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Post by dshevy on Aug 19, 2020 17:35:32 GMT
This is a duplicate of a post from the US acoustic forum but given many of you own Fylde if feels more appropriate here.
Hey All,
I’ve done as much research as I can but haven’t quite found an answer.
I’m in a very lucky position to have either 2 guitars built by Fylde. They will both be the same body shape and depth, the same scale length but different top woods one Cedar and one Euro Spruce but the same back and sides, Madagascan Rosewood.
I play in a range of tunings so 2 instruments will get used either way for gigs and will give very different sounds.
I could choose to have the same builder build 1 guitar with Brazilian Rosewood with Spruce but it would mean just the 1 and no cedar topped instrument.
Thank in Advance.
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leoroberts
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My main instrument is: probably needing new strings
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Post by leoroberts on Aug 19, 2020 22:44:22 GMT
That *is* a very lucky position in which to be! Given that you play in different tunings, I'd go for the 2 guitar option - meaning you'd be retuning less frequently. But that's mostly because I'm a lazy sod and 2 Fyldes are almost invariably better than 1
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Post by RodB on Aug 20, 2020 5:48:51 GMT
It could depend on how varied your tunings are in that you might be able to retune on the fly, but prefer different string gauges for the extremes. Then 2 guitars that can also back up each other if necessary might make gigs a lot less stressful.
Otherwise I would consider what sound is my ideal, my reason to go to a particular luthier and go with his advice. If it were the BR b/s then you have what you sought hopefully.
I have 2 McIlroys - Cedar / Walnut and Sitka / EIR, and would not part with either. They both have the characteristic sound of a McIlroy, but they are quite different enough for me to enjoy that difference, however on some music when recorded and listened to later on I would not risk too much on me choosing which is which. An audience might not even notice you have different guitars.
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Post by forestdweller on Aug 20, 2020 6:48:55 GMT
As someone who has owned multiple guitars for the very purpose you state I would say that is definitely the way to go. If you are playing in different tunings I think using one guitar is always a bit of a compromise. I know some players manage it- Tony McManus, Martin Simpson for instance. It all depends on the guitar I suppose and things like scale length. However, in my own experience, especially as I now only have one guitar, there are often compromises you have to submit to when returning constantly. I play mostly in CGCGCD, but have recently written pieces in CGCFCD and CGDGCD (“Orkney”). You might think there isn’t much difference between them all, but due to the specific custom gauges I use (60, 45, 35, 24, 16, 14) I am either left with a very stiff 4th string when I tune to Orkney (which seems to choke the whole guitar) or a very floppy 3rd string when tuned to F. I also find my action is always compromised, and don’t fancy getting the truss rod wrench out during a gig (remember those?) when I am going between tunings! Don’t even get me onto what happens when I then start using capos (back buzz) !
All of which is to say, if you are in the enviable situation of being able to commission two guitars, go for it. As you say, you’ve also got the chance to try different tone Woods as well.
Good luck 😊
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Post by andyhowell on Aug 20, 2020 8:04:27 GMT
I play in a number of tunings and happily use one guitar — I tend to think that comprimise thing is a bit over done. Playing for an audience I jsut have to ramble on a bit as I re-tune. I do tend to thjink through my sets though so that the thrid string doesn't go up and down too much!
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ocarolan
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Post by ocarolan on Aug 20, 2020 9:20:27 GMT
dshevy - I'd deffo go for two instruments, though different sizes! By the way - didn't you used to be a member here before? If so welcome back! (If not, welcome!) Let us know how you get on - go and talk to Roger! Keith
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Post by dshevy on Aug 20, 2020 10:09:45 GMT
dshevy - I'd deffo go for two instruments, though different sizes! By the way - didn't you used to be a member here before? If so welcome back! (If not, welcome!) Let us know how you get on - go and talk to Roger! Keith I was, and thank you; just several years away from music. I recently brought a second hand custom Alexander in Rio and Spruce for a very good price so I do have a different shaped Fylde already. I had thought originally about a matched pair but then roger and I discussed tone and so the idea of different woods came in too. The main reason is to have 2 instruments that I can rely on for gigging; once we get gigs happening again.
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colins
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Post by colins on Aug 20, 2020 10:47:25 GMT
Certainly go for the two guitars, I always had four for a gig in different tunings, well three in different tunings and a classical as well. I built a lot of guitars from both BRW and Madagascan, tonally you can't tell the difference. Stick the cedar top in standard tuning and the spruce in DADGad, and your good to go. Good choice of maker by the way.
Colin
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ocarolan
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Post by ocarolan on Aug 20, 2020 11:50:32 GMT
dshevy - I'd deffo go for two instruments, though different sizes! By the way - didn't you used to be a member here before? If so welcome back! (If not, welcome!) Let us know how you get on - go and talk to Roger! Keith I was, and thank you; just several years away from music. I recently brought a second hand custom Alexander in Rio and Spruce for a very good price so I do have a different shaped Fylde already. I had thought originally about a matched pair but then roger and I discussed tone and so the idea of different woods came in too. The main reason is to have 2 instruments that I can rely on for gigging; once we get gigs happening again. Good stuff! Glad that music hasn't let you go! How about a standard Falstaff and the Ken Nicol cedar top version? Keith
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Post by dshevy on Aug 20, 2020 12:46:52 GMT
I was, and thank you; just several years away from music. I recently brought a second hand custom Alexander in Rio and Spruce for a very good price so I do have a different shaped Fylde already. I had thought originally about a matched pair but then roger and I discussed tone and so the idea of different woods came in too. The main reason is to have 2 instruments that I can rely on for gigging; once we get gigs happening again. Good stuff! Glad that music hasn't let you go! How about a standard Falstaff and the Ken Nicol cedar top version? Keith Partly because I love the look of Madagascan and Roger has some pretty great looking sets I believe and because it’s being passed on by my Dad so I figured I’d go a little bit special too.
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Post by otis1960 on Sept 6, 2020 21:04:52 GMT
John Smith has a Madagascan/Cedar Falstaff that Roger built specifically for him; it sounds amazing. He also has a standard EIR/Spruce Falstaff, and that sounds amazing too. Whichever combination you go for will work wonderfully: I had only played the demo Falstaff for a few minutes when I knew I just had to have one.
There's always Redwood as an option for the top, if you have enough cash?
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Post by dshevy on Sept 18, 2020 14:55:16 GMT
So this turned up the other week. I turn 30 soon and this was an early huge surprise gift from my Dad. Brought 2nd hand but is almost unplayed. Personal Selection Falstaff in Sitka and Rio. I have already paid Rodger the deposit for the pair of Madagascar Falstaff’s but don’t need another spruce and rosewood one. So now I have to ask, do I get a Spruce and Madi Oberon instead or look at a 12 fret cutaway similar to what Martin Simpson is playing atm to go along with the Cedar and Madi Falstaff?
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Post by andyhowell on Sept 26, 2020 10:13:54 GMT
That Simpson Fylde looks a great guitar but discuss it with Roger. Simpson uses a far thinner guitar box than many as he feels it adds to clarity and string separation but this may not be the sound you want. I stay away from such clarity as it just amplified mistakes :-)
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Post by geddarby on Sept 26, 2020 13:26:16 GMT
An Ariel for me every time
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Post by dshevy on Sept 27, 2020 20:06:30 GMT
That Simpson Fylde looks a great guitar but discuss it with Roger. Simpson uses a far thinner guitar box than many as he feels it adds to clarity and string separation but this may not be the sound you want. I stay away from such clarity as it just amplified mistakes :-) I’m aware of Martin’s preference for a shallow body; for a time I owned one of his Sobell’s. Rodger could easily build me a standard depth rather than shallow it’s more the idea of a Falstaff body but 12 Fret and with a cutaway plus the no metal parts in the neck.
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