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Post by jackorion on Nov 11, 2019 17:29:14 GMT
Just for a bit of fun, say you were to make it to the point where you were well known enough to be offered a signature model by the brand of your choice - what would it be?
I'm not talking about a 'dream guitar' - more a guitar that defines your style and playing...
I also guess there's two types of signature model - the 'replica' type where an artist's guitar is recreated with any mods they may have made (ala the Pierre Bensusan 'Old Lady' Lowden) or the 'artist specs' model, where the artist takes a guitar they're well known for but adapts it to their choosing (ala the Pierre Bensusan current Signature Lowden).
So, for me, it'd be:
'Replica Style': a Martin OM28v with jumbo frets, a gloss headstock, and a vintage toner top
'Artist Specs': Still essentially a Martin OM28v (same bracing, same wood combo) but I'd add:
Jumbo Frets 1 7/8" nut width, Modified V neck, 2 3/8th bridge spacing, long saddle Gloss Headstock 'Hand rubbed' gloss neck - so a satin neck, that is then polished by hand to gloss - for some reason necks that are gloss from the factory feel different to me than satin necks that have been glossed up by play. Oversized side dots No toner The same herringbone/ivoroid/rosette that they use on the Authentic Series
Even though I love my Collings OM, I think a signature would have to be a Martin - my Martin is the guitar that I would save if the house was burning down.
Anyone else want to play?
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walkingdecay
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Post by walkingdecay on Nov 11, 2019 17:58:44 GMT
Dreadnought with cutaway: Like the dread oomph and like access to the bat voiced zone.
Mahogany back and sides, sitka spruce top: There's a nice balance between warmth and poke in that combination.
Satin neck, with a slightly flattened profile: Less squeak and easy travel with the thumb. The profile is for jazz/Jerry Garcia influenced noodling. I'd also like what many dread players would consider a low action with that in mind.
Minimal bling.
Vegan construction. No fish glue or bone, unless the latter are from fossil sources.
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Post by geddarby on Nov 11, 2019 19:44:07 GMT
Here goes, 00 deep body 12 fret, short scale (24.5) Rectangular slotted headstock Mahogany back and sides with an adirondack top with VERY dark satin and sunburst finish Mahogany satin v neck Rectangular ebony bridge with bone through saddle,, Bone nut Waverley tuners with ebony buttons String spacing 1-13/16 at the nut and 2-5/16 at the bridge Scalloped bracing Small clay dots at frets 5,7,and 9 No pick guard, No binding
I would also appreciate a modicum of talent to be able to play my signature model properly.
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Post by PistolPete on Nov 15, 2019 8:48:03 GMT
Funny thing - I had to think about this for a while.
My two main guitars are an early 70s Yamaha FG300 and an early 40s Gibson L50 - if either Gibson or Yamaha wanted to start issuing copies I'd probably be up for that...
However, if I were given a hand in the design I think I'd want an inexpensive archtop - something that combined some of the feel of my L50 with a bit of cool Harmony-esque retro styling - think a Gresch Jim Dandy, or Recording King Dirty 30s, only with F-holes.
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leoroberts
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Post by leoroberts on Nov 15, 2019 8:51:44 GMT
Some sort of plywood-based dreadnaught from a 1970s catalogue...
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Riverman
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Post by Riverman on Nov 15, 2019 8:56:40 GMT
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Post by PistolPete on Nov 15, 2019 9:13:40 GMT
Yeah, a bit like that, only costing *less* than buying a vintage one. Also, in a darker burst, with cream binding and stripy fret markers.
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Post by vikingblues on Nov 16, 2019 10:54:23 GMT
I had a bit of a think about this, and eventually realised my needs would be simple and based around a guitar that's already a signature for someone else. One that I already have. That is a guitar built by someone with the skills of and building quality of Dave White but applied to the basic concept of Rob Armstrong's guitar for Gordon Giltrap that Vintage released as a lower budget signature model. It's a guitar that has a body shape and neck profile that suits me to a T for comfort and lack of joint strain. The sound from that pinched waist body shape with the large lower bout gives a sound that tickles my musical taste buds. A higher quality of woods to be used than the Vintage, a cedar top version to suit my gentle playing "style". No additional bling or finish needed other than a more ornate / stylish rosette, and strikingly good wood grain. A good wood grain has more beauty than any bling or ornamentation. Plus high quality nut, bridge, tuners also. I can see from the above why GAS has deserted me. It seems that I have pretty well what I need. How very dull! Sorry! Mark
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ocarolan
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Post by ocarolan on Nov 16, 2019 11:29:05 GMT
Free.
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Post by andyhowell on Nov 16, 2019 12:05:09 GMT
I think I probably already have mine — ajlucas could call it the Andy Howell model. Spruce top — I always prefer this to cedar and I love Sitka much of the time (real bite to it). Some kind of rosewood body I guess. My current body has a Wenge back and sides and that has a bit more glass at the top and warmth overall than, say, Indian. If it was a smaller body I'd experiment with walnut or even maple or yew. I like the small jumbo size for the sound but like vikingblues I really like the pinched body and oval soundbox (on Adrian's guitars these are approaching circular). The jumbo size only works for me these days if it has some kind of Manzer wedge for comfort (although the Sobell/Forster she might work — a deeper 'hump' around the middle of the soundboard). A moderate fan fret is a thing I've come to love — there seems to be more finger room on the neck). At least 1 3/4 at the nut. Maybe there would be a non fan option but I'm sold on this system now. It would use Adrian's sweep cutaway system which gives a 16 fret join (14 fret equivalent). I'm happy with 14 frets — I think Joel Michaud is right when he says there is no real difference between 12 and 14 if the right bracing is used. I love the natural wood thing. I love the streaky., natural, ebony for the fingerboard. A good mahogany neck — I don't like very rigid multipliece necks they just feel to hard for me. NO fingerboard markers. No binding on the fingerboard. I like a natural wooden look. No pick guard, GOTOH tuners always the best to me. It would be strung with medium strings (not a DADGAD set). Newtone for preference. It would come with two cases. A Hiscox Pro, middle of the range (which is tough enough for almost everything in my view) and a Mono gig case. It would come with a G7 Performance capo (for the ready to gig thing) It would have electrics inside. I really like my Headway pickup — a strong rich signal as they use the same coaxial cable, not foil, that Highlander use I believe). I'd be tempted to try the Ultra Tonic Pickup from James May, the man who invented the extraordinary Tondexter preamp — this would keep miserable gets like@ocarolan happy and stoop him complaining about having batteries in his guitar). The pro gig version might even come with a Line 6 Helix Stomp. I might consider a smaller model as a variant which would be smaller bodied she based on Adrian's Pergola — probably 12 frets with a cutaway and a walnut or yew body, If Adrian was very busy I might consider an offer from Roger Bucknall.
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Post by fatfingerjohn on Nov 16, 2019 14:05:38 GMT
I thought the idea of a signature model was that it was a brilliant marketing tool for the manufacturer i.e. the hidden message is if you buy this signature model you will be able to play like Knopfler or Clapton or Jimmy Page. I would have the reverse effect; the manufacturer would never sell another with my signature on it! FFJ
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Post by Onechordtrick on Nov 16, 2019 14:44:34 GMT
A banjo.
With proper marketing I could probably put a whole generation off the instrument.
I’d be doing society a favour.
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Riverman
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Post by Riverman on Nov 17, 2019 18:16:59 GMT
I thought the idea of a signature model was that it was a brilliant marketing tool for the manufacturer i.e. the hidden message is if you buy this signature model you will be able to play like Knopfler or Clapton or Jimmy Page. I would have the reverse effect; the manufacturer would never sell another with my signature on it! FFJ Well John, your signature guitar by francis - I mean, it has your initials on it and everything - is both an excellent instrument and a fine bit of marketing for Mr Milsom, so that's a win-win for you!
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Post by fatfingerjohn on Nov 17, 2019 19:35:05 GMT
I thought the idea of a signature model was that it was a brilliant marketing tool for the manufacturer i.e. the hidden message is if you buy this signature model you will be able to play like Knopfler or Clapton or Jimmy Page. I would have the reverse effect; the manufacturer would never sell another with my signature on it! FFJ Well John, your signature guitar by francis - I mean, it has your initials on it and everything - is both an excellent instrument and a fine bit of marketing for Mr Milsom, so that's a win-win for you! Hi Richard, Hadn't thought of that. It was Francis' idea and, whilst I generally hate 'personalisation' of any sort, this seemed a great way of doing it as the 'personalisation' was on the (removable) truss rod cover; the idea being that when I finally pass it on to my son he can have a replacement made if he wishes with AB on it. So yes, I do have a signature model. And, more importantly, there isn't a single thing about the guitar which I would change 6 months later. Just love it!
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Post by andyhowell on Nov 19, 2019 8:10:13 GMT
That must be a signature model!
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