What defines a great guitar?

  • Thread starter Thread starter Scott Baxendale
  • Start date Start date
jimistone said:
Jason Isbell bought Ed kings redeye 59 burst for an undisclosed amount. The "sweet home alabama" strat sold for $450k and "redeye"was the crown jewel of Ed's collection. So, I think it's safe to say Jason paid north of $500k for it.
Click to expand...

Here is a pic of the guitar I built for Jason he didn’t pay nearly that much for mine….lol
IMG_3329.webp
 
The guy who buys that guitar after Jason is long gone is the one who will pay the big money.

Think about it, Ed King's '59 originally cost somebody about $400. I'm sure that Gibson wishes they had gotten a half million a pop back in '59. They probably wouldn't have discontinued the model!
 
Back to the original theme of "what makes a great guitar", I think the criteria are different between an electric and an acoustic guitar. The vast majority of the sound of an electric is from the electronics. The pickups, the type and placement and the values of the pot and tone cap determine the frequency response to a large degree. If you want a guitar that rings a long time, you want things to be rigid. The more vibrational energy lost through the wood, the shorter the sustain unless you supply the energy back to the string. The wood will have some effect, just look at how you can get feedback in a hollow or semihollow guitar. It becomes less of a factor as the wood in a solid body vibrates less. Scale length also has a significant influence on the sound. A strat with a humbucker doesn't sound the same as a LP with the same humbucker. I'm always amazed at the people who rave about old Danelectro/Sears guitars. I thought they were crap when I had one, and still feel the same.

Assuming that you get a guitar that rings well and has the right combination of electronics etc, then you throw in the amp. Princeton, Plexi, Dumble, Rogue transistor amp. That has a massive effect on your sound. A great guitar can sound like crap with a crummy amp. Throw in enough distortion and you probably won't be able to tell the difference between a Squire and a custom shop Fender guitar by the sound.

With an acoustic guitar, you have to make the wood vibrate. That's what creates the sound. The body is there to amplify the sound. Thickness and stiffness of the wood, the bracing and size all change the frequencies that will dominate. If you've ever watch a vibrational analysis of a guitar body, you understand how nodes form as the top vibrates. Finding the proper balance of those nodes will set the voice of the guitar.

Playability is a bit of a personal thing. Most people like a reasonably low action, but I know people who love a baseball bat sized neck, and others that want a slim neck. I like rounded edges on my neck, but I have everything from 7.5 to 12 inch radius necks and I can play them all. I don't like most of the PRS necks that I've played. I almost bought a Carvin until I played it. NOT my cup of tea. My hands aren't big, so a wide flat neck isn't good for me. I'll take a jazz bass neck over a P bass neck, but I like the sound of a P bass which comes from the type of pickup and the placement along the string length.

Balance of a guitar is important. Having neck dive, or too much weight will make a guitar less desirable to me. Comfort is important.

I guess that's why there are so many guitars that some people love and other hate.

It doesn't hurt if the guitar looks great, but that's a personal matter.
 
Scott Baxendale said:
Here is a pic of the guitar I built for Jason he didn’t pay nearly that much for mine….lolView attachment 143990
Click to expand...
Dang man, your guitars fall into the hands of some famous players. That says a lot about the quality of your builds and attention to detail.
I saw a interview with Jason on youtube where he was talking about going to look at ed kings guitars to possibly buy one. He said when he played the '59 redeye he was totally mesmerized, had never played one close to being that good, but it was out of reach fanatically. He left and was thinking about redeye, in a semi hypnotic state, and got lost on the way home. LOL He said he called his accountant and was told "no, you cant afford it". He said that then he called his manager and said "book as many rich people private parties as you can possibly book, because I have a high priced guitar to pay for" and went on and bought it anyway.
LOL
redeye gave him some serious GAS
 
Last edited:
TalismanRich said:
Back to the original theme of "what makes a great guitar", I think the criteria are different between an electric and an acoustic guitar. The vast majority of the sound of an electric is from the electronics. The pickups, the type and placement and the values of the pot and tone cap determine the frequency response to a large degree. If you want a guitar that rings a long time, you want things to be rigid. The more vibrational energy lost through the wood, the shorter the sustain unless you supply the energy back to the string. The wood will have some effect, just look at how you can get feedback in a hollow or semihollow guitar. It becomes less of a factor as the wood in a solid body vibrates less. Scale length also has a significant influence on the sound. A strat with a humbucker doesn't sound the same as a LP with the same humbucker. I'm always amazed at the people who rave about old Danelectro/Sears guitars. I thought they were crap when I had one, and still feel the same.

Assuming that you get a guitar that rings well and has the right combination of electronics etc, then you throw in the amp. Princeton, Plexi, Dumble, Rogue transistor amp. That has a massive effect on your sound. A great guitar can sound like crap with a crummy amp. Throw in enough distortion and you probably won't be able to tell the difference between a Squire and a custom shop Fender guitar by the sound.

With an acoustic guitar, you have to make the wood vibrate. That's what creates the sound. The body is there to amplify the sound. Thickness and stiffness of the wood, the bracing and size all change the frequencies that will dominate. If you've ever watch a vibrational analysis of a guitar body, you understand how nodes form as the top vibrates. Finding the proper balance of those nodes will set the voice of the guitar.

Playability is a bit of a personal thing. Most people like a reasonably low action, but I know people who love a baseball bat sized neck, and others that want a slim neck. I like rounded edges on my neck, but I have everything from 7.5 to 12 inch radius necks and I can play them all. I don't like most of the PRS necks that I've played. I almost bought a Carvin until I played it. NOT my cup of tea. My hands aren't big, so a wide flat neck isn't good for me. I'll take a jazz bass neck over a P bass neck, but I like the sound of a P bass which comes from the type of pickup and the placement along the string length.

Balance of a guitar is important. Having neck dive, or too much weight will make a guitar less desirable to me. Comfort is important.

I guess that's why there are so many guitars that some people love and other hate.

It doesn't hurt if the guitar looks great, but that's a personal matter.
Click to expand...
All those variables exist and are the reasons guitars are different. Personal taste and individual technique is also a factor. A guitar that is a great guitar for me might not be for you because we might play entirely different and are looking for different kinds of sound. That being said there are certain water marks for build quality and a great design will yield a greater number of great guitars. But after 50 years in the guitar building and restoration business it’s really not about price point. It can be, but it isn’t the end all.

For modern guitars greatness lies in its design. This is why the Tele and Strat and other iconic models have stood the test of time.
 
When it comes down to it, a guitar is a tool, a tool to express thyself. Important to have the right tool for the job, in good working order. 90% of playing is physical, the mechanics of musicality. The other half is mental, tamed expressive noise.

Don't quote me on that, just a shot in the dark.
 
Sorry fellas, just a little attempt at levity, semi Yogi Berra quote.

I've enjoyed the discussion, please continue.
 
Yes. It's the dark fretboard. I saw a video of her playing on a pale fretboard guitar and she fell to pieces.
Lol
 
You must log in or register to reply here.
Back
Top