Quote:
Originally Posted by rlgph
Can anyone explain to me the attraction of special editions of the large or mid-size manufacturers? I mean, why should anyone get excited by words like "one of only 150" when you could buy a unique guitar by a well-known individual luthier for comparable, or even lower, cost? Extrapolating the rise in value of vintage Martins or Gibsons to these contemporary special editions seems foolish to me.
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Foolish "to you"...so it's not right for you, but others are entitled to their opinions and spending their money how they see fit.
I have no interest in a small builder guitar, none. While there are some very fine builders out there I love the Martin voicing, I have 50 years of imprinting that sound in the music I grew up with, it has meaning to me.
I'm not a fingerstylist and I don't like modern voicings, the only lutheir builds that would appeal to me are Martin clones so why not stay with the original, that works for me.
As to limiteds and signatures editions, they are never exact copies of standard models, either the woods, bracing, neck profiles, appointments, something is different. I have a few very high end Martins (to me $4K starts high end and $10K starts very high end Martin territory). My OM-45 Taz Blackwood is one of only 29, pretty limited, but it is also the most amazing new Martin I have ever played, that's priceless to me, I love that guitar.
My "logic" is I can afford them, they all get played, many are bought used so I can sell them for what I payed (great "value"), and the truly high enders are a joy to play and listen too.....works for me, no justification needed!