And yet, there are surprising variables in the tonal characteristics of identically built guitars from these makers. I think we all could agree that there are many guitar makers that have a good design, have good consistent assembly and quality control practices, and make every reasonable effort to use good quality materials. It takes exposure to lots of guitars to understand what's available, and what characteristics work best for a chosen outlet. On the other hand, disecting and discerning quality instruments is an acquired skill for those who so endeavor, nearly as challenging as modern flatpicking itself. Its safe, reliable, and you don't have to be an expert to know you're getting a darn good instrument, respected by all. I think, that's why some folks want to circumvent the subjectivity and uncertainty of selecting a brand or instrument that may or may not be favorably recognized by their peers, and just get a Martin. I *like* to drag race guitars - who doesn't? - but its not all-important to the defeat of all else. A builder described the competitive nature of procuring, owning, and fielding a "superior" guitar, as drag racing guitars. That said, it I were, I would be hard pressed to pick a new one from all of the choices that are out there I never sell instruments and I've got all that I want so I'm not really in the market anymore. Martin was an innovator in steel string guitars, there are other original makers in the business now. While I play a number of styles in guitar as well as mandolin, I do like flatpicking most of all, by the way. I've made a resoution for this year to get back to my playing and leave the argument over which instrument is best to others. I used to post on other sites quite a bit but I noticed that many of them tend to focus mainly on the fine points of the instruments and not so much on the playing. Most of the other brands didn't exist 40 years ago or so when I was geting started. That would make sense in that nowadays there are so many good makers out there. In fact, it's been mentioned that Martin has been losing market share in recent years. I happen to own a number of Martins and Gibsons all of which predate 1968 and they are nice but so are other instruments. There are some very fine guitars being built nowadays by makers other than Martin. I don't think that we should focus on individual brands so much. Now, if I can get a steal on an old Martin someday. They just aren't the same guitars they were when they were made by hand by a Martin. I used to drool thinking of the day I'd buy a Martin. Had a sticker price of 550, got a 25 price break and took it home.Ĭouple of weeks later, my wife bought me a an Epi EL-00 that had made my eyes shine (since I play a bit of the blues, too). Sure, the Martins and Gibsons were louder, but I was looking for feel and tone and that's why I chose the the DR-500. I finally decided a DR-500M had the best sound of all the guitars I had played.
I played everything from high-end Gibsons to Martins, Takamine, Seagull and Fender.Īlso played every Epiphone Masterbilt in the store. I recently spent a couple hours each on three trips to my local music store searching for a dread. Traded a Gibson ES-335 for that one when I quit gigging. Not many Martins can match the sound of that big ol' box. I'm not "name buying" when I look for a guitar.
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