https://www.modernmojoguitars.com/forum/ Thu, 23 Apr 2026 05:40:39 +0000 MyBB https://www.modernmojoguitars.com/forum/thread-383.html Fri, 13 Jun 2025 09:49:02 -0600 jtkung]]> https://www.modernmojoguitars.com/forum/thread-383.html
  violet 1.jpg (Size: 42.59 KB / Downloads: 119)

Now this is how it's done!  Come out with the USA-made sig first. All high-end appointments, woods, etc.  Then make a more affordable model from Indonesia.  Labor cost is reduced, but also downgrade the hardware, pickups, woods.  But still keep them respectable. 

Then for the 10th Anniversary, do something in the middle -- essentially make the Sig guitar (all the woods, hardware, USA pickups)  but do it in Indonesia!  This is what Aaron Marshall did with his AM-6, but did it right out of the gate, so made it almost impossible to beat with a USA sig which he put out later but not worth it in my opinion. 

NJ also chose some awesome colors for it, again something that Aaron didn't do for his guitars.]]>
  violet 1.jpg (Size: 42.59 KB / Downloads: 119)

Now this is how it's done!  Come out with the USA-made sig first. All high-end appointments, woods, etc.  Then make a more affordable model from Indonesia.  Labor cost is reduced, but also downgrade the hardware, pickups, woods.  But still keep them respectable. 

Then for the 10th Anniversary, do something in the middle -- essentially make the Sig guitar (all the woods, hardware, USA pickups)  but do it in Indonesia!  This is what Aaron Marshall did with his AM-6, but did it right out of the gate, so made it almost impossible to beat with a USA sig which he put out later but not worth it in my opinion. 

NJ also chose some awesome colors for it, again something that Aaron didn't do for his guitars.]]> https://www.modernmojoguitars.com/forum/thread-382.html Sat, 10 May 2025 15:03:29 -0600 jtkung]]> https://www.modernmojoguitars.com/forum/thread-382.html I was noticing the similarities between the Taylor SB-C1 Custom (long discontinued) and the Lowden GL-10

Taylor SB-C1 Custom Walnut                                     Lowden GL-10 Walnut


Here is Grok 3 Assessment.

Brand Philosophy

Taylor: Modern electric guitar with acoustic-inspired resonance; innovative but proprietary design

Lowden: Boutique electric with acoustic craftsmanship; emphasizes natural tone and sustain

Body

Taylor: Sapele, chambered, walnut burl laminate top, ~46mm depth tapering to ~30mm

Lowden: Mahogany with premium top (e.g., koa, ziricote), ~42mm depth tapering to ~32mm

Neck

Taylor: One-piece sapele, T-Lock single-bolt joint, 42.8mm nut, 12" radius

Lowden: Five-piece mahogany, C-shape, 43mm nut, 630mm scale, 12" radius

Fretboard

Taylor: Ebony, 20.7mm–22.3mm neck depth

Lowden: Ebony, 21.7mm–22.9mm neck depth, vintage frets

Electronics

Taylor: Proprietary Taylor humbuckers, 2 volume, 1 tone

Lowden: Lollar Imperial humbuckers, 2 volume, 1 tone, shoulder-mounted toggle

Bridge

Taylor: Custom aluminum, top-mounted strings, shuttle system

Lowden: Gotoh GE103B-T tune-o-matic, recessed, with tonal brass plate

Tuners

Taylor: Large-button, slightly spongy

Lowden: Gotoh 510 with ebony buttons

Tone

Taylor: Versatile, chiming, hollowbody-like; lacks distinct character

Lowden: Vibrant, acoustic-like, warm, balanced; excels in clean to mid-gain settings

Playability

Taylor: Slim neck, easy upper-fret access, modern electric feel

Lowden: Wider, acoustic-like neck, smooth but vintage frets may limit big bends

Weight

Taylor: ~8 lbs, lightweight and ergonomic

Lowden: ~8.1–8.7 lbs, well-balanced

Aesthetics

Taylor: Modern, sleek, walnut burl top, polarizing design

Lowden: Timeless, natural tonewoods, hand-rubbed oil finish, boutique appeal

Price (Original)

Taylor: ~$2,000–$3,000 (2008, estimated)

Lowden: £3,395 ($4,500 USD, 2018)

Availability

Taylor: Discontinued, rare on used market

Lowden: In production, available through select dealers

Market Reception

Taylor: Poor; proprietary parts alienated players

Lowden: Strong; praised for craftsmanship but niche due to price

Target Audience

Taylor: Collectors, Taylor enthusiasts, modern electric players

Lowden: Boutique buyers, acoustic players, singer-songwriters

Strengths

Taylor: Innovative construction, versatile tone, ergonomic design

Lowden: Exceptional craftsmanship, unique tone, premium materials

Weaknesses

Taylor: Proprietary parts, limited tonal character, no spare parts

Lowden: High price, niche appeal, less suited for heavy genres

I think GROK 3 did a great job in summarizing this. I think the Lowden GL-10 is still in production because it is positioned as very boutique and niche, but more importantly, has the support and endorsement of Ed Sheeran.  This is likely what keeps it afloat, as well as the high premium price. It’s definitely a Veblen good (demand goes up as price goes up due to its exclusivity and positioning as a luxury item).

The Taylor SB-C1 did not have such an endorsement and did not position itself so high. The proprietary parts also likely discouraged people from investing in the platform, and the timing of the introduction in 2008 (in the midst of the financial crisis) likely did not help.

I’ve also listened to YT videos of the GL-10 guitar and there’s nothing special about it.  The Lollar Imperials are likely the best thing on it that contributes the most to the tone.  But you can get those in an Eastman SB59/v which I think is a superior electric guitar, even to many custom Les Pauls. ]]> I was noticing the similarities between the Taylor SB-C1 Custom (long discontinued) and the Lowden GL-10

Taylor SB-C1 Custom Walnut                                     Lowden GL-10 Walnut


Here is Grok 3 Assessment.

Brand Philosophy

Taylor: Modern electric guitar with acoustic-inspired resonance; innovative but proprietary design

Lowden: Boutique electric with acoustic craftsmanship; emphasizes natural tone and sustain

Body

Taylor: Sapele, chambered, walnut burl laminate top, ~46mm depth tapering to ~30mm

Lowden: Mahogany with premium top (e.g., koa, ziricote), ~42mm depth tapering to ~32mm

Neck

Taylor: One-piece sapele, T-Lock single-bolt joint, 42.8mm nut, 12" radius

Lowden: Five-piece mahogany, C-shape, 43mm nut, 630mm scale, 12" radius

Fretboard

Taylor: Ebony, 20.7mm–22.3mm neck depth

Lowden: Ebony, 21.7mm–22.9mm neck depth, vintage frets

Electronics

Taylor: Proprietary Taylor humbuckers, 2 volume, 1 tone

Lowden: Lollar Imperial humbuckers, 2 volume, 1 tone, shoulder-mounted toggle

Bridge

Taylor: Custom aluminum, top-mounted strings, shuttle system

Lowden: Gotoh GE103B-T tune-o-matic, recessed, with tonal brass plate

Tuners

Taylor: Large-button, slightly spongy

Lowden: Gotoh 510 with ebony buttons

Tone

Taylor: Versatile, chiming, hollowbody-like; lacks distinct character

Lowden: Vibrant, acoustic-like, warm, balanced; excels in clean to mid-gain settings

Playability

Taylor: Slim neck, easy upper-fret access, modern electric feel

Lowden: Wider, acoustic-like neck, smooth but vintage frets may limit big bends

Weight

Taylor: ~8 lbs, lightweight and ergonomic

Lowden: ~8.1–8.7 lbs, well-balanced

Aesthetics

Taylor: Modern, sleek, walnut burl top, polarizing design

Lowden: Timeless, natural tonewoods, hand-rubbed oil finish, boutique appeal

Price (Original)

Taylor: ~$2,000–$3,000 (2008, estimated)

Lowden: £3,395 ($4,500 USD, 2018)

Availability

Taylor: Discontinued, rare on used market

Lowden: In production, available through select dealers

Market Reception

Taylor: Poor; proprietary parts alienated players

Lowden: Strong; praised for craftsmanship but niche due to price

Target Audience

Taylor: Collectors, Taylor enthusiasts, modern electric players

Lowden: Boutique buyers, acoustic players, singer-songwriters

Strengths

Taylor: Innovative construction, versatile tone, ergonomic design

Lowden: Exceptional craftsmanship, unique tone, premium materials

Weaknesses

Taylor: Proprietary parts, limited tonal character, no spare parts

Lowden: High price, niche appeal, less suited for heavy genres

I think GROK 3 did a great job in summarizing this. I think the Lowden GL-10 is still in production because it is positioned as very boutique and niche, but more importantly, has the support and endorsement of Ed Sheeran.  This is likely what keeps it afloat, as well as the high premium price. It’s definitely a Veblen good (demand goes up as price goes up due to its exclusivity and positioning as a luxury item).

The Taylor SB-C1 did not have such an endorsement and did not position itself so high. The proprietary parts also likely discouraged people from investing in the platform, and the timing of the introduction in 2008 (in the midst of the financial crisis) likely did not help.

I’ve also listened to YT videos of the GL-10 guitar and there’s nothing special about it.  The Lollar Imperials are likely the best thing on it that contributes the most to the tone.  But you can get those in an Eastman SB59/v which I think is a superior electric guitar, even to many custom Les Pauls. ]]> https://www.modernmojoguitars.com/forum/thread-380.html Mon, 30 Dec 2024 16:25:10 -0700 jtkung]]> https://www.modernmojoguitars.com/forum/thread-380.html

Unique woods (Wenge for the neck, though it is 3-piece)

Ebony fingerboard with a compound radius 12-16"

Basswood body (nothing special)

Arched body (not common)

High-end hardware throughout (Hipshot tuners, Gotoh 510 trem, nice knobs, electronics)

USA-made Schecter pickups

Tilt-back reverse headstock

At a price of $1399 USD !

This basically has features that competes with Suhr guitars which cost 3X the price!  In fact, it has features that exceed many boutique guitar models. 

  am-6.jpg (Size: 50.33 KB / Downloads: 259)

What makes this unique are the American and Japanese high-quality hardware and the Wenge neck with a tilt-back headstock and compound radius. You see this only on very high-end boutique guitars. For example, the Wenge neck is also found on the Nick Johnston Schecter USA Signature which is >$3K USD.  Though that is a 1-piece neck while the AM-6 is 3-piece, and an argument could be made that the 3-piece is actually more stable. 

So the issue is -- since this guitar is already as good as something from the USA shop, what do you do with the USA-made sig version? Well, that's the marketing problem on differentiation. The USA signature has:

• Quartersawn Roasted Maple neck (nothing special)
  
• Quartersawn Roasted Maple fretboard with fixed 16" radius fretboard
  
• Body of Alder (not Basswood on the AM-6)
  
• Non-arched body
  
• Same trem as AM-6, but custom Hipshot locking tuners and knobs (same par as Gotoh)
  
• Same pickups as the AM-6
  
• No tilt-back headstock
  
• $3500 USD
  

  schtr-7170_1_.jpg (Size: 72.83 KB / Downloads: 313)

This makes NO SENSE! The USA signature model in my opinion has features which do not make it more desirable, with some features that are easier to make than the Indonesian model. The Alder body and Roasted Maple neck and the custom tuners -- make it an upcharge of $2100 USD?  Note that an Alder body is likely more costly than Basswood, but when it comes to a high-gain guitar, Basswood is actually much more common (see Ibanez) vs Alder which is used more on a vintage Strat-style.  And a roasted Maple neck is not superior (or as costly) to a Wenge neck.  The arched body and compound radius neck are harder to make on the AM-6. Finally, the normal items which make American guitars much more expensive (and contribute to the tone) are the hardware and the pickups.  But they are the SAME.   I also think the Indonesian model looks better with the color theme and the ring inlays. They really missed the mark on the marketing here.  I don't blame them though. The Indonesian model is already so good -- what could the USA shop do? Not much. I guess to some folks, the Made-In-USA label is worth $2100 USD extra?  No way in my book.]]>

Unique woods (Wenge for the neck, though it is 3-piece)

Ebony fingerboard with a compound radius 12-16"

Basswood body (nothing special)

Arched body (not common)

High-end hardware throughout (Hipshot tuners, Gotoh 510 trem, nice knobs, electronics)

USA-made Schecter pickups

Tilt-back reverse headstock

At a price of $1399 USD !

This basically has features that competes with Suhr guitars which cost 3X the price!  In fact, it has features that exceed many boutique guitar models. 

  am-6.jpg (Size: 50.33 KB / Downloads: 259)

What makes this unique are the American and Japanese high-quality hardware and the Wenge neck with a tilt-back headstock and compound radius. You see this only on very high-end boutique guitars. For example, the Wenge neck is also found on the Nick Johnston Schecter USA Signature which is >$3K USD.  Though that is a 1-piece neck while the AM-6 is 3-piece, and an argument could be made that the 3-piece is actually more stable. 

So the issue is -- since this guitar is already as good as something from the USA shop, what do you do with the USA-made sig version? Well, that's the marketing problem on differentiation. The USA signature has:

• Quartersawn Roasted Maple neck (nothing special)
  
• Quartersawn Roasted Maple fretboard with fixed 16" radius fretboard
  
• Body of Alder (not Basswood on the AM-6)
  
• Non-arched body
  
• Same trem as AM-6, but custom Hipshot locking tuners and knobs (same par as Gotoh)
  
• Same pickups as the AM-6
  
• No tilt-back headstock
  
• $3500 USD
  

  schtr-7170_1_.jpg (Size: 72.83 KB / Downloads: 313)

This makes NO SENSE! The USA signature model in my opinion has features which do not make it more desirable, with some features that are easier to make than the Indonesian model. The Alder body and Roasted Maple neck and the custom tuners -- make it an upcharge of $2100 USD?  Note that an Alder body is likely more costly than Basswood, but when it comes to a high-gain guitar, Basswood is actually much more common (see Ibanez) vs Alder which is used more on a vintage Strat-style.  And a roasted Maple neck is not superior (or as costly) to a Wenge neck.  The arched body and compound radius neck are harder to make on the AM-6. Finally, the normal items which make American guitars much more expensive (and contribute to the tone) are the hardware and the pickups.  But they are the SAME.   I also think the Indonesian model looks better with the color theme and the ring inlays. They really missed the mark on the marketing here.  I don't blame them though. The Indonesian model is already so good -- what could the USA shop do? Not much. I guess to some folks, the Made-In-USA label is worth $2100 USD extra?  No way in my book.]]> https://www.modernmojoguitars.com/forum/thread-379.html Sun, 29 Dec 2024 22:40:27 -0700 jtkung]]> https://www.modernmojoguitars.com/forum/thread-379.html


Listen to the examples. There isn't a huge difference. Neck thickness should likely be based on user playability preference and neck stability.  Once the wood is stiff enough that it doesn't dampen the string vibrations, thickness should not be an issue. Kirn mentions he hears a difference, but that's likely because of the wood he is using and the thickness gives it more stability. But using another stiffer wood would likely negate this. And of course, the pickups and electronics, as well as amp likely dominate any of this from a tone perspective.

I have Strat-style guitars with varying body woods and neck woods. Some very different -- like Wenge vs Maple for the neck woods, or Basswood vs Alder for the body woods. But using very similar single-coil pickups and electronics, they sound incredibly similar! Changing the pickups and electronics (and component values) make much more difference in the tone. The neck and body woods help in weight, playability, stability.  But way less importance on the tone.]]>


Listen to the examples. There isn't a huge difference. Neck thickness should likely be based on user playability preference and neck stability.  Once the wood is stiff enough that it doesn't dampen the string vibrations, thickness should not be an issue. Kirn mentions he hears a difference, but that's likely because of the wood he is using and the thickness gives it more stability. But using another stiffer wood would likely negate this. And of course, the pickups and electronics, as well as amp likely dominate any of this from a tone perspective.

I have Strat-style guitars with varying body woods and neck woods. Some very different -- like Wenge vs Maple for the neck woods, or Basswood vs Alder for the body woods. But using very similar single-coil pickups and electronics, they sound incredibly similar! Changing the pickups and electronics (and component values) make much more difference in the tone. The neck and body woods help in weight, playability, stability.  But way less importance on the tone.]]> https://www.modernmojoguitars.com/forum/thread-376.html Thu, 18 Jul 2024 14:42:07 -0600 jtkung]]> https://www.modernmojoguitars.com/forum/thread-376.html
What people haven't discussed so much and every guitarist knows, is that the GUITAR PICK has a huge effect on the tone, typically how the attack and transients sound.  And by physics, this is completely understood. The pick material, thickness, density and even how the pick angle is executed all impact how the initial impulse is applied to the string, and this defines the initial transient attack and tone. You can easily see this on an FFT and frequency spectrum of the string after it's plucked. And physics predicts this.  It is clear to even the most beginner guitarist that using a thin pick as opposed to a thick pick will make the tone brighter. You can hear this in an electric guitar pickup played clean, and very clearly on an acoustic guitar.  It's that prominent. 

So -- actually changing your guitar pick material, thickness, and attack angle, or shape has MORE of an effect than changing the electric guitar body wood from Alder (tonewood) to Poplar (non-tonewood). 

Now I would argue that material stiffness (likely correlates to thickness) of the pick as well as shape are most important, not necessarily the material.  Tone material for picks gets ridiculous, but it all boils down to the material properties which affect the pick attack and damping. And that is significant when it comes to sound through a pickup. Also significant is the design of the edge of the pick and shape. This determines a lot of the transient and how the string is plucked.]]>
What people haven't discussed so much and every guitarist knows, is that the GUITAR PICK has a huge effect on the tone, typically how the attack and transients sound.  And by physics, this is completely understood. The pick material, thickness, density and even how the pick angle is executed all impact how the initial impulse is applied to the string, and this defines the initial transient attack and tone. You can easily see this on an FFT and frequency spectrum of the string after it's plucked. And physics predicts this.  It is clear to even the most beginner guitarist that using a thin pick as opposed to a thick pick will make the tone brighter. You can hear this in an electric guitar pickup played clean, and very clearly on an acoustic guitar.  It's that prominent. 

So -- actually changing your guitar pick material, thickness, and attack angle, or shape has MORE of an effect than changing the electric guitar body wood from Alder (tonewood) to Poplar (non-tonewood). 

Now I would argue that material stiffness (likely correlates to thickness) of the pick as well as shape are most important, not necessarily the material.  Tone material for picks gets ridiculous, but it all boils down to the material properties which affect the pick attack and damping. And that is significant when it comes to sound through a pickup. Also significant is the design of the edge of the pick and shape. This determines a lot of the transient and how the string is plucked.]]> https://www.modernmojoguitars.com/forum/thread-374.html Fri, 15 Dec 2023 09:14:25 -0700 jtkung]]> https://www.modernmojoguitars.com/forum/thread-374.html
https://usa.yamaha.com/products/musical_...index.html


  revstar.jpg (Size: 57.76 KB / Downloads: 221)

By the way, one of the best guitarists on the planet plays a Revstar: Matteo Mancuso.  Incredible playing!

]]>
https://usa.yamaha.com/products/musical_...index.html


  revstar.jpg (Size: 57.76 KB / Downloads: 221)

By the way, one of the best guitarists on the planet plays a Revstar: Matteo Mancuso.  Incredible playing!

]]> https://www.modernmojoguitars.com/forum/thread-373.html Mon, 14 Aug 2023 09:15:52 -0600 jtkung]]> https://www.modernmojoguitars.com/forum/thread-373.html
]]>
]]> https://www.modernmojoguitars.com/forum/thread-372.html Mon, 12 Jun 2023 22:55:06 -0600 jtkung]]> https://www.modernmojoguitars.com/forum/thread-372.html
However, some luthiers reject these (Paul Reed Smith, Tyler Guitars to name a few ...) -- likely because they don't want to retool and spend the extra time or money on them. They postulate that they can hear a big difference -- some initial ping attack that is annoying, etc. and that it isn't worth it. I think it's BS.   Many people have believed this myth until they actually have tried a SS fretted guitar and found no real difference. 

I have tried this on many electrics -- and acoustic -- guitars and there's no real discernable difference in sound to me. SS frets are a key feature on many of my guitars now. 

Here's an example of this. He believed the BS myth in the beginning and had an older guitar refretted with nickel frets, but then on another guitar decided to revisit and use SS frets and record the tones before and after. It's the best test I have seen because:

• He used a guitar he is extremely familiar with in terms of playability and tone
  
• He changed to new strings before and after the refret
  
• He recorded the guitar before the refret on a Fri night, had the guitar refretted to SS on a Sat, then got it back the NEXT day and recorded it again.  This is as close to reduced delay as you can get!
  

 I would challenge anyone to hear a difference. especially if you were not told which was which.  Most of the comments mention that they couldn't hear a big difference, and neither could the player.  That is the most important part. He was specifically looking for differences and he could not really discern a difference in playability or tone!



This just shows you which luthiers really care about their customers and which care more about their bottom line and profit margins.]]>
However, some luthiers reject these (Paul Reed Smith, Tyler Guitars to name a few ...) -- likely because they don't want to retool and spend the extra time or money on them. They postulate that they can hear a big difference -- some initial ping attack that is annoying, etc. and that it isn't worth it. I think it's BS.   Many people have believed this myth until they actually have tried a SS fretted guitar and found no real difference. 

I have tried this on many electrics -- and acoustic -- guitars and there's no real discernable difference in sound to me. SS frets are a key feature on many of my guitars now. 

Here's an example of this. He believed the BS myth in the beginning and had an older guitar refretted with nickel frets, but then on another guitar decided to revisit and use SS frets and record the tones before and after. It's the best test I have seen because:

• He used a guitar he is extremely familiar with in terms of playability and tone
  
• He changed to new strings before and after the refret
  
• He recorded the guitar before the refret on a Fri night, had the guitar refretted to SS on a Sat, then got it back the NEXT day and recorded it again.  This is as close to reduced delay as you can get!
  

 I would challenge anyone to hear a difference. especially if you were not told which was which.  Most of the comments mention that they couldn't hear a big difference, and neither could the player.  That is the most important part. He was specifically looking for differences and he could not really discern a difference in playability or tone!



This just shows you which luthiers really care about their customers and which care more about their bottom line and profit margins.]]> https://www.modernmojoguitars.com/forum/thread-371.html Mon, 22 May 2023 10:54:02 -0600 jtkung]]> https://www.modernmojoguitars.com/forum/thread-371.html * Maple brighter and snappier than Roseood for the fretboard
* Ash is brighter, Alder more "resonant"

This is from ChatGPT which derives this information from all the myth and incorrect shit on the Internet.

But really it comes down to personal preference, visual look, weight, etc. Not really on tone. Physics says that the woods here make a small difference, but overwhelmed by the pickups, electronics, amp, speakers, etc.

See here:

https://www.petelacis.com/2010/07/08/ald...dio-clips/

This was done back in 2010. Listen closely and you might hear subtle differences, but almost all very small. And most definitely can be compensated by a twist of a knob on the amp. I listened to these samples on a very high-end DAC and headphones, and my hearing goes up to 15kHz (more than you can say than most older folks on TGP!).

And of course, the samples are labeled so you already know what they are and you own bias kicks in.  A listener understood this, so he downloaded the samples and randomized the playback so that he did not know which was which. A good test, like a double-blind test. Here's what he did and the conclusion:

Marcel November 19, 2013 at 2:56 am
The problem with this here is that you can see which sound sample is which guitar.
So because of personal preferences the people will definetely hear what they want to hear. See such comments like “I didn’t listen to maple necks.” Lol-Why? Does rosewood sound better? Definetely not.

So what I did for a plain objective result is this:

I downloaded your sound samples and wrote a software that does basically randomize this sound samples (divided in the 10 categories (clean/dirty)).

I ran this program like 20 times on different days and noted the results.
This may be one of the most interesting tests because it is perfectly objective.

The final result shows exactly what I thought it might. Although I always had I sample I liked the most, eventually this was every time a different sample.
So the final result was that all 4 combinations got nearly exact the same points (maple slightly more than the rosewood ones).

Why is that? Electric guitar sound (on the contrary to acoustic guitar sound) is affected by the guitar’s wood very little to almost zero. You will find guitars that have extremely small bodies and no headstock but they blow you away with their bass etc. So forget about buying the “right wood” for you guitar. It doesn’t make any difference.

My suggested combination: Alder/Maple.
Why? Alder ist usually lighter that Ash (more comfortable to wear).
And maple is a bit more resistant to dirt and damages than rosewood.

If you want to test this yourself using my software I can give it to you.

Too many times, listening tests are not conducted properly. They have to be randomized, double-blind so no bias is introduced. Once this is done, it is usually easy to see that these myths collapse.]]> * Maple brighter and snappier than Roseood for the fretboard
* Ash is brighter, Alder more "resonant"

This is from ChatGPT which derives this information from all the myth and incorrect shit on the Internet.

But really it comes down to personal preference, visual look, weight, etc. Not really on tone. Physics says that the woods here make a small difference, but overwhelmed by the pickups, electronics, amp, speakers, etc.

See here:

https://www.petelacis.com/2010/07/08/ald...dio-clips/

This was done back in 2010. Listen closely and you might hear subtle differences, but almost all very small. And most definitely can be compensated by a twist of a knob on the amp. I listened to these samples on a very high-end DAC and headphones, and my hearing goes up to 15kHz (more than you can say than most older folks on TGP!).

And of course, the samples are labeled so you already know what they are and you own bias kicks in.  A listener understood this, so he downloaded the samples and randomized the playback so that he did not know which was which. A good test, like a double-blind test. Here's what he did and the conclusion:

Marcel November 19, 2013 at 2:56 am
The problem with this here is that you can see which sound sample is which guitar.
So because of personal preferences the people will definetely hear what they want to hear. See such comments like “I didn’t listen to maple necks.” Lol-Why? Does rosewood sound better? Definetely not.

So what I did for a plain objective result is this:

I downloaded your sound samples and wrote a software that does basically randomize this sound samples (divided in the 10 categories (clean/dirty)).

I ran this program like 20 times on different days and noted the results.
This may be one of the most interesting tests because it is perfectly objective.

The final result shows exactly what I thought it might. Although I always had I sample I liked the most, eventually this was every time a different sample.
So the final result was that all 4 combinations got nearly exact the same points (maple slightly more than the rosewood ones).

Why is that? Electric guitar sound (on the contrary to acoustic guitar sound) is affected by the guitar’s wood very little to almost zero. You will find guitars that have extremely small bodies and no headstock but they blow you away with their bass etc. So forget about buying the “right wood” for you guitar. It doesn’t make any difference.

My suggested combination: Alder/Maple.
Why? Alder ist usually lighter that Ash (more comfortable to wear).
And maple is a bit more resistant to dirt and damages than rosewood.

If you want to test this yourself using my software I can give it to you.

Too many times, listening tests are not conducted properly. They have to be randomized, double-blind so no bias is introduced. Once this is done, it is usually easy to see that these myths collapse.]]> https://www.modernmojoguitars.com/forum/thread-370.html Wed, 17 May 2023 08:07:16 -0600 jtkung]]> https://www.modernmojoguitars.com/forum/thread-370.html
Note his trademark asymmetric body and modern construction (aluminum beam neck attachment) yet still harkens back to traditional guitars and antique instruments with the finish and wood choice.  These are the only electric guitars in existence that have this unique neck attachment.

Strat-style.


  lavoie strat.jpg (Size: 137.8 KB / Downloads: 254)

LP-style


  lavoie lp.jpg (Size: 129.79 KB / Downloads: 262) ]]>
Note his trademark asymmetric body and modern construction (aluminum beam neck attachment) yet still harkens back to traditional guitars and antique instruments with the finish and wood choice.  These are the only electric guitars in existence that have this unique neck attachment.

Strat-style.


  lavoie strat.jpg (Size: 137.8 KB / Downloads: 254)

LP-style


  lavoie lp.jpg (Size: 129.79 KB / Downloads: 262) ]]> https://www.modernmojoguitars.com/forum/thread-367.html Wed, 01 Feb 2023 17:03:11 -0700 jtkung]]> https://www.modernmojoguitars.com/forum/thread-367.html 2966036592 / TRANSPARENT PURPLE BURST



I like this guitar overall.

https://www.charvel.com/gear/shape/so-ca...2966036592

I was trying to figure out how it costs a lot less than a typical USA-made boutique super-strat when it has all the same features.  I found an image of the back of the headstock, and it is made in Mexico.  This is why it's only $1599.  A USA-made guitar like this is well over $3K.

I would have liked to have seen Stainless Steel frets and a Ebony or Rosewood fingerboard, and locking tuners, though I guess it doesn't need that with the locking nut!. But overall, it does have excellent hardware and the EMG pickups which add more cost.

Still, I think the Schecter AM-6 is a better deal at $1399 because of the awesome Wenge neck, Ebony fingerboard, SS frets, and locking tuners!]]> 2966036592 / TRANSPARENT PURPLE BURST



I like this guitar overall.

https://www.charvel.com/gear/shape/so-ca...2966036592

I was trying to figure out how it costs a lot less than a typical USA-made boutique super-strat when it has all the same features.  I found an image of the back of the headstock, and it is made in Mexico.  This is why it's only $1599.  A USA-made guitar like this is well over $3K.

I would have liked to have seen Stainless Steel frets and a Ebony or Rosewood fingerboard, and locking tuners, though I guess it doesn't need that with the locking nut!. But overall, it does have excellent hardware and the EMG pickups which add more cost.

Still, I think the Schecter AM-6 is a better deal at $1399 because of the awesome Wenge neck, Ebony fingerboard, SS frets, and locking tuners!]]> https://www.modernmojoguitars.com/forum/thread-366.html Wed, 01 Feb 2023 16:54:44 -0700 jtkung]]> https://www.modernmojoguitars.com/forum/thread-366.html Nick Johnston Traditional HSS $899 USD


  NJ Trad.png (Size: 294.27 KB / Downloads: 247)

Aaron Marshall AM-6 $1399


  am-6.png (Size: 319.4 KB / Downloads: 255) ]]> Nick Johnston Traditional HSS $899 USD


  NJ Trad.png (Size: 294.27 KB / Downloads: 247)

Aaron Marshall AM-6 $1399


  am-6.png (Size: 319.4 KB / Downloads: 255) ]]> https://www.modernmojoguitars.com/forum/thread-365.html Mon, 28 Nov 2022 07:33:07 -0700 jtkung]]> https://www.modernmojoguitars.com/forum/thread-365.html
The same goes for the instruments we play.  Take for example guitars. Big hollow bodies like a Gibson L5 or a semi-hollow like a ES-335 just give the image of jazz.  So jazz musicians gravitate towards these. Can a good solid-body electric with the right pickups, EQ, amp, and speakers deliver similar results? Yes! But do artists use different guitars for jazz? Not really.  Both the audience and performer are affected by image.

Years ago, Andy Summers in an interview discussed his works and performance with Ban Verdery. I can't quite find that article, but essentially he said:

• Uses his Klein electric for modern music
  
• Uses the ES-335 for jazz
  
• Uses the Tele for rock (The Police)
  

Note how each guitar type fits the image of the music he is making.  There's absolutely no doubt that with the technology today, you can replicate these tones with only one guitar.  But it doesn't fit the IMAGE that the music is associated with. And this also affects the performer. If they don't feel comfortable, the music won't be good. But notice it has NOTHING to do with the actual sound, tone, or playability of the guitar. It is the VISUAL IMAGE it projects that is prominent. 

Fast forward to today's music in 2022. The Gen Z young crowd tends to play Fender. The old boomer crowd plays Gibson. This is due to marketing and image. The Gibson Les Paul is marketed to an older, vintage, blues/rock crowd and the signature artists are all over 50.  This is "Dad" rock to the younger generation. They don't want to be associated with this image.  Fender has done a much better job associating their models with younger artists and hence the image of a Strat, Jazzmaster, Jaguar, etc. is preferred for the Gen Z ers. It is powerful how people choose their guitars based on image -- not on sound, playability, etc.  I can understand if you simply don't like the look of the guitar -- maybe it's too pointy, too unwieldy, too small or large. But note how many people don't like something because it projects an image that is associated with something they don't like.  This is the power of marketing and image.]]>
The same goes for the instruments we play.  Take for example guitars. Big hollow bodies like a Gibson L5 or a semi-hollow like a ES-335 just give the image of jazz.  So jazz musicians gravitate towards these. Can a good solid-body electric with the right pickups, EQ, amp, and speakers deliver similar results? Yes! But do artists use different guitars for jazz? Not really.  Both the audience and performer are affected by image.

Years ago, Andy Summers in an interview discussed his works and performance with Ban Verdery. I can't quite find that article, but essentially he said:

• Uses his Klein electric for modern music
  
• Uses the ES-335 for jazz
  
• Uses the Tele for rock (The Police)
  

Note how each guitar type fits the image of the music he is making.  There's absolutely no doubt that with the technology today, you can replicate these tones with only one guitar.  But it doesn't fit the IMAGE that the music is associated with. And this also affects the performer. If they don't feel comfortable, the music won't be good. But notice it has NOTHING to do with the actual sound, tone, or playability of the guitar. It is the VISUAL IMAGE it projects that is prominent. 

Fast forward to today's music in 2022. The Gen Z young crowd tends to play Fender. The old boomer crowd plays Gibson. This is due to marketing and image. The Gibson Les Paul is marketed to an older, vintage, blues/rock crowd and the signature artists are all over 50.  This is "Dad" rock to the younger generation. They don't want to be associated with this image.  Fender has done a much better job associating their models with younger artists and hence the image of a Strat, Jazzmaster, Jaguar, etc. is preferred for the Gen Z ers. It is powerful how people choose their guitars based on image -- not on sound, playability, etc.  I can understand if you simply don't like the look of the guitar -- maybe it's too pointy, too unwieldy, too small or large. But note how many people don't like something because it projects an image that is associated with something they don't like.  This is the power of marketing and image.]]> https://www.modernmojoguitars.com/forum/thread-364.html Thu, 24 Nov 2022 10:30:51 -0700 jtkung]]> https://www.modernmojoguitars.com/forum/thread-364.html
https://www.thegearpage.net/board/index....t-27818274

Physics says you DO NOT WANT a resonant body or neck. This does nothing for the string vibration, or in fact, can kill the sustain. It is the acoustic properties that resonance affects, but we don't care about that for ELECTRIC GUITARS!

Some good links to read:

• https://www.researchgate.net/publication...ic_guitars
  
• http://acoustics.org/pressroom/httpdocs/...scher.html
  
• https://www.thegearpage.net/board/index..../27774095/
  
• https://www.premierguitar.com/articles/2...-resonance
  

From the last article:


What we’ve learned. Returning to the systems we summarized a moment ago, both would immediately eat up energy from the string’s signal once we’d hit the few frequencies they are tuned to. All physical instruments will have some inevitable resonances and dampening, which is the main reason why there are so many instruments that sound different. But for a solidbody electric, the whole notion of increasing sustain with resonant tonewoods or letting a string send its vibrations into the body to resonate before returning to the string is pretty much nonsense.

You’d think if one of the resonance-enhancing systems worked as promised, it would have generated at least some reaction from owners by now. It hasn’t, which gives us an idea of a body’s tonal influence on a solid electric instrument ... obviously not that much.]]>
https://www.thegearpage.net/board/index....t-27818274

Physics says you DO NOT WANT a resonant body or neck. This does nothing for the string vibration, or in fact, can kill the sustain. It is the acoustic properties that resonance affects, but we don't care about that for ELECTRIC GUITARS!

Some good links to read:

• https://www.researchgate.net/publication...ic_guitars
  
• http://acoustics.org/pressroom/httpdocs/...scher.html
  
• https://www.thegearpage.net/board/index..../27774095/
  
• https://www.premierguitar.com/articles/2...-resonance
  

From the last article:


What we’ve learned. Returning to the systems we summarized a moment ago, both would immediately eat up energy from the string’s signal once we’d hit the few frequencies they are tuned to. All physical instruments will have some inevitable resonances and dampening, which is the main reason why there are so many instruments that sound different. But for a solidbody electric, the whole notion of increasing sustain with resonant tonewoods or letting a string send its vibrations into the body to resonate before returning to the string is pretty much nonsense.

You’d think if one of the resonance-enhancing systems worked as promised, it would have generated at least some reaction from owners by now. It hasn’t, which gives us an idea of a body’s tonal influence on a solid electric instrument ... obviously not that much.]]> https://www.modernmojoguitars.com/forum/thread-363.html Wed, 23 Nov 2022 14:18:54 -0700 jtkung]]> https://www.modernmojoguitars.com/forum/thread-363.html
There is a method called top wrapping where the  strings wrap on top of the tailpiece and around into the tailpiece. This can allow a smaller break angle. Some people lower the tailpiece also to fit snug on the body.

From a physics point of view, this allows a different break angle and this has been shown to affect the tone, but only after a certain angle. 

However, listen to this article from Seymour Duncan on why people do this:

https://www.seymourduncan.com/blog/tips-...p-wrapping

String Slinkiness
Top-wrapping creates a shallower break angle over the bridge saddle, since the strings pass from the top of the bridge instead of halfway through it, and many players report that their strings feel looser and slinkier as a result. The idea is that with the shallower break angle, the strings are free to move more easily over the bridge when you bend. By the way, as with any setup, it’s a good idea to use some kind of lubricant at the saddles and nut slots.

--> OK this makes sense.   Though it can be proven that beyond a certain break angle, there is no real effect. 

Sustain
Secondly, players report an increase in bottom end and sustain when they top-wrap, and they attribute this to the fact that the tailpiece is screwed right down against the body, creating a more efficient transfer of energy from the string into the body, and from the body back into the string.


--> This makes NO sense. The string vibrations are mostly transferred through the saddles and bridge -- NOT the tailpiece. Even if that were the case, how do you get MORE sustain if string energy is transferred to the body? This is NOT an acoustic guitar! If string energy is transferred to the body, there's less energy in the string. Sustain is from the pickup sensing this string vibration energy, so there's less sustain, not more! Then they talk about energy transfer back into the strings!  It is doubtful this has much effect. Such garbage.  They really don't understand the physics of an electric guitar.  But few do, and the myths continue.]]>
There is a method called top wrapping where the  strings wrap on top of the tailpiece and around into the tailpiece. This can allow a smaller break angle. Some people lower the tailpiece also to fit snug on the body.

From a physics point of view, this allows a different break angle and this has been shown to affect the tone, but only after a certain angle. 

However, listen to this article from Seymour Duncan on why people do this:

https://www.seymourduncan.com/blog/tips-...p-wrapping

String Slinkiness
Top-wrapping creates a shallower break angle over the bridge saddle, since the strings pass from the top of the bridge instead of halfway through it, and many players report that their strings feel looser and slinkier as a result. The idea is that with the shallower break angle, the strings are free to move more easily over the bridge when you bend. By the way, as with any setup, it’s a good idea to use some kind of lubricant at the saddles and nut slots.

--> OK this makes sense.   Though it can be proven that beyond a certain break angle, there is no real effect. 

Sustain
Secondly, players report an increase in bottom end and sustain when they top-wrap, and they attribute this to the fact that the tailpiece is screwed right down against the body, creating a more efficient transfer of energy from the string into the body, and from the body back into the string.


--> This makes NO sense. The string vibrations are mostly transferred through the saddles and bridge -- NOT the tailpiece. Even if that were the case, how do you get MORE sustain if string energy is transferred to the body? This is NOT an acoustic guitar! If string energy is transferred to the body, there's less energy in the string. Sustain is from the pickup sensing this string vibration energy, so there's less sustain, not more! Then they talk about energy transfer back into the strings!  It is doubtful this has much effect. Such garbage.  They really don't understand the physics of an electric guitar.  But few do, and the myths continue.]]>