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I’m proud to own one Fylde as well as a Taylor 5 series and a Tanglewood Micheal Sanden collaboration made in a Chinese factory. If I could only have one it would be the Fylde all day long and it didn’t cost that much more than a mid-range factory Taylor, but all three do different things ‘better’ in my limited experience. I’m no expert, but to me Roger at Fylde makes cracking good guitars at a very good price for a top-end luthier.
I’ve stopped trying more guitars as I’m bound to find yet another one I like and I’d rather spend the time practicing on the ones I already own!
Ian
Lowering my expectations has succeeded beyond my wildest dreams.
Ecit: When I was stood in Eddie's workshop at his house during lockdown he was making a Mandolin and it was marvellous. It got me thinking that, although I don't play one, I wanted him to make me one. As far as the OP goes I would have enjoyed owning it even if I could just play "Going to California" on it.
Ian
Lowering my expectations has succeeded beyond my wildest dreams.
You saved me having to write a reply.
It irked me intensely to see a video comparing several of the subject's similar high end guitars being used to play a famous song recorded using a similar guitar. The guitars were lovely, but the playing of the song could only be described as rudimentary at best. It's not even a difficult song.
Was the player playing their interpretation of the tune, or did they actually think they were playing it accurately? Who knows?
It maybe comes across as gatekeeping. I'm not suggesting that there should be a certain level of ability required before you're allowed to own an instrument at a given price point. I'm merely suggesting the player in this particular video could get a lot more out of their guitars, and guitar-playing experience if they spent a few quid on lessons.
What is quality anyway? Primarily, a good tone in my book. Then playability, then appearance. Others would put those three things in a different order and add to them the sheer joy of owning an instrument, which would include the factors of brand and history. For example, I would adore a real Gibson J200 just because Gary Davis played one - but they're £5K! So no.
Used to be that bling and near-perfect build came with cost; but no more. Cheaper guitars can be really lovely. For appearance, I lust after this Sigma and it's only £1.2K. Cheap in acoustic terms.
I have no idea what it sounds, or plays like though. It is lovely looking.
To paraphrase, There's many a good tune played on a cheap (or cheaper) fiddle. :-)
That is why I am currently selling my left-handed Santa Cruz 1929 000 12 fretter on Reverb. It is clearly the finest steel-strung instrument ever to come into my hands - but it is only very marginally better than my two Brooks and Fylde Orsino, which I feel more comfortable with for everyday use.
That's a tough question! It's somewhere between "not as good as my Gibsons, but much better than it has any right to be."
When I got my Dove recently the goal was to sell the Epiphone Dove and that Fender. But I just can't part with it. Part of that is certainly sentimental, but it's honestly fun to play. The neck is a nice comfortable size, it sounds good (not as full or rich as the expensive acoustics, but if I heard it blindfolded I'd assume it was from a better guitar than it really is), and it's super reliable — as I said before, it lives on the wall above a radiator and somehow rarely goes out of tune.
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If the dove is too "precious" get rid of it.
Up to you of course and if you have room and can afford to keep both go for it! Just saying what I would probably do. Especially if the fender isn't getting much use.
I have (well, had - I got rid of them all) guitars which don't get much use because, all things considered, they aren't as good as my other guitars. Maybe "not as good" really means not as good (my old Yamaha 12), maybe it means "not my kind of instrument" (my Cole Clark 12; my Guild). I can think of examples of both. So they get played only now and then.
But then I have guitars which I play seldom not because they are not good (they are excellent!) but because they are specialised. An example is my pair of baritones. They are precious and special; they are physically difficult to play, they make a sound no other guitar makes or even comes close to. I play them maybe twice a week on average. Most of my orthodox six strings get played pretty much every day; some of them often get played several times a day.
But when I do play the baritones, it's 100%. I don't practice on them (too hard, and I don't want to wear these precious instruments out for no good reason); I don't noodle on them (I have plenty of other instruments to noodle on) - when I play them I play them!