spent so little time
>>>>>> trying/compairing
>>>>>> other guitars. ed
>>>>> Not an issue when you have them made for you.
>>>> But... but... but... you won't know what you're going to get!!!<g>
>>> You're right!!!! It might sound like a sousaphone!
>>> Steve Hawkins
>> If you're able to articulate what you want a
>> guitar to sound like and what physical features
>> that get in the way of your playing many luthiers
>> will exceed your expectations. Roy McAlister has a
>> real talent for building *your* guitar.
> Oh yeah? Let's see him make one that sounds like Sousaphone.
Sounds like the device to use when drinking and dialing...
