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Paul,
I’m curious. Can you hear this anomaly on a very good recording ?
Does this occur with every set of SCGC G strings ?I agree with Tad about the duration of SCGC strings. Sometimes the degradation of the strings are very slow and subtle. I use both tensions with Mids on the Dreads and Lites on the others. I am trying Mids at present on the F……I am liking that combo a bit more as the strings get played in.
I also empathize with Paul about hearing loss…I am almost totally deaf in my left ear due to a recoilless rifle accident many years ago.
When I play, many time I will have to bend my right ear over the guitar to get the full sound. I always remember Richard Hoover saying that he builds SC guitars for the listener and not the player….so maybe as a player we don’t always hear the “True” sound….. I love SC instruments because I seem to “Hear” them in my body as much as my ears.
Paul, what type of pick are you using? You said that bare fingers are fine.
I play with a Blue Chip thumb pick and bare finger tips. You said the G, B, and high E are thin sounding……Pick material/thickness maybe??Matt..as usual your comments,after due consideration , ring true.
I was playing the OM again today and REALLY trying to listen to it. Then I did the same with the 34 Zorro.I found myself playing the 2 guitars differently enough to make the same song sound “Different”.
I was playing “Can’t you see” using the same chords and as close as I could the same finger picking pattern(although I have never been able to play the same song the same way every time) and there was a distinct difference in “feel” to the piece.
As the old saying goes….Horses for courses.
By the way… good use of French to justify G.A.S.As to when (and if) a guitar opens up/Blooms.
I wonder if the enviroement in which the instrument lives has any bearing on the when (or if).
I have only had 2 “New ” guitars in my life, the Martin HD-28 and the SCGC 1934D. The martin is now 25 years old and is as Bloomed as it is going to get. The 34 Zorro is a couple of years old and was very loud and Grand Piano like when I first got it. The others I bought used and I have already spoken about the OM. The O.T. was Otis Taylor’s main touring guitar and so has had a whole bunch of playing time. The F has always sounded rich and full.
All my Ramuda are kept full time in an American Music Furniture Guitar Habitat Cabinet. The RH is kept at a constant 42-48%. So other than playing time the conditions are the same for each guitar….but I don’t notice any difference in sound after a bit of time of playing on any of them.
I thought I remember Richard Hoover saying that the guitars he builds are “already open” because of the age of the woods he uses and the enviroemintel conditions of the shop.
Having said all that, I do hear a difference after restringing of course but I also have always been told to not buy a guitar and expect the sound/tone/volume to get better over time….buy the sound you like at the moment.
So…is it enviroement,age, playing time or do we just want to believe in the “Bloom Fairy”?Interesting that you bring this up now Chris.
I was playing the OM last night and I thought to myself that IT IS LOUDER/RICHER! The previous owners did not play it much…I have confirmed that with them.
Did it open up??? I have been playing it a lot over the last several months so Maybe it Just ‘Bloomed”.
When the 1934 D opens up You might hear it in Northern Ca.!!!
Thanks Deziner2 for that. I knew you and Alex put that together and I also got tears in my eyes.
Dee and I visited Alex and MaryAnne several times and we attended his last show at The Milltop Inn in St. Augustine. his voice was getting weak at that point but the place was sold out and the party went on well into the night. His Partner Jim was a bit teary eyed and so was most of the crowd.
he was one of a kind….My favorite song of his is “Monkey Town”….He doesn’t sing or play the guitar…I’ll try to find a copy and post it.
I am NOT speaking for Richard but…..Would you ask Bentley or Rolls to cheapen their paint job and hand rubbed polish to save the buyer a few bucks ???
If ALL guitars from SCGC have been pleked for several years now before leaving the shop, I believe the issue as to the value of it being done are a given.
All right .Close your eyes. What about?
Dark Flamed Maple B/S
Sunburst Sitka top
All inlays, Purfling, from Paua.
binding of 5-7 mutiply of ebony, figured Maple and Paua.
TOOO Dramatic??I know that some ‘Highly Figured” Flame Maple has always looked great on the FTC.
I do think that KOA holds a lot of appeal if the “Right” set.
While I have never played a Cedar top guitar I have been led to believe that Cedar Sounds has good as it is going to be when new and does not “Open ” like Spruce overtime.
I like Matts descriptions of the Maple/Spruce Combo
Thought on Rosewoods?? NOT BRAZ….outside the budget and not able to travel across borders.
Should our project Bindings and inlays be simple or a bit on the wild side…. Palo, Paule ?
This will be an interesting build…..REMEMBER, We want this guitar to be a Primo example of the SCGC 50 years of craft.Chris thanks for your thoughts. Done in your inimitable style.
What top woods?
Also.. as I hope this guitar will be our version of A “Traveling Wilbury ” what guitar case should we consider ?
I’m serious about having this guitar played by as many SCGC Fans as possible.The Mids are growing on me on the F….I am finishing up my restringing tomorrow with lites on the O.T. tomorrow.
The longer the Mids are on the F…?????
