It looks like you're new here. If you want to get involved, click one of these buttons!
Subscribe to our Patreon, and get image uploads with no ads on the site!
Base theme by DesignModo & ported to Powered by Vanilla by Chris Ireland, modified by the "theFB" team.
Comments
None of these will ever be 100% Burst as they are repro and there is a lot of variance in bursts
if Yarons are good then its a way for the rest of us that will never afford the stupid money originals go for, to wet our beak.
As for Gibsons I could not justify the authentic money there have been a few nice R9's from time to time that have caught my eye but I am happy with me Greco for now.
@frerfinder are you sure Les Pauls are for you? You keep selling them.
Really though, I don’t think there is a best builder because of the inconsistencies in wood. That’s not that one builder isn’t more talented than another but just that it’s out of their control.
Vintage guitars..... it’s not for me. I don’t buy into the hype. Record one picked at random vs a new one picked and random and you’d never hear a difference. Maybe it would be different if you find the best example of each but I doubt it.
Where is that going to leave "period accurate plastic"? Not for me to answer as I have no interest in 59 les Paul's but I would love to know what the future holds for not only the meticulous replicas but the originals as well, we all know deep down a guitar sounds like a guitar, yes some better than others, granted...... So does where does the value lie?
The value is up to the individuals paying out the money, there are lots of younger players wanting them not the 60 yr olds
One young guy i know sold a vintage 60's SG so he could buy the replica and he's very happy
(formerly customkits)
Keith makes and repairs violins and he's been teaching there along time, well over 30 yrs
You can't simply look at something and say 100% it's this or that imo
Cites are only interested in paperwork, they probably know it's come from a tree nothing more
(formerly customkits)
One hopes anyway lol
I think whenever you have any guitar made for you that is always going to be the case. You have to find the right builder, be familiar with his work and his attitude to it and of course his skills as a luthier.
I started by having a neck made for a Tele. It was superb so I had a full Tele made and that was superb too. Then a Junior and a couple of Strats.
I knew he had a way of making great instruments and not just look-alike- guitars so I had a 59 replica made and then a second but with a few tweaks to suit me. All of my guitars have his name on them. He deserves not to be hidden behind a decal. I've never looked back.
Value? Depends on the instrument. I agree to most people it's just a copy and only a few will appreciate its true value.
I don't ever purchase anything in my life with a view to "what will it be worth in a few years" , I buy it because of the value I place on it there and then.
(formerly miserneil)
I doubt he would make another replica.
Many guitars have a re-sale value. Some you'll never want to sell.
Stockist of: Earvana & Graphtech nuts, Faber Tonepros & Gotoh hardware, Fatcat bridges. Highwood Saddles.
Pickups from BKP, Oil City & Monty's pickups.
Expert guitar repairs and upgrades - fretwork our speciality! www.felineguitars.com. Facebook too!
Could that also be the reason Leo Fender used a dense wood like Maple for the neck and less dense woods like Alder and Ash for the bodies?
Leo Fender wanted to make necks without truss rods - as indeed he did with the very earliest Broadcasters. There’s a photo of him standing on a neck to demonstrate how strong they were.
When Paul Reed Smith was chasing a more Gibson-like tone in the early ‘90s, he discovered that shorter, fatter necks made for a ‘bigger’ sounding guitar - hence the 22 fret Wide/Fat profile on the Custom 22 and McCarty models that were introduced in that period.