Quote:
Originally Posted by jaymarsch
I have pretty much liked most of the Goodall guitars that I have had the pleasure of playing. Some better than others. I think that it is true that James Goodall has a signature sound that makes good use of overtones and sustain. I find this to be true of other makers as well, such as Wingert, Olson, Sheppard, and Ryan (to name a few that I am familiar with). That said, any of these fine luthiers can make a guitar that does not have as much sustain and brings out more of the fundamental, if that is what the customer wants.
One of the things that I love about guitar making is that there are so many variations out there and an experienced luthier may have a signature tone but can coax so many different nuances and still stay true to their ear and what they are after sonically.
Best,
Jayne
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This is a good observation. My Primavera/Port Orford Cedar Goodall sounds VERY different from my EIR/Italian Spruce Goodall (and both of these sound very different from my teacher's Koa Goodall). I could imagine some folks objecting to the EIR version as having "too much going on". A bit harder to imagine (but not completely impossible) hearing the same complaint about the Primavera Goodall.
Clearly, one isn't going to encounter Goodalls that sound like the "focused" bluesy, old mahogany Gibsons...