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About Idunno

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  1. In 73 there wasn't much else out there to compare. Gibson (a non-contender to this day) was the brand I asked myself what the fuss was all about. Compared to the sound of a Martin, I thought the entire Gibson line-up was meek. I was 18 and could hear a pin drop in the next room (with a carpeted floor). But, I've been told that's because I don't appreciate the Gibson sound, which is a defensive forum-coined term that suggests subjectivity without sacrificing a reputation for quality of sound (in the right ear). I've simply determined Gibson owners to have tin ears - which is also a permissible citing in subjectivity. Tit for tat. Then there was Guild, second to Martin, leaving the Gibson brand a very distant third but well appointed for store wall decorations. I played Cort Jumbos that made the Gibson J-200 sound like it's in the next room (also carpeted). Of the (then) big three, Martin was clearly (clean ears) the only choice for quality of sound, Guild held its own and with the F-412/512 series 12-strings (I owned the F-412) it blew away all others, and Gibson was there for the people who liked bling on their shirts, fingers, belt buckles, boots, hat bands and guitars.
  2. I agree with that. I've tried the mahogany from guitars using it with back and sides to guitars using it everywhere. You do things like that when people rave about it enough to brainwash you into pursuing mahogany like it's an elixir of tone. Anyway, back to spruce over rosewood, that's my preference. The Martins I've owned are few. The models were D-35, D12-35, D-18, DM and OMV-16E. I bought one of those HPL concert size Martins I bashed into a nylon string cross-over for a friend to learn on but that was bought to experiment with so I don't count it. The only memorable one of those was the D-35. I liked its sound a lot. The last one flew the coup in 2005 and I haven't seriously considered the brand since then, or played one. If I was to get curious again it would be about the D-35. I liked it over the D-28 series. But, I prefer classical these days so that will probably not happen.
  3. No more cats around the house but, yea, they competed for the elusive strings at changing time. Pet talk - I had a Cockateal that was very loyal, and very jealous of anyone or thing that it determined was a threat to its station in life as my buddy. I'd scratch its head and it would push into my fingers. When I played guitar (finger picking) it would fly to my right shoulder, climb down my arm, perch on my picking hand and nip at each finger as it plucked a string. Not sure, but I think it was jealous of me "scratching" something other than it. Its name was Pepe.
  4. Played a bunch but best, within the brand itself, never occurred to me to sort out. Not sure I know anyone else who has, or anyone who has ever attempted to sort it out and state the outcome. But, then again, I don't know many players and those cats don't play Martins.
  5. I've never played either of them but have to give Yamaha points for making good guitars affordable. The AC3R (rosewood) and AC3M (mahogany) may have a slight difference in sound but I probably wouldn't be able to hear it. Like DeepEnd suggests, you'll have to either try them both or take your chances and flip a coin if you can't. My preference is rosewood vs mahogany, and tea vs coffee, for what it's worth.
  6. You have good spirit. The knowledge here can sometimes compete in suggesting something for you to take to heart. Just think of it as a camaraderie of players looking out for someone's best interests. Have fun getting started.
  7. Meranti has a mahogany appearance (Red Meranti). It should look nice with the Gmelina soundboard. Meranti shares a Janka hardness with mahogany (hence the name Philippine Mahogany, I guess), and looks similar when finished. Are you using it for the neck as well? Lot's of questions but I'll just see how this plays out.
  8. Coconut shell rosette? That's some pretty hard stuff. What abrasive are you using on your drum sander table? I can well imagine you're going to develop some heat taking the shell down to the Gmelina. I took a look at the materials you're using and I'm curious about the Gmelina's sonic characteristics. I read it's used for musical instruments, among other things. Do you have any instruments made to-date using it? Thanks for starting this thread.
  9. Something the caters to your hands, first, then when you progress you'll naturally pick up cues about refining your search. We all know the first hurdle is our lack of motor skills in fretting and picking the strings. No sense exacerbating that by getting a guitar with strings that are easy to fret (nylon) but the neck is too wide (classical) for small hands. For all intents and purposes typically everyone has small hands starting out until they develop the motor skills needed to use them well. The first step is to view the major chords (A thru G) and pick a couple to try out on guitars at your local store. The C, D and E Major chords are beginner's chords by virtue of their placement being easier than A, B, F and G Major chords. Know the fingers used for the C, D & E and take your time placing them on various guitar necks. It's your money so get something that will make it well spent starting out. Guitar necks vary greatly between models and classical guitars are typically the widest of them all. If you have the means, seek out a nylon string guitar that has steel string physical dimension necks. They're called cross-over guitars. I bought one for my son to learn on and he's done well by it. It's the best of both worlds providing ease in fretting the strings. The appearance and sound of the guitar is something you will consider important after you have the skills to make music with one. Don't encumber yourself at this point looking for the grail of sight and sound. As your progress you'll quickly learn that every guitar you buy is the grail when you buy it, only to be bested by another. That means there's no such thing as a grail.
  10. For your own edification, here's a link you can use to compare individual string tensions. Then you can get an aggregate differential between sets to compare. https://www.curtmangan.com/guitar-string-tension-chart/
  11. Wegens have a pretty good reputation among flat pickers. I'm a hack with picks, though, and keep them forever because they just don't get the practice time lying safely in a box. Guess I'll have to bring back my Neil Young inspiration.
  12. On a different instrument, I bought some violin strings but instead of just the strings D'Addario makes a violin kit that includes the strings, a clip-on tuner and rosin for $34.00 (retail store). The strings alone are $27.00. Cripes that's expensive. Anyway, I strung up the violin, clamped the tuner on and its works really well. Sold separately, D'Addario charges $3.99 for the rosin. That makes the tuner (Jethro Bodine, where ought plus ought are you) $3.00? The Snark is now about $19.00 retail.
  13. I put two new 2032 batteries in the Intellitouch, switched it on and clamped it to the headstock of my classical. With new batteries that tuner's sensitivity and accuracy is very good. I plucked the low E string on the classical and the tuner displayed that note. Then, leaving the Intellitouch clamped to the headstock of my classical and plucking the open low E string on my steel string (plugged), the Intellitouch again displayed the low E note no differently than it did on the classical. I unplugged the steel string and plucked the low E string again from about three feet away with the same result. This tells me the tuner is Piezo based. All of them probably are.
  14. Music & Arts didn't have any. Too bad they didn't work out. Like Grant, I tend to switch corners when appropriate from the pointy corner to one of the more rounded corners. That's pretty much on Neil Young stuff. But, 60mm is the pick I've decided works best for me. I haven't touched an electric for 12 years.
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