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Idunno

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Posts posted by Idunno


  1. Deep, that's about right. Today I went to check out an Alvarez @ Music & Arts and though it was tonally nice it had a 14 fret neck. Small body, though. I forget the model. The manager @ M&A suggested the Baby Taylor. Will look at specs. Gonna check out the 00 sizes as well.

    Howard - I see lot's of small-bodied guitars (parlors) that are 12 frets but they're also sporting 43mm necks. That might not be a deal breaker because the Yamaha I bought for my son had a similar width but the board width supported a 45mm nut, which I changed. I'd have to actually look at the necks to see if bumping any of them out is possible.

    Meanwhile, it's the classical or the steel string a full step down and capo'd 2.

     


  2. I've decided to go to a 12 fret steel string and divest myself of the 14 fret I have. Playing mostly classical these days, I've become accustomed to the comfort of the shorter neck. I need 1-3/4 and 2-1/4 spacing nut/bridge, respectively,  a low oval neck shape with Sitka for the top. I don't mind wider spacing and would actually prefer it but I know that's pretty rare on a steel string. I saw Recording King had a 12 fret but the neck was skinny. Martin's 000-15SM mahogany is a near miss, plus I'm pretty much done shelling out over $500.00 for any guitar.

    Any suggestions would be appreciated.

    Thanks,


  3. I wouldn't conclude it was actually produced on the date Kamen signed the label. I wouldn't even conclude that he signed the label on the date recorded on it. "Yo, Chuck, can you manage to be here every day so we can get your signature and date for every guitar we produce each (freaking) day?" I don't think ol' Chuck was given to flying an office chair waiting for labels. He probably just signed and dated a bunch of them, or signed them and then someone else affixed the dates after. His job was on the golf course, no doubt, where important people conduct important business.

    Let's guess: the 277 might be the Julian date (day number 277), which falls in the month of October (10-4-1978) your guitar was completed on. Number 93 could represent the 93rd guitar produced between 10/1/1978 and 10/4/1978, including all models or just the Adamas 1687-8, leaving yours #93 produced on day 277 (10/4/1978).  Our good buddy Chuck signed and dated a bunch of labels in June and the shop just used them up without a care to what the date was on the label.

    Or, it could be a batch number and yours was #93 injection molded bowl of the #277 polymer batch mixed for the year 1978. 

    Or, it could be an astronomical fix of coordinates for the position of the USS Enterprise on that day.

    • Like 1

  4. I've probably played one or more of those guitars but if memory doesn't serve then they weren't memorable. In all of these inquiries I steer a buyer towards Yamaha's line-up. If there's nothing that company has to satisfy the buyer's wants or needs, then it probably isn't made by anyone else, either. I don't extrapolate sound by mentally sorting out species of woods and what I think they should sound like. I think that's a lot of forum-indoctrinated nonsense by inexperienced people, seasoned with aesthetics and quantified by a lot of parroting. It comes down to the quality of the build of the guitar itself, the strings and set-up thereafter.


  5. I have to go for the firewood category for pretty much any vintage Harmony guitar, though a few self-sufficient types might respond differently (romantic filters fully employed), because in its best condition a vintage Harmony is not worth getting a professional neck reset or repair. I'd make a heroic attempt to repair it myself and if I failed it would become a wall-hanger decoration.

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  6. You can justify and save money all of your playing days and then find something that blows the philosophy out of the water. But, what it comes down to is the who and where the sound is being focused upon. If it was strictly me, and these days it is, I buy what makes me smile. If it's for an audience then I'd compromise personal preference and get an all weather interceptor of a guitar.  Quite honestly, I've played some of those (carbon fiber put-ups) that give good enough to an audience that isn't in my music room listening to my preferred sound. That's one thing an audience will never experience - sonic contrasts of guitars - so why sweat it?

    I play a Yamaha classical plugged a lot and probably more so than the steel string I have. Plugged into the right amp I'm happy with the sound and wouldn't hesitate to jam with it anywhere for any purpose. The steel string has a fine sound and satisfies music nylon can't. So, best of both cheap and notsocheap. The steel string is a jumbo concert.

    I read about forum members asking which guitar is the best for (insert price). Best and cheap is usually the inquirer's point. I get it: For nothing what can I get that sounds like something? This is when a forum becomes the expose' of mass inexperience it really is. It's a never-ending inquest for spending wisely in a wholly subjective realm. Even seemingly sensible responses are nullified by their relative subjectivity.

    So, buyers with zero experience and means take the high road to vet their best chances of success. It's a logic, of sorts, but it doesn't really apply. I bought my son a Yamaha synth - full 88 keys - and would bet the Roland can't best it with an experienced player.


  7. 21 hours ago, wkendhacker said:

    Happy to be of service. 😉

    the OME Cherry was the point at which I realized that there is at least one (3 or 4, actually) Martins that I love. I live in Kentucky which means Martin Dreads are almost legally required. 
    IMO, Breedloves were great guitars, particularly at the price points. I once played a Masterclass which literally gave me a chill. I’ve owned 4 or so Breedloves over the years and currently have a Breedlove Solo Nylon hybrid that is a fine guitar for the money. The new ones don’t sing to me.

    This probably won’t make sense to anybody but me, but I spent a long time trying to turn a bologna sandwich into a steak dinner. I can try to convince myself that it’s so, but the reality is that it just doesn’t work that way. 

    Turning a sows ear into a silk purse?

     

    I lived in Shelbyville, KY, for a short time and will agree with you about dreads. I attended some Saturday jam sessions with old grizzled farmers who brought Martin D-41's but barely managed to keep up with a few basic songs, meaning they were satisfied by having the gear and playing it was up for discussion. The Kentucky Thumbpickers jams on Friday nights in Louisville were more entertaining. A bunch of seasoned players frequented the event and lead the newer players in rounds in different rooms (church cellar). That was also dreadnaught central. I was the odd man out with a Larrivee OMV-09E and everyone wanted to play it like it was some kind of new-fangled design.


  8. 7 hours ago, wkendhacker said:

    Played it. Why? Did you find it lacking?

    I've never played the model. I asked because you did not specifically state that your opinion is based upon listening (playing). These various forums are at the brim with people who let their eyes do the buying and then suffer remorse when their Gibsons...er...Taylors...er...tone-deficient guitars bushwhack their ears.

    With the iterations of this particular site I've had a couple previous forum names that died with the succeeded versions. I remember RKO but only just now I've learned my various guesses for the initials were needless. Thanks. I can now die an unfettered death.

    Of the more recent Martin line-up I've had experience playing none of them have made my wallet nervous. You mention Breedlove lacking with their more recent output. I wouldn't know anything about that but in the past I always held them in higher esteem than any mass-produced builder's output. That's strictly from a sound perspective but, if I was to also commend them for build savvy thinking, the internal body truss is a great inclusion and preventive measure against future bellying. The concert model I had was equipped with it and it did not impede the sound (to my ear). But, it left the building so obviously it lacked in some manner.

    Good to see you back.

     

     

     


  9. Best to contact and buy from a source closer to him. Have the store hold it for him to pick up or otherwise let him make his own (trustworthy) arrangements. I trust the freight forwarder from here as far as I can throw a bull by the tail. That's a long way, many hands are involved and the guitar can Houdini somewhere along the route or get damaged by mishap or lack of environmental controls.

    My own involvement with gifted stuff was anonymously through a trusted means, usually an instructor, who lent the guitars to students until such time they could demonstrate themselves to be serious students. Then, they were formally gifted their guitars. The instructor provided me with information regarding possible recipients under his instruction, or another instructor's tutelage, and we would monitor them from there. The guitars themselves were student-grade guitars that I compensated the seller for when it was decided students qualified themselves for receiving them as gifts. Not much activity of late, though.

    • Like 1

  10. I was perusing some of the old parlor and OO size vintage stuff this past weekend because of this thread. There were some soundbites of some of them and I gotta say I'm not a fan if tone is part of their appreciation. I get the romance with vintage - I'm a softy for old rag wing biplanes - but, like any other guitar, if it doesn't suit my ear it's still just someone's cast off junk.


  11. Good deal. Glad it worked out. I rely pretty much on my ear to sort stuff out on the fret board. I attempted Tuxguitar some years back when I thought about scoring my own stuff but Mr Pointless, always present and pretending to be a realist, nagged me about doing something else with my time that actually had relevance.


  12. OM 10 CF Mahagony

    Top: Cedar
    Back and sides: Mahagony
    Fingerboard and bridgge : Indian rosewood
    Neck: Mahagony
    Head style: Slotted head style
    Scale lenght: 650 mm
    Binding: Flamed maple
    Rosette: Fishbone
    Top purfling: 3ply
    Fingerboard purfling: 3ply

    If they pass the same scrutiny they laboriously applied to their site I'm sure Yamaha has nothing to worry about. Glenn, give them a shout and tell them to pay their editor.

    Okay, live and let live. I think I'm done with wood guitars, though, so I'll hawk them just to be a good sport. If one floats by me before an Emerald X30 I'll give it a try.

    Edit to add: "muminga"?


  13. Hello Mark. This is a somewhat dated thread. I even see my old moniker and, IIRC, the moniker of the guy who coined "VOM1T" [it wasn't Chris Baker (Stackabones) like many think]. But, bringing it up to date, yea, I'd like a crack at one of the Emeralds (X20) but doubt I will ever do that without buying sight unseen. I've tried the Rainsongs and would be happy to swap out for one.

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