Sorry for the migration…but

[Hank]

Tadol and other SCGC members,
sorry to bleed over a discussion to our Forum from another Forum…..But…(and I hope the “gate Keeper” will indulge me))
Tadol’s comments( on the AGF thread about “Guitar returns”)concerning trial periods for guitars and the guitar industry are RIGHT ON.
As ALL of us here know….Each instrument built by SCGC is an individual instrument and may show a human touch that separates that particular guitar from others of the same model, unlike the large box builders who strive for sameness.
I believe that SCGC chooses its dealers with the greatest of care and that SCGCs customer service is the Finest Kind in the industry…..we who own and play SCGC guitars are the luckiest folks in the world.

[tadol]

I may have gone off a bit – but the situation seemed a bit extreme. If all of us expected that same heightened need of perfection in all things, and treated each other in that way, the world would come to a grinding (and very unhappy) halt. Its actually why I worry about listing a couple of my guitars for sale – I’ve played them, they show that, and they are still great instruments. But there is this extreme belief that anything that isn’t absolutely perfect has lost a great deal of its value.

I’m really different – I’ve bought more than a few Santa Cruz guitars that were in need of work. Neck resets, finish repair, refrets – Its all good by me if the instrument is one I want. And I have no problem with these, because I know the guitar was built with good wood, proven techniques, and is ultimately repairable and preservable. I don’t go for a lot of cosmetic repairs – not really important to me,

I even bought a Klepper guitar he called “Wabi Sabi” – its a concept that things that are imperfect can be more beautiful than things that are “perfect” – more to it than that, but I just loved the guitar.

Oh well – I’ve learned that my take on things isn’t always the norm –  but I’ve also learned that the “norm” is rarely right –

[Matt Hayden]

None of the instruments I’ve got are ding- or wear-free.  The only way to keep an instrument in that condition is to not play it, and that (IMHO) defeats the purposeful a fine instrument.

My OM is lovely but it’s got wear, it’s got scratches, etc…..and they’ve been earned.  It’s been used but not abused by any stretch, and it periodically gets new frets and other care as merited.  But while I treat it with care, I don’t cosset it needlessly.   These things are designed to make music, and to be played hard – it’s where they sound best.

To wit: at the last SCGC Christmas party, I got talking to the guitar player of the Banana Slug String Band.  He’s got an old H that’s got scads of wear from lots of shows and playing, but it still sounds amazing….it’s worn in like a good old pair of jeans.

[Author]

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