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Official Guitar, Amp, Pedals, and Gear Thread - Page 160

post #2386 of 3526
Quote:
Originally Posted by Rudals View Post

That's a pretty interesting observation. Taylors are built so that they're easy to play with narrow necks and cutaways (maybe not the model you played). 

i don't know what it was. Strings required an awkward amount of pressure to get the note through. Not sure if it was the guitar, the setup, or the strings.
post #2387 of 3526
I don't like that weird set headstock/neck joint thing they got going either.
post #2388 of 3526
and old Martin 15. Would enjoy, at least if it's anything similar to the 15 I played a few years back.
post #2389 of 3526

I wish me a Collings D2H or a Martin D-18 Golden Era :slayer:

post #2390 of 3526
When I purchased my acoustic, I played a lot of Martins and Taylors. Only a few Gibsons. Like my Martin D-21 the best. More bass response and "openness" than they Taylors which were brighter and and more tinny. Gibsons sounded dead to me as well -
post #2391 of 3526
In my experience:

Taylors: Sound good in a live mix. Good pickup system. Most people find them easier to play.

Martins: Usually record quite well. Have a fuller sound than some other guitars. More of a traditional sound.

Gibsons: Not the best quality control. Often sound dead to me. Electronics are not the best. If you can find a good one, they can be quite good and are good singer-songwriter guitars.

Obviously there are exceptions to every rule. Different models/shapes will produce different results. But in general those rules apply to those brands more often than not.

Right now I play a Larrivee OM60 model. It was between that guitar and a Martin John Mayer model and the Larrivee sounded scarily similar if not identical. The price different made it a no-brainer. I've owned probably 8-10 higher end acoustics and it's all apples to oranges.
post #2392 of 3526
The big Gibsons are fantastic (J200, Everly Brothers). Nobody makes a jumbo like Gibson. Martin dreadnoughts (and OM, too) are where it's at though for non-jumbo - there's just more complexity in the sound of a Martin vs a J45 or similar.
Taylors play well and sound ok, but they're brittle in comparison to the others, especially when comparing to vintage models.
If you have to buy new, don't buy any of these; buy a Lowden.
post #2393 of 3526
Quote:
Originally Posted by origenesprit View Post

Taylors play well and sound ok, but they're brittle in comparison to the others, especially when comparing to vintage models.
Do you play live with 5+ people very often?

I'm not saying any brand is superior, I'm just saying that one man's "brittle" might be another man's "cut's through perfectly."
post #2394 of 3526
Quote:
Originally Posted by ac_slater View Post

Do you play live with 5+ people very often?

I'm not saying any brand is superior, I'm just saying that one man's "brittle" might be another man's "cut's through perfectly."

Never had a problem with a 5 piece band cutting through with a Martin (or my Fylde). An all mahogany Martin at that (my friend's, my Martin doesn't have a pickup). If you need more treble or mid to cut through, that's what an EQ on your mixing desk is for.

I see what you mean, but still, live is a totally different animal, and I would never ever buy a guitar that didn't sound good acoustically just because I thought it would cut through better. Besides, acoustics that run through pickups don't really sound like acoustics, and the added treble needed to cut through is part of the problem. Necessary evil.
post #2395 of 3526
I play in a band with a keyboard, piano, bass guitar, electric guitar, drum, and vocals. My maple guitar cuts thru perfectly.
post #2396 of 3526
That's really the problem though. My one gripe with my Larrivee (and some Martin's I've had) is that there's this nagging boominess in the lower register when plugged in live. And I don't know about you, but I very rarely have a sound guy at my shows who knows jack about EQ. So "cutting the lows at the board" isn't always an option. Luckily I do a lot of solo stuff now when I play out, so the extra low end isn't a total killer like it is in the band mix.

Also, not all taylors are tinny. I had a GS model made out of KOA a few years ago that I gigged with a band. It was very full in the low end but had a great onboard EQ that was quite responsive when I needed to cut it.

In my experience, Martin's mic exceptionally well in the studio but certain models I've had in the past had poor EQ systems that left me high and dry when playing live. Damn sound guys. I've heard the higher end Martin's of late have upgraded systems.
post #2397 of 3526
post #2398 of 3526

Man, how have I missed this thread for sooo long??

post #2399 of 3526

I have played so many shitty gibson acoustics, however one of the best acoustics I've ever played was also a gibson. Bad quality control, I guess. When they get it right, it's pretty incredible, though.

 

I think more people should invest the ~$100 to have their guitars set up every so often...

post #2400 of 3526
Ran across this today. For the guy who needs a jazz guitar and knows a great luthier this might be the ticket....

http://www.ebay.com/itm/251420830999?ru=http%3A%2F%2Fwww.ebay.com%2Fsch%2Fi.html%3F_sacat%3D0%26_from%3DR40%26_nkw%3D251420830999%26_rdc%3D1
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