#106
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Played an adirondack Martin D16 which was physically very similar to my D18. At the time I actually thought is was a D18 when I took it off the wall in a store. After a few chords I said to the sales guy "this thing has no mid range" and the he mentioned it wasn't a D18 etc. So the difference was noticeable and I didn't like it compared to the sitka top on my D18.
As for whether or not it's a good upgrade it's gonna depend on whether or not you like the sound or even notice a difference. |
#107
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This are McPherson's brief descriptions of the various tone woods they use:
http://mcphersonguitars.com/tonewoods/ Maybe some here might find it interesting. Tony
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“The guitar is a wonderful thing which is understood by few.” — Franz Schubert "Alexa, where's my stuff?" - Anxiously waiting... |
#108
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I think Adirondack or Red Spruce is worth the upgrade - most of the prewar martins were made with it and that is the sound I'm looking for. I am learning flatpicking currently, but if I was learning something else I'd probably just go for Sitka. I think for Dreadnought Size guitars it is worth it. I think Engelmann, Sitka, Cedar, or German spruce are better with OM, 000, 00 sized guitars.
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D28A1941 |
#109
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Agree with this. As a fingerstylist I can't tell a difference. Have an Adi now, used to have Sitka; sounds no different. The main thing is how well you play and coax tones out. |
#110
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I've had two guitars with Adirondack tops. One, a very expensive, high-end, boutique guitar. The other, about a third of the price of the boutique guitar. Both played extensively. Both excellent guitars, with good balance. Both unusually loud. Both very clean sounding guitars, with precise note separation and articulation, nearly unforgiving in this respect. If pushed, each could become somewhat harsh in the trebles, almost to the point of irritation. The less expensive guitar with a sweeter tone, a tad less cut, and a punchier bass. Both excellent on stage.
But my favorite guitar has been, and still is, an older guitar with a lightly braced, nicely quarter-sawn, heavily silked, very tight-grained Sitka top. Richer, warmer, sweeter. A lusher, more complex sound, with a stronger bottom-end, but with no "mush" in the chords. Thicker trebles and more pronounced mids. Not as loud, and has a wider spatial natural reverb. A very pleasant, musical tone. All three rosewood guitars, BTW. Based on this, is Adirondack an upgrade? Or is it just different, and perhaps better suited for different applications and venues? You make the call. ... JT |
#111
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Harsh trebles or a 'nasal' tone are indications that the guitar is overbuilt. That is common when the maker is experienced with the other spruces, which are not as stiff as red spruce.
Wide-grained red spruce is common today....simply because most of the trees being cut are second growth. Before the resurgence of red spruce in the late-1980's, second growth spruce was rarely used for instruments. But soon after it became available, it was apparent that wide grain is not necessarily bad....in fact, it can be outstanding when used properly. Now, you see second growth European spruce ('Carpathian') as a viable alternative. Only the buyer can decide whether red spruce is worth the extra cost. Quote:
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#112
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JT's experiences with Adirondack spruce mirror my own:
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Neither are any of the several Brazilian rosewood instruments I've owned, either. Gee, why is that? Could it be that those individual instruments with those individual pieces of those much-admired tonewoods didn't work as well for the way I play as I might have wanted? Nah, that CAN'T be right! Quote:
Wade Hampton Miller |