The Great Ongoing Guitar Thread

[DChord568]

WordMan, Learjeff and others, thanks for your thoughts.

While I do play chunky and use a heavy-gauge pick (the Fender “Dorrito”-style ones), and often play with the edge of the pick rather than the tip, I don’t think it could be said that I pound the snot out of my guitar!

Also, the guitar rarely leaves its case when I’m not playing out — which is twice a week at most. (I’m a lazy sod and seldom practice — God knows I could benefit by doing so in terms of my lead playing, but my rhythm playing is very solid, and that’s what’s most called-upon with the repertoire I’m currently playing.) So I don’t think this is environmental issue.

And actually string buzz is not my problem. Again being a physical player, I’ve always said that I’ll live with an action that’s a little higher than many prefer if it means avoiding string buzz, which I hate. And my guitars have been set up accordingly.

The last time I brought the Martin in, though, the action had got so high that it was damn near unplayable. It didn’t start out that way, but got to that in less than a year. It was then the bracing system was put in. Again, all was OK for a few months, but now I notice that the high E and B strings don’t ring out with the same strength as the others. It’s hard to describe; not really string buzz, but they sound twangy and weak. I’m at the point where pouring more money into the Martin yet again makes less sense than just buying new.

So maybe I simply got a bad guitar that’s beyond help. Or maybe there’s something to my original theory that a cheaper one won’t stand up to the added tension of medium-gauge strings.

Again, I’m prepared to spend a bit more this time; I just want something I know will be durable and not keep going out of whack. I’m sorry if I left the impression that I’m abusing the thing! I don’t think that’s the case.
FWIW, I see this wording describing the Taylor 210ce Rosewood/Spruce Dreadnought Acoustic-Electric Guitar:

“The Taylor Dreadnought is a focused guitar with plenty of presence, recently redesigned to be even more assertive. It’s the traditional choice for the traditional player; the model to drive with a heavy pick.”

That’s me all over!

[scabpicker]

Hmm, I play with a bunch of heft, on strings that cause most acoustic tops to bulge out in slide tunings (usu. 13-56). That all-mahogany Epi is the only one I’ve had that never bulged, but even its saddle is cracked to hell by the strings.

Even on more fragile guitars, the top was the problem, and the necks were fine. I’m guessing that’s the condition the repair guy was trying to counteract with the additional bracing. That kind of problem would make the strings lift out of the nut in extreme cases, causing them to mute themselves. Is this the case?

If so, I’d say that a guitar with either a hardwood top (e.g. not spruce or cedar), or a tailpiece of some sort would probably cure that problem. I don’t think you want a guitar with a mahogany top, my Epi is a bassy plunker all day long, no ringing tones to it. I’m guessing by the time you got a mahogany top thin enough to ring, it’d be as fragile as a softwood top. I think an archtop wouldn’t give you the booming bass you’d like, either.

Sadly, I’m not an acoustic guy. I finally found an acoustic that I liked the sound of and didn’t die from my use of it and stuck with it. I can find pics of flat tops with tail pieces, but they are all ancient Silvertones. I can’t offer any advice other than the vagueness above.

[WordMan]

@DChord568

WordMan, Learjeff and others, thanks for your thoughts.

While I do play chunky and use a heavy-gauge pick (the Fender “Dorrito”-style ones), and often play with the edge of the pick rather than the tip, I don’t think it could be said that I pound the snot out of my guitar!

Also, the guitar rarely leaves its case when I’m not playing out — which is twice a week at most. (I’m a lazy sod and seldom practice — God knows I could benefit by doing so in terms of my lead playing, but my rhythm playing is very solid, and that’s what’s most called-upon with the repertoire I’m currently playing.) So I don’t think this is environmental issue.

And actually string buzz is not my problem. Again being a physical player, I’ve always said that I’ll live with an action that’s a little higher than many prefer if it means avoiding string buzz, which I hate. And my guitars have been set up accordingly.

The last time I brought the Martin in, though, the action had got so high that it was damn near unplayable. It didn’t start out that way, but got to that in less than a year. It was then the bracing system was put in. Again, all was OK for a few months, but now I notice that the high E and B strings don’t ring out with the same strength as the others. It’s hard to describe; not really string buzz, but they sound twangy and weak. I’m at the point where pouring more money into the Martin yet again makes less sense than just buying new.

So maybe I simply got a bad guitar that’s beyond help. Or maybe there’s something to my original theory that a cheaper one won’t stand up to the added tension of medium-gauge strings.

Again, I’m prepared to spend a bit more this time; I just want something I know will be durable and not keep going out of whack. I’m sorry if I left the impression that I’m abusing the thing! I don’t think that’s the case.
FWIW, I see this wording describing the Taylor 210ce Rosewood/Spruce Dreadnought Acoustic-Electric Guitar:

“The Taylor Dreadnought is a focused guitar with plenty of presence, recently redesigned to be even more assertive. It’s the traditional choice for the traditional player; the model to drive with a heavy pick.”

That’s me all over!

Yeah, something sounds not quite right. Throwing your neck out that much, and installing some non-standard internal bracing - all sounds a bit funky. No clue about your geography, but if you could get another guitar tech to look at it, just to get a second opinion, I would.

Also - you say you use big Fender “Doritos” picks - the big equilateral triangles? Usually referred to as bass picks, even though plenty of guitarists use them?

These? Fender Triangle Guitar Picks Thin 1 Dozen | Musician's Friend

Or the rounded triangle ones that look like they belong in a Wankel/Mazda rotary engine? Fender 346 Shell Guitar Pick Thin 1 Dozen | Musician's Friend

Either way, I am trying to figure out how you use the edge of the pick. Ultimately, I don’t think that is an issue…just curious

I don’t know what more to say about the current guitar other than best of luck with it. In terms of a new guitar - Taylors are known for consistent build quality and reliability. They started off having a very non-bassy tone profile - part of their design and to stake out a new tonal territory different from Martin and Gibson, and which translated to lower feedback when amplified. This more jangly/mid-toned profile is often referred to as “modern voicing” to differentiate it from Martin. Taylor makes a lot of models now and not all of them are Modern Voiced - no clue about the 200 series dreads, but you will get a feel if you can try one.

[ReticulatingSplines]

@DChord568

WordMan, Learjeff and others, thanks for your thoughts.

While I do play chunky and use a heavy-gauge pick (the Fender “Dorrito”-style ones), and often play with the edge of the pick rather than the tip, I don’t think it could be said that I pound the snot out of my guitar!

Also, the guitar rarely leaves its case when I’m not playing out — which is twice a week at most. (I’m a lazy sod and seldom practice — God knows I could benefit by doing so in terms of my lead playing, but my rhythm playing is very solid, and that’s what’s most called-upon with the repertoire I’m currently playing.) So I don’t think this is environmental issue.

And actually string buzz is not my problem. Again being a physical player, I’ve always said that I’ll live with an action that’s a little higher than many prefer if it means avoiding string buzz, which I hate. And my guitars have been set up accordingly.

The last time I brought the Martin in, though, the action had got so high that it was damn near unplayable. It didn’t start out that way, but got to that in less than a year. It was then the bracing system was put in. Again, all was OK for a few months, but now I notice that the high E and B strings don’t ring out with the same strength as the others. It’s hard to describe; not really string buzz, but they sound twangy and weak. I’m at the point where pouring more money into the Martin yet again makes less sense than just buying new.

So maybe I simply got a bad guitar that’s beyond help. Or maybe there’s something to my original theory that a cheaper one won’t stand up to the added tension of medium-gauge strings.

Again, I’m prepared to spend a bit more this time; I just want something I know will be durable and not keep going out of whack. I’m sorry if I left the impression that I’m abusing the thing! I don’t think that’s the case.
FWIW, I see this wording describing the Taylor 210ce Rosewood/Spruce Dreadnought Acoustic-Electric Guitar:

“The Taylor Dreadnought is a focused guitar with plenty of presence, recently redesigned to be even more assertive. It’s the traditional choice for the traditional player; the model to drive with a heavy pick.”

That’s me all over!

I think it’s just a lousy guitar that can’t handle the tension. Increasing the bracing was an odd recommendation; adding more material to the top will only deaden the sound. That’s why luthiers frequently shave as much of the braces off as they can without sacrificing so much strength that the guitar explodes.

Just about any guitar in your $1,000+ range should be able to handle medium strings just fine, though I’d think twice before putting them on a very small-bodied guitar or a cedar/redwood-topped instrument.

[DChord568]

@WordMan

Yeah, something sounds not quite right. Throwing your neck out that much, and installing some non-standard internal bracing - all sounds a bit funky. No clue about your geography, but if you could get another guitar tech to look at it, just to get a second opinion, I would.

The guys at the place I’ve taken it to (twice now — it’s a dedicated repair place, no longer retail…that’s all they do) certainly gave the impression that they knew that they were doing…almost to the point of snobbishness. All things considered, I won’t go back there again, but other options are limited. The tech at the local Guitar Center is a burnout; I have no confidence in him at all.

At this point I’m inclined to just trade the Martin in and hope to get something for it.

Also - you say you use big Fender “Doritos” picks - the big equilateral triangles? Usually referred to as bass picks, even though plenty of guitarists use them?

These? Fender Triangle Guitar Picks Thin 1 Dozen | Musician's Friend

Or the rounded triangle ones that look like they belong in a Wankel/Mazda rotary engine? Fender 346 Shell Guitar Pick Thin 1 Dozen | Musician's Friend

Either way, I am trying to figure out how you use the edge of the pick. Ultimately, I don’t think that is an issue…just curious ;).

The first ones…heavy gauge. I’ve been playing my way for so long that I can’t fathom how anyone could play with a small, flimsy pick. But that has everything to do with style of playing, I know.

And I don’t know how to describe the edge bit; I just kind of do it instinctively, and I don’t have my guitar and hand to even look at what I do to try to paint a picture of it. I guess I turn the pick at an angle to the strings and hit them with the edge of it, near one of the tips but not on it. Kind of a percussive technique…think of some of Neil Young’s chunkier acoustic playing (e.g. “Cowgirl in the Sand” from Four Way Street).

I don’t know what more to say about the current guitar other than best of luck with it. In terms of a new guitar - Taylors are known for consistent build quality and reliability. They started off having a very non-bassy tone profile - part of their design and to stake out a new tonal territory different from Martin and Gibson, and which translated to lower feedback when amplified. This more jangly/mid-toned profile is often referred to as “modern voicing” to differentiate it from Martin. Taylor makes a lot of models now and not all of them are Modern Voiced - no clue about the 200 series dreads, but you will get a feel if you can try one.

I plan to do some in-depth testing this week…tonight if I can swing it. I hope to find a sweet spot between durability and the tone I’m looking for.

Thanks again.

[WordMan]

No prob and best of luck. If possible - and I suspect you have a new-guitar-check-out process you are comfortable with - but I always seek to try a bunch of guitars, go away, do some research, then go try to some guitars more/again. At that point, I consider buying.

Some folks are comfortable picking a guitar walking cold into a store - it absolutely can happen that way, but I just feel a more measured approach reduces spur-of-the-moment risk. Heck, I even assume I will live with the guitar for 6 months and then figure things out. That means I take sell/trade value into account - most players don’t, but I’ve never found a problem finding inspiring guitars that also have superior flip/trade value.

I have an old Martin D-18 and an old 000-21. They are wonderfully stable. Nothing like taking one out of the case when the weather has started to change and still finding it ready to go. And I strum the bejeezus out of them.

As for your pick, sounds like you come at the string at an oblique angle. I vary the angle a lot as part of dynamics. As I think about it, when I get pretty strummy, I come at the strings a bit obliquely to ensure I am skimming over the strings, so I can toss in double-time strummy bits without biting into the strings so hard/directly that I risk getting hung up. Sounds about right…

[Fiddle_Peghead]

I have a 1978 Les Paul Custom, Tobacco Sunburst, and want to get it appraised before selling it. However, there is no one local to me. Has anyone had any luck with what you might call cyber-appraisals, and could suggest a reputable store to do the job? Also, if you have a ballpark idea of what you think it might be worth, please do let me know. I want to have as much ammo as I can when I negotiate over the selling price. I bought it from Matt Umanov Guitars in New York City twenty years ago, and if I remember correctly they said it was all-original. It has definitely been played, but is structurally sound, no major scratches or dings, just worn pickup covers and bridge, some ring wear on the neck, etc. All of which of course just makes it that much more gorgeous!

Also, anyone with experience in selling guitars through a store, any advice you could give about the process would be greatly appreciated.

[WordMan]

A lot of folks rely on Gruhn Guitars’ service for a remote appraisal. I did it for one guitar I had. I think it cost $35 and you send a few pics and answer a few questions and they reply with a letter estimating value. I want to say I found their estimate in line with the Vintage Guitar Buyer’s Guide, which can not always line up with what’s happening in the market at that moment, but most folks use as a key data point…

[wguy123]

It’s a sad day for me. I sold my Fender Super Twin yesterday. Bought it in 88 when I thought a 180W twin 12" combo was a great thing. Played it hundreds of hours at crazy volumes but it’s not something I can use anymore. My ears ring all the time now and I need to bring it down a notch. The amp went to a guy that wanted loud and clean and that amp will do it (he complained his drummer is getting louder all the time). I left him in my basement so he could try it and he played for 15 minutes or so and it was good to hear the house shake once more albeit from a safe distance. And the guy could play! Anyway, now looking more into the 5-10W size. No rush though since I can now play through my computer although I still think I want a dedicated amp.

[E-Sabbath]

I hear good things about the new Fender Mustang range, actually.

[BubbaDog]

@OneCentStamp

I’ve been…around. I moved from SLC to Houston and back in the last six years, got remarried, took a break from this board. It’s been a roundabout trip.

What’s been on my guitar mind is my recently (three months ago) acquired Yamaha THR-10. This thing is absolutely awesome, to the point that I’ve started leaving my main rig at my drummer’s house. For my money, it’s the coolest guitar tool/toy to come out in years. I’m just so used to being disappointed by new guitar technology that it’s refreshing and surprising to find a gadget that does exactly what it claims to do, does it well, and at a reasonable price.

@OneCentStamp

1. It sounds great. Its five models are thinly veiled clones of a BF Deluxe, AC30, Plexi, JCM800, and Dual Rectifier. It’s impressive how closely they nailed not only the sounds but the feel and response - the JCM800 model, when cranked, reacts very much like an actual Marshall as you roll back the guitar’s volume. When you dime the Deluxe, it compresses and spits much like a cranked small amp. Having owned Line 6 products, this thing far outclasses them in the sound quality department. Soundwise, it’s more in the realm of the newer generation of modelers like the AxeFx and Eleven Rack, only at a fraction of the price. Speaking as a guy who’s been leery of modelers since the beginning, I recognize the use of this thing and plan on keeping it.

2. It’s loaded with super convenient touches for home jamming and recording. It has an aux in, so that I can play over songs or YouTube jam tracks and have everything come out of the speakers, mixed to my taste. It has an aux out, so that I can record straight to my laptop using the provided Cubase software (that it comes with a free copy of Cubase, even the “lite” version, for under $300 is a crazy deal). It works great with headphones, through its own speakers, or through my computer speakers.

Basically, it’s just nice to have something this small, this convenient, and this powerful for this price. It’s the ultimate living room amp. Mine lives under my coffee table and gets switched on anytime I feel like noodling around, quickly recording a riff or idea, or just wailing over a 15-minute blues backing track on YouTube.

Jeeze. I gotta quit reading this thread. I held off for two months but just had some cash burning a hole in my pocket and bought one of theses little guys. I spend most of my time noodling around on my acoustic guitars. I should say used to spend because now I immediately pick up my SG and light up this lunch box.

It’s quite easy to dial up a nice warm tone on this thing or crunch the crap out of it.

Curse you OneCentStamp for feeding my addiction!

[WordMan]

Brad Paisley uses gopro camera as a slide - The Acoustic Guitar Forum

Brad Paisley grabs a guy’s GoPro camera…and uses it as a slide. Very cool.

[OneCentStamp]

@BubbaDog

Jeeze. I gotta quit reading this thread. I held off for two months but just had some cash burning a hole in my pocket and bought one of theses little guys. I spend most of my time noodling around on my acoustic guitars. I should say used to spend because now I immediately pick up my SG and light up this lunch box.

It’s quite easy to dial up a nice warm tone on this thing or crunch the crap out of it.

Curse you OneCentStamp for feeding my addiction!

Ain’t it grand?

[squeegee]

Speaking of new amps, I just pulled the pin on Amazon on a Blackstar HT-5 head, much like the one FoieGrasIsEvil was mooning over in this earlier thread. Yes, it’s going to be my third tube amp, but my needs have changed, as I’ve moved and my home practice space is now much more noise sensitive than before.

Because of my home practice volume concerns, I’ve tried again to get used to using modeling software for home use, and I just can’t. The ‘fizz’ as the notes die is awful, it sounds so artificial and undynamic, and I just hate hate using the modeling. I gave some thought to trying something in the new modeling generation (like the Yahama THR above), but modeling has broken my heart too many times, at least for now. I need tubes, and my other tube amps at low volumes sound sound muddy doing a drive tone, and the HT-5 has direct out so I can get tube goodness into my stereo speakers or headphones at home, yay!

I’m really psyched about this amp, the buzz is really good; if I like it enough, my Egnater Tweaker 15 head will probably go, as I bought it really for the classic rock drive tone and the HT-5 (though 1/3 wattage, which is good right now) fills the same space in my toolbox. And really, the 15 watt tube amps I’ve hauled to my weekly jam group have been a bit overpowered (to my surprise) for the tiny practice space, so this may be great for my interactive playing as well.

[E-Sabbath]

I’ve been busy buying nothing and being pretty happy about it. Practice, practice, practice.

[Nars_Glinley]

My Father’s Day present came in today. I have the coolest kids in the world.

Kevin May

[WordMan]

Rock on!

\m/ \m/

[squeegee]

Ha! I love your kids, Nars!

[Nars_Glinley]

Me too squeegee. Me too

[E-Sabbath]

Aw, that is so sweet.