Sounds like most guitar shows I've been to!
Guitar naming Pet Peeve, or maybe Rant of the Day
- Thread starter Brad Little
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Bill Ashton
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I was thinking Florida, but sadly not the only one...
I think Arlington was even worse, but maybe that's only because it's exponentially bigger. I couldn't believe how many overpriced beat up old Gibsons I saw there over numerous years.
Midnight Toker
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I think it goes both ways. If you build a Corvette that has nothing to do w/ the original save for the name, I'd say it's no big deal to currently make something to vintage specs and cite the year in the name. Being the proud owner of two 60's Les Pauls built in this century, It bothers me not one iota. That designation mainly refers to the typical slim tapered neck seen on Les Pauls of that era. You can also get a current 50's Les Paul. All that means is it comes w/ a 50's louisville slugger neck. Personally, I love that specific years and models are revisited by current guitar makers.
and if anyone can't tell the difference between true vintage and reissue...just count the zeros! It should be more than obvious.
and if anyone can't tell the difference between true vintage and reissue...just count the zeros! It should be more than obvious.
My son works in Corvette restoration, and the marketplace for Corvette resto-mods (non-original condition, that is) has actually overtaken the original condition market. We have some theories on why that's true, but they don't really apply to the guitar market.I think it goes both ways. If you build a Corvette that has nothing to do w/ the original save for the name, I'd say it's no big deal to currently make something to vintage specs and cite the year in the name. Being the proud owner of two 60's Les Pauls built in this century, It bothers me not one iota. That designation mainly refers to the typical slim tapered neck seen on Les Pauls of that era. You can also get a current 50's Les Paul. All that means is it comes w/ a 50's louisville slugger neck. Personally, I love that specific years and models are revisited by current guitar makers.
and if anyone can't tell the difference between true vintage and reissue...just count the zeros! It should be more than obvious.
Charlie Bernstein
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It's the same people who publish Vintage Guitar Magazine.
Their method for years has been to survey lots of used guitar retailers annually to learn their recent selling prices. Then they publish what they learn. I image that these days they also refer to Reverb.com to find out what things are selling for there, too.
So the guide is good for a rough idea of what things are going for and has nothing to do with their worth. Useful, though not an end-all.
Their method for years has been to survey lots of used guitar retailers annually to learn their recent selling prices. Then they publish what they learn. I image that these days they also refer to Reverb.com to find out what things are selling for there, too.
So the guide is good for a rough idea of what things are going for and has nothing to do with their worth. Useful, though not an end-all.
Charlie Bernstein
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Unless the signature is Les Paul's!
I love all the "reissues" that originally came with ebony and Brazilian rosewood fretboards getting east indian rosewood,or "Blackwood" lol not knocking it , but don't call it a reissue when its woods/electronics are specced nothing like the original.
lungimsam
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You want confusing? Try bicycle lights:
names that are so close, but different it makes it nigh on impossible to sort them out. So confusing. And I think some websites are calling the same light model by a different name:
Busch & Müller Lumotec IQ Cyo Premium
Busch & Müller Eyc
Lumotec IQ Premium Fly RT Senso Plus
Lumotec IQ Premium Cyo
Lumotech Eyc T Senso Plus
Lumotec Eyc N Plus
B&M Eyc T Senso Plus
Luxos IQ2
Busch & Müller Lumotec HL Classic N Plus
Busch & Müller Luxos IQ2 B
Luxos B
Luxos U
Busch & Müller Avy LED
names that are so close, but different it makes it nigh on impossible to sort them out. So confusing. And I think some websites are calling the same light model by a different name:
Busch & Müller Lumotec IQ Cyo Premium
Busch & Müller Eyc
Lumotec IQ Premium Fly RT Senso Plus
Lumotec IQ Premium Cyo
Lumotech Eyc T Senso Plus
Lumotec Eyc N Plus
B&M Eyc T Senso Plus
Luxos IQ2
Busch & Müller Lumotec HL Classic N Plus
Busch & Müller Luxos IQ2 B
Luxos B
Luxos U
Busch & Müller Avy LED
If I'm buying a newer guitar, I'd rather have the one that isn't made of an endangered species.
Interesting, Rocky. I'm definitely with TWA on this.
Midnight Toker
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Also, many of todays labor and environmental regulations simply don’t allow for making many internal components exactly the way they were made in the 50’s. At least not domestically. And if made elsewhere, you’ll likely have a downgrade in quality/craftsmanship control…so what’s the point? Imo, w/ guitars, it has as much to do w/ player feel than an exact replica inside and out. As long as a 57 reissue strat’s neck feels just like an original 57 Strat, and the tone of the pups are very close, I’m good.
I'll demur slightly from my expressed opinion earlier... If the materials are unavailable, I'll accept a substitute. E.g., when Martin introduced the D-28 Authentic 1931, they did it with Madagascar rosewood rather than Brazilian. I'll take that.
But, if they're substituting, say, cherry for real mahogany, I've got a problem with that.
In my dotage, I don't give too much of a hoot about the hullabaloo regarding endangered woods with respect to guitar manufacture. The forests weren't torn down to near-extinction by the guitar makers. Blame the folks building furniture and building with the materials for that. If you really care about the environmental effects, stay away from those things!
Anyway, I guess that's a bit of a rant for me today. More coffee!!!!!
But, if they're substituting, say, cherry for real mahogany, I've got a problem with that.
In my dotage, I don't give too much of a hoot about the hullabaloo regarding endangered woods with respect to guitar manufacture. The forests weren't torn down to near-extinction by the guitar makers. Blame the folks building furniture and building with the materials for that. If you really care about the environmental effects, stay away from those things!
Anyway, I guess that's a bit of a rant for me today.
More coffee!!!!!I'm with you on acceptable substitutions. On the other hand, while luthiers were not primarily responsible for the over-harvesting of Brazillian Rosewood or ivory, that doesn't make it any less endangered, just like pick manufacturers weren't primarily responsible for overharvesting of tortoises.I'll demur slightly from my expressed opinion earlier... If the materials are unavailable, I'll accept a substitute. E.g., when Martin introduced the D-28 Authentic 1931, they did it with Madagascar rosewood rather than Brazilian. I'll take that.
But, if they're substituting, say, cherry for real mahogany, I've got a problem with that.
In my dotage, I don't give too much of a hoot about the hullabaloo regarding endangered woods with respect to guitar manufacture. The forests weren't torn down to near-extinction by the guitar makers. Blame the folks building furniture and building with the materials for that. If you really care about the environmental effects, stay away from those things!
Anyway, I guess that's a bit of a rant for me today.
Always good to be part of the solution, even when you're not part of the problem. I just have my limits.