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Pretty acoustics - Driftwood Guitars


cybersecretary

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Meh. I'm over the artistry of musical instrument making already. The dood has fun creating them and making his living from his chosen craft. That's what it's all about.

 

 

Yep. If anyone wants to spend silly money on daft stuff that does nothing for the sound and playability, good luck to them.

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When someone enjoys what they do , puts their whole heart and soul into it ( goes above and beyond ) -and they turn out that beautiful -

I'm betting their stellar as well in tone ---

 

No doubt, Tony, but the tone is still questionable at best until proven.

 

Over the past two years I went on several trips (8) to see boutique-type guitars similar in craftsmanship to this make and took a Goodall RCJC with me for A/B purposes. It's a plain jane jumbo concert. I seem to recall you also had/have one. None of the store proprietors nor the private owners I visited could argue against the Goodall being the better sounding guitar. I even had half a mind to visit a well-know luthier east of me on the coast and slay his aesthetics with better sound as well. But, being a respectable gypsy I chose to give peace a chance. Plus, I'm eyeing an Emerald X20 nylon carbon fiber guitar at the moment with the objective transition of complete abandonment of wood guitars. Yep, the Goodall is going away in the offing.

 

My point is a man can take great pride in himself for making a pretty guitar but if his sense of aesthetic cannot be matched by his skills at shaping sound, he's putting out pretty alone. Of the guitars I went to play all were prettier than the Goodall but none were its equal in pure power and quality of sound. Two people offered to buy it from me.

 

When I see a fairly young person getting into the building game I know for sure his passion for creating the aesthetic is not backed up by years of hard-earned tone shaping skills. Most of the work I viewed in the fore-going experiment proved that. It's also the reason I will not embark on creating my own guitar from scratch. Without tone shaping skills, which few of the so-called boutique builders have in superior measure, it makes absolutely no sense to even think of it. If the census of the past two years of my experiment supports the Goodall as the better sounding guitar over several other boutique makes, then what's the attraction to them? Aesthetics alone, that's where, and lack of tone is primarily why they're up for sale.

 

All along this private building game of recent vintage aesthetics has been the primary driver of respective successes. Most guitarists play guitar with their eyes, anyway, so it works.

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idunno..."My point is a man can take great pride in himself for making a pretty guitar but if his sense of aesthetic cannot be matched by his skills at shaping sound, he's putting out pretty alone. Of the guitars I went to play all were prettier than the Goodall but none were its equal in pure power and quality of sound."

 

right you are..the craftsmanship of those driftwoods are very pretty, I love wood in general. trees, firewood, furniture to kitchen ware..and as far as some i have seen on line, they are some of the prettiest... i have no idea of the sound. they could be dull or awesome.

i like your experiment. i always wondered about these boutique builders. never get to see . play or hear them in person.

 

all my acoustics are simple players. nothing fancy at all. i have a Washburn from the 1990's that sounds good and has good weight and balance for me. it has an odd water stain finish that some people think is nice, others say it is ugly..it sounds and plays well is what matters. , the neck on my thin body sunburst Ovation is small like an electric neck, so i play that mostly.

 

carbon fiber intrests me...hummmm

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It's not hard to make a good sounding guitar at all. It shows up randomly in factory made guitars by pure chance.

 

Hand builders actually hit the mark more frequently because they can tune things as they go along.

 

If a piece of dead sounding wood shows up in the batch, they just avoid it. Or work around it better.

 

Making a guitar that's perfectly devoid of flaws in the workmanship with a perfect finish to the eye is the hard part.

 

When I was starting out building I made lots of fantastic sounding guitars that looked home made. I gave them away to friends who loved them for their rustic charm and sound. That's how you learn

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Idunno -some good points -and yes i own a AKS thats wonderful - not trying to defend my prior post here -

but im guessing you have a few miles on yours like i do mine -and that does help tone a bit -

whats not to love about a Goodall - When a Individual lutheir makes instruments that look that good ,

believe me they know their Craft -usually I don't trust nice looking factory guitars without playing them -

typically luthier's don't sell their ware by looks - but by sound , making them look nice is usually a compliment to their tone -

But always putting your hands on anything that's a considerable exspense is always the smart thing to do !

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The point of the thread, I thought, is to Point to beautiful eaesthetic guitars which personnaly I enjoy. To put that artistry down on the ground that maybe, just maybe they don't sound as good as they look is beside that point. Well, given that they look extrememly awesome and tastefully at that, if they only sound "great" (presumably) which is a step down from "extremely awesome" then they win on the look. My guess is that they play and sound fine.

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They are beautiful instruments, immaculately executed, and I'm sure the play and sound wonderful. I'm assuming the builder has enough clients who appreciate his work - that's great for him (and his customers).

 

I go to lutherie conventions every couple of years and I'm constantly amazed and impressed by what some people are building - having dabbled a bit in guitar building I can appreciate the skill and patience needed to execute one of these. That fact that they aren't my cuppa doesn't mean I can't appreciate them for what they are.

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The point of the thread' date=' I thought, is to Point to beautiful eaesthetic guitars which personnaly I enjoy. . . . My guess is that they play and sound fine.[/quote']

Yeah, there seems to be an assumption that good looking guitars sound like crap. Not necessarily true. Beyond a certain point, I simply prefer a guitar that sounds good, without a lot of unnecessary bling. One reason I could never get into Martin's 15 series is that they had no binding and looked about as attractive as a brick with that deliberately dull satin finish. Godin has proved that a satin finish can be attractive--a friend owns a satin finished Norman--so I have to conclude that Martin is making not only the 15 series but all their satin finished guitars butt ugly on purpose.

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The thing to remember about satin finish (and no binding) is that they are cost compromises - people argue that satin is better on stage and doesn't make sounds against your clothing and all sorts of other things - fact is that its much cheaper to apply and hides poorer grades of wood. You hear of a lot of people trying to buff their satin guitars to a semi gloss (I did it to my 314 Taylor) but you don't hear of anyone taking steel wool to their D35.

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Sure satin is a cost compromise but it can be done better than what Martin does. My friend's Norman is a case in point. It seems as if Martin is deliberately making their low end models butt ugly to make them less attractive to potential buyers. I saw a D1GT a while back that was "okay" looking but I wouldn't choose it over a Standard Series.

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