Gibson ES-175 type sound + BUYERS TIP

[Groyniad]

it all depends on how fussy you are (for goodness sake!)

the sound of kenny burrell - for example - differs from the sound of say grant green.

and i think gg sounds more like kb (and kb more like gg) than other players. (so gg's sound is closer to kb's than is jh's or jp's or bk's etc.)

i wonder how many horn players would even notice the difference between kb and gg (sound-wise). maybe they all would (after all they are finely atuned to e.g. the difference between cannonball and stitt) - maybe not.

but the point is that - for us - there is probably a huge and very important difference between kb and gg's sound.

if you're that fussy about the nuance and detail of the guitar's sound, then you care about the difference between gibson, epiphone, ibanez and sadowsky

and that is (roughly) rational - not very silly.

if you're gigging a lot and you're after an 'effective' guitar - then these differences will become less significant.

and that is (roughly) rational too - not very silly.

[rabbit]

Never ask, "does this guitar make my butt look big?"

Never.

[Frank67]

I can sound bad on any guitar/amp combination.

Ha ha, love you brother! Me too!

[Archie]

IMHO while I agree with most of the tone coming from the fingers, 5% for the guitar appears to me quite low.
After months of playing my highly customized Epi Regent, the day I received my Tal Farlow, even my wife could hear a huge difference despite both guitars being 17 inches bout, 3 inches depth and 25.5 scale and I was playing in the same amp and with the same fingers and technique.
The overtones, the woodyness the low mid focus "thunk" caracteristic of Tal's tone was there.
The guitar construction and wood has much more impact on the tone than it appears.

Exaclty

In reality it should be..

Things That Affect Your Tone:

Scale length: 20%
Woods: 35-75%
Body Size: 35%
Pick up placement: 70-90%
Strings: 25-95%
Body Design: (shape) 20-75%
Your Fingers: 49%
Experience: (overall time playing and your stylistic background) 75%
Over All lust (yes your emotions can sway your judgement) 15%
The Room You Play In 35-75%
Pots (fully/partially open) 15-25%


And thats why it is impossible to do a proportionate % breakdown. Any of the single things mentioned could make or break a guitar.

Take the Jp-20 for example. How many people don't like that guitar, purely down to pick up placement?
How many people do you think would have one if it was closer to the neck and the fret number was reduced to 20? (Everyone)

That's why I gave up doing a % breakdown, it's impossible; always fun to try though :-)

[jakeyboy1216]

Things That Affect Your Tone:

Scale length: 20%
Woods: 35-75%
Body Size: 35%
Pick up placement: 70-90%
Strings: 25-95%
Body Design: (shape) 20-75%
Your Fingers: 49%
Experience: (overall time playing and your stylistic background) 75%
Over All lust (yes your emotions can sway your judgement) 15%
The Room You Play In 35-75%
Pots (fully/partially open) 15-25%

Don't know how good you are a playing the guitar, but you're terrible at math.

[Archie]

Don't know how good you are a playing the guitar, but you're terrible at math.

I'm terrible at the guitar too

[icr]

I don't think I had seen the video in post #37 above. Recording technique can make a difference. Seems like all the guitars in the above post sound alike whereas when I recorded my guitars, they all sounded different:

[maarvold]

it all depends on how fussy you are (for goodness sake!)

the sound of kenny burrell - for example - differs from the sound of say grant green.

and i think gg sounds more like kb (and kb more like gg) than other players. (so gg's sound is closer to kb's than is jh's or jp's or bk's etc.)...

I am a recording engineer by trade. One of the most ear-opening experiences I ever had in the studio was when I was recording a jazz trio + sax. The musicians were all excellent, professional players--some of the best players in Los Angeles. The pianist had a previous commitment and was only able to record on the first day and the last half of the 2nd day; on the first half of the second day, a different, similarly talented pianist had been booked to fill in. When I opened up the mics to record on the second day, I could have sworn someone had changed both the piano itself and the piano mic'ing: it was that different-sounding from the previous day. But I hadn't changed a thing. And it was just as different when the pianist from the first day returned in the afternoon: just completely different-sounding in ways both big and small.