getuhgrip
Bring Back Transfat!
I'm starting to look for something I probly don't deserve in the $1500-$2000 range. Martin, Taylor, Gibson. I'm leaning towards a cutaway with a pickup.
squibble94
Nature of Force
I've always liked Martins. Taylors are a close second. I don't think I've ever played an acoustic Gibson.
getuhgrip
Bring Back Transfat!
Yeah, I've got two Epiphones that I'm not terribly impressed with. Kinda makes me leery of the Gibsons. I'm completely talking out my ass until I go play one though.
squibble94
Nature of Force
Yeah, I've got two Epiphones that I'm not terribly impressed with. Kinda makes me leery of the Gibsons. I'm completely talking out my ass until I go play one though.
Yeah. It really all depends on what model though. I'd say go to a nearby music store (if there is one) and just try a bunch of them.
Armistice
Son of Yoda
My bandmate got hisself a lower level Martin - can't remember the model number - mahogany...
In under a year the finish is wearing off the back and he's very careful with what shirt he wears - weird. Sort of put me off them a bit.
It sounds nice though, as much as you can tell when you add a pickup and run it through a PA...
BTW, he bought without a pickup and added one with a Fishman Platinum later... interesting playing with him because my Maton Messiah uses a piezo - the level of dynamism he gets from that guitar is amazing via the pickup system.... I have to glare balefully across the stage at him some times with "shut the f... up, stop thrashing the damn thing, you're drowning me out and the audience needs to hear me, not you!!!!!" type looks from time to time when he gets overenthusiastic and starts hitting it too hard... completely different to a piezo which has much less dynamism...
Actually, note to self, must put some compression on his guitar channel... thanks gripdude, wouldn't have worked that out had you not posed your question!
In under a year the finish is wearing off the back and he's very careful with what shirt he wears - weird. Sort of put me off them a bit.
It sounds nice though, as much as you can tell when you add a pickup and run it through a PA...
BTW, he bought without a pickup and added one with a Fishman Platinum later... interesting playing with him because my Maton Messiah uses a piezo - the level of dynamism he gets from that guitar is amazing via the pickup system.... I have to glare balefully across the stage at him some times with "shut the f... up, stop thrashing the damn thing, you're drowning me out and the audience needs to hear me, not you!!!!!" type looks from time to time when he gets overenthusiastic and starts hitting it too hard... completely different to a piezo which has much less dynamism...
Actually, note to self, must put some compression on his guitar channel... thanks gripdude, wouldn't have worked that out had you not posed your question!
A
Absolutepower
New member
There's a black martin cutaway that I'm totally obsessed with right now. To my ears its the best acoustic I've ever tried. Its the thin body one. I'm pretty sure its 600$.
When you have a 1500-2000$ guitar, aren't you afraid to take it anywhere? Or do you want it just to use at home or in studio?
When you have a 1500-2000$ guitar, aren't you afraid to take it anywhere? Or do you want it just to use at home or in studio?
Milnoque
Resident Curmudgeon
My Two Cents,
Start by choosing a body style not a brand. Much depends on what kind of music you will typically play on it and how you play. A bluegrass flatpicker requires a different type of guitar than a fingerpicker. If you basically do strumming vocal accompaniment, a third style might be a better place to start. Some types are typically easier to record than others. All of those styles are available as cutaways with pickups.
Consider a used instrument. It's a buyers market on upper end used gear.
Tell us a bit about your playing style and the suggestions you get will be better informed.
Add Guild to your list of manufacturers. They are making some great guitars in that price range.
I love Gibson acoustics but their quality control sucks. You should avoid buying an acoustic guitar without playing it, and this is especially true with Gibsons. That said, a good J-45 and J-185 are very fine guitars indeed.
Start by choosing a body style not a brand. Much depends on what kind of music you will typically play on it and how you play. A bluegrass flatpicker requires a different type of guitar than a fingerpicker. If you basically do strumming vocal accompaniment, a third style might be a better place to start. Some types are typically easier to record than others. All of those styles are available as cutaways with pickups.
Consider a used instrument. It's a buyers market on upper end used gear.
Tell us a bit about your playing style and the suggestions you get will be better informed.
Add Guild to your list of manufacturers. They are making some great guitars in that price range.
I love Gibson acoustics but their quality control sucks. You should avoid buying an acoustic guitar without playing it, and this is especially true with Gibsons. That said, a good J-45 and J-185 are very fine guitars indeed.
getuhgrip
Bring Back Transfat!
I'm not gonna bash this thing, but I'm not gonna baby it either. It'll be used primarily for recording, but will see some fireside action, too.
I'm into classic rock. Not an accomplished player by any stretch. Strum with a pick. A little bit of finger pickin' ~ Dust in the Wind type stuff.
Definitely will make myself go out and play a few before pushing the "buy" button. I've got a Takamine 532S now. It just doesn't have the ring or projection I had hoped for. I heal all these pretty acoustics on commercial tracks, and I'm like...what does it take to get that kind of "sparkling clarity."
Thanks for the tips guys, cause I have no idea what I'm doing. A guy I just saw a week ago plays some really nice acoustic. Thought he played a Martin. Turns out, it's a Breedlove.
The Taylors and Gibsons are gorgeous pieces, but I don't wanna be swayed completely by esthetic's. I did that with my wife, and look where that got me!
I'm into classic rock. Not an accomplished player by any stretch. Strum with a pick. A little bit of finger pickin' ~ Dust in the Wind type stuff.
Definitely will make myself go out and play a few before pushing the "buy" button. I've got a Takamine 532S now. It just doesn't have the ring or projection I had hoped for. I heal all these pretty acoustics on commercial tracks, and I'm like...what does it take to get that kind of "sparkling clarity."
Thanks for the tips guys, cause I have no idea what I'm doing. A guy I just saw a week ago plays some really nice acoustic. Thought he played a Martin. Turns out, it's a Breedlove.
The Taylors and Gibsons are gorgeous pieces, but I don't wanna be swayed completely by esthetic's. I did that with my wife, and look where that got me!
muttley600
Banned
10 essential rules when buying an acoustic guitar
1. Ignore the name on the headstock/label
2. Play as many as you can. Then go back another day and play them again.
3. Take someone who can also play them for you so you can hear them out front.
4. If the sales staff insist on hurrying you or auditioning them for you, LEAVE THE SHOP AND DONT GO BACK.
5. If possible avoid onboard pickups and look to fitting an after market option of your choice.
6. Narrow down your choice and have the shop/dealer find you a quiet area to do final auditioning. Have buddy from rule 3 with you.
7. Discuss set up with the sales staff/tech once you have narrowed down your choice to a few options.
8. Enjoy the process, it's meant to be fun.
9. Its a guitar not a women so choose carefully and it will last a lifetime.
10. Ignore the name on the headstock
1. Ignore the name on the headstock/label
2. Play as many as you can. Then go back another day and play them again.
3. Take someone who can also play them for you so you can hear them out front.
4. If the sales staff insist on hurrying you or auditioning them for you, LEAVE THE SHOP AND DONT GO BACK.
5. If possible avoid onboard pickups and look to fitting an after market option of your choice.
6. Narrow down your choice and have the shop/dealer find you a quiet area to do final auditioning. Have buddy from rule 3 with you.
7. Discuss set up with the sales staff/tech once you have narrowed down your choice to a few options.
8. Enjoy the process, it's meant to be fun.
9. Its a guitar not a women so choose carefully and it will last a lifetime.
10. Ignore the name on the headstock
getuhgrip
Bring Back Transfat!
Okay...so ya don't want me to just pick a pretty color on amazon.com!
Thanks, mutt. Why doncha just ride over this weekeng and go shopping with me.
muttley600
Banned
Okay...so ya don't want me to just pick a pretty color on amazon.com!
Thanks, mutt. Why doncha just ride over this weekeng and go shopping with me.
Just as long as you pick up the bar tab.
and supply the dips...
G
ggunn
Crystal Flavolian
Um... what? I think that is especially true when we "choose" a woman (though we men never really do that, it's the other way round). I got really lucky in that respect (37 years and counting), but that's another story...
muttley600
Banned
Um... what? I think that is especially true when we "choose" a woman (though we men never really do that, it's the other way round). I got really lucky in that respect (37 years and counting), but that's another story...
All true but I bet she wasn't the first one you chose, and in reality they choose us.
G
ggunn
Crystal Flavolian
That's what I said, innit?All true but I bet she wasn't the first one you chose, and in reality they choose us.
muttley600
Banned
ibleedburgundy
The Anti-Lambo
I played a Gibson Dove accoustic at the factory in Memphis and it was easily the best steel string I've ever played. I've played other Gibson accoustics that were nothing special IMO. This one particular instrument was simply perfect in every way. The only reason I didn't buy it was they were asking $4000.
Tadpui
Well-known member
When I went shopping for my ultimate acoustic last year, I was pretty sure ahead of time I wanted a Martin. Something about the brand that just excites me. Whether it was my own predisposition or not, the Martins I played were much more to my liking (I wanted a big, loud dreadnaught).
I think that's what Martin does best is the big, full-range dreadnaught with that huge piece of spruce soundboard top pushing air. I seem to be in the minority though, because all of the enthusiasts I encountered during my search were in love with Martin's O, OO, and OOO models. Even a large percentage of their custom/signature models are based off of the slimmer orchestra shapes than the dreds. At least from what I saw in their catalogs and on the walls of music shops in my area.
I think that's what Martin does best is the big, full-range dreadnaught with that huge piece of spruce soundboard top pushing air. I seem to be in the minority though, because all of the enthusiasts I encountered during my search were in love with Martin's O, OO, and OOO models. Even a large percentage of their custom/signature models are based off of the slimmer orchestra shapes than the dreds. At least from what I saw in their catalogs and on the walls of music shops in my area.
Armistice
Son of Yoda
IF you want something functional that you can use both as an acoustic guitar and a means of transport, you could get one of these...
I'm assuming you have fairly large hands...
(and yes, it's real, not a Photoshop job...)
I'm assuming you have fairly large hands...
(and yes, it's real, not a Photoshop job...)
Attachments
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notCardio
I walk the line
My totally unqualified opinion
First off, aside from the comment about women, I agree with Muttley on this one 100%, with a couple of additional points:
You've got to know what you want it for. The requirements are different depending on the use. Of course, the one thing they will all have in common is that it has to feel comfortable to you, both body and neck. If you're planning on playing it live in a band situation, it also has to be comfortable to play standing up, which I find to be a whole different ball game than playing seated. Standing, I prefer something smaller and/or thinner, but that's because of the belly that I've developed, a fact you so graciously pointed out. But, I digress...
What sounds good sitting around in a jam circle or an unamplified coffeehouse(projection, lots of good strong bottom end, but balanced (in my opinion, Gibson as a very general rule)), that guitar is often hard to record well (comes out boomy and somewhat harsh).
A guitar that records well (often smaller bodies, thinner tops) sometimes doesn't have the projection/fullness that make it sound as good live. But then again, it depends on the sound you like. Martins have a reputation as sounding better recorded, or at least being somewhat easier to record. They tend to be less boomy and a little more mellow.
Taylors seem to me to lean towards the bright side, and not boomy, which makes them good in a live band situation, as they cut through a little better.
Personally, I love the way Taylors play, but I prefer the sound of a Gibson. On the other hand, most of the artists that I like the sound of play Martins.
I've never even held a Collings or heard one live, but I know they have a very good reputation.
I've only played a couple of Breedlove's. I liked the way they played, but I wasn't impressed, meaning I haven't been jonesing for one, and I jones for just about everything. But a lot of guys really seem to like them.
And then there's the whole strumming vs. flatpicking thing.
Sorry, I've been rambling. It's late.
You're going to have to go out and play them yourself to see what you like, but Mutt's suggestion of having someone else also play while you listen is right on. The sound is completely different to the player than it is to the audience.
And the way they get that commercial sound is the player, the guitar, the strings, the mic(s), the pre, and the recording space, not necessarily in that order. That's an argument for another day, and one that will never be settled.
But don't pay any attention to me. Think of what you've heard me play. Exactly.
I also like Takimines.
First off, aside from the comment about women, I agree with Muttley on this one 100%, with a couple of additional points:
You've got to know what you want it for. The requirements are different depending on the use. Of course, the one thing they will all have in common is that it has to feel comfortable to you, both body and neck. If you're planning on playing it live in a band situation, it also has to be comfortable to play standing up, which I find to be a whole different ball game than playing seated. Standing, I prefer something smaller and/or thinner, but that's because of the belly that I've developed, a fact you so graciously pointed out.
But, I digress...What sounds good sitting around in a jam circle or an unamplified coffeehouse(projection, lots of good strong bottom end, but balanced (in my opinion, Gibson as a very general rule)), that guitar is often hard to record well (comes out boomy and somewhat harsh).
A guitar that records well (often smaller bodies, thinner tops) sometimes doesn't have the projection/fullness that make it sound as good live. But then again, it depends on the sound you like. Martins have a reputation as sounding better recorded, or at least being somewhat easier to record. They tend to be less boomy and a little more mellow.
Taylors seem to me to lean towards the bright side, and not boomy, which makes them good in a live band situation, as they cut through a little better.
Personally, I love the way Taylors play, but I prefer the sound of a Gibson. On the other hand, most of the artists that I like the sound of play Martins.
I've never even held a Collings or heard one live, but I know they have a very good reputation.
I've only played a couple of Breedlove's. I liked the way they played, but I wasn't impressed, meaning I haven't been jonesing for one, and I jones for just about everything. But a lot of guys really seem to like them.
And then there's the whole strumming vs. flatpicking thing.
Sorry, I've been rambling. It's late.
You're going to have to go out and play them yourself to see what you like, but Mutt's suggestion of having someone else also play while you listen is right on. The sound is completely different to the player than it is to the audience.
And the way they get that commercial sound is the player, the guitar, the strings, the mic(s), the pre, and the recording space, not necessarily in that order. That's an argument for another day, and one that will never be settled.
But don't pay any attention to me. Think of what you've heard me play. Exactly.
I also like Takimines.
c7sus
Disenfranchised Member
Craigslist.
People have so much cool shit packed away and the economy is so fucked right now that there are some really killer deals out there on any and all manner of axes, amps, keys, etc.
I see stuff I want to snap up every day. Out here it is common for Hammond M-3's to be priced around $350-500. Everybody still wants a fortune for their Leslie though! Lately there have been a bunch of mid-late 60's-70's era Gibson hollowbodies, Howard Roberts, ES-whatevers, stuff like that. Last winter it was Firebirds. Do a search for grand pianos!!! There are some serious Steinways and Baldwins out there half off.
Amps too but why does everybody think their old Orange 412 cab is worth $800???
WTF!
People have so much cool shit packed away and the economy is so fucked right now that there are some really killer deals out there on any and all manner of axes, amps, keys, etc.
I see stuff I want to snap up every day. Out here it is common for Hammond M-3's to be priced around $350-500. Everybody still wants a fortune for their Leslie though! Lately there have been a bunch of mid-late 60's-70's era Gibson hollowbodies, Howard Roberts, ES-whatevers, stuff like that. Last winter it was Firebirds. Do a search for grand pianos!!! There are some serious Steinways and Baldwins out there half off.
Amps too but why does everybody think their old Orange 412 cab is worth $800???
WTF!