Posts Tagged ‘Acoustic Guitars’

The ideal go everywhere guitar

Tuesday, August 28th, 2012

The Composite Acoustics (CA guitars) GX with electronics is truly the doing anything anywhere guitar with tone, playability and exceptionally good looks. From a Black Tie event, to sitting on the beach by a campfire, this is your guitar. And while it’s a great thing that all Composite Acoustics guitar are impervious to climate and humidity, the best part is truly the amazing acoustic and organic tone from these fine guitars.
If you don’t own one yet, do yourself a favor and get a guitar that is truly the guitar of a lifetime!

September Newsletter Online Today!

Tuesday, September 1st, 2009

Check out our September Newsletter premiering today online. We have dubbed it our “travel issue”.

FOLLOW THIS LINK TO DOWNLOAD OR PRINT NEWSLETTER

Or view in Fullscreen below:

Thank You Mr. Buffett

Wednesday, August 19th, 2009

And before you think too fast on this and who could blame you, this being a guitar related blog and all, I am not referring to the Mr. Buffett who gave us the advice to waste away in Margaretville or get drunk and screw. All valid nuggets of advice for sure, but to the other well known Mr. Buffett, as in Warren. He said:

“Value is what you get.”

And though the former Mr. Buffett’s quotes are a lot more fun than thought provoking, I thank the latter Mr. Buffet, for giving me an entry into this post, with his idea of value. What is value and how can one place value when it comes to buying a guitar? It is one of the oldest tricks we play on ourselves when squelching the call of that demanding mistress known as Guitar Acquisition Syndrome, or G.A.S. We convince ourselves that what we are about to acquire is indeed a good value and no logical person would pass it up. But do you really consider the value of your purchase and if you wanted to take a step back and consider value in terms of buying a guitar, what questions would you ask yourself?

When it comes to buying a guitar value can be debated in many contexts.

Picture an empty school gym and a circle of chairs. Got it. Now picture that guy standing there in middle saying, “My name is…and I am a G.A.S. addict”. That guy, he was me. I never really had an understanding the idea of the value of my instruments. My concept of value was strictly in the context of the cheapest for the money and ability to add my ever-growing collection of guitars. I was proud of the size of my collection. I was proud of the perceived value of the total out of pocket cost to acquire that collection but then one day I had a realization. I was not proud of the build quality of the instruments or the differences in the tone woods to provide for a variety of sounds. And more importantly I was not proud of how they made me sound as a player or the inspiration they inspired in my playing. This is when I took a huge leap of faith, for me at least. I sold the collection and set out to discover the idea of value.

Resale Value

Sadly this was the first lesson I learned. The old saying, you get what you pay for, when you go to sell it, you get half of that in most cases if you are lucky. Although we all hope to bond with our guitars and forge a partnership for life with it.  You may at some point have the opportunity to sell that guitar. When purchasing a guitar, resale value should not be your leading cause for purchase but it is okay to consider that option and what return you will have on your investment should the occasion arise. The general rule I have discovered and feel safe in backing, the better your instrument in terms of build quality, tone woods, reputation of builder, the better your odds for recouping more of your initial cost. So that lower priced import may seem like a bargain today but in the life of the guitars investment will it really be? If you buy a $300 guitar today but can only sell it for $100 in a year, is that a better value than the $700 guitar that you could sell for $500 in 4 years?

 

Quality Value

There is a reason we have a booming vintage market today. Builders build their guitars to last. Inflated for today’s dollar, these guitars would not be in our current market what we reflexively label as value models. Now that is the perceived fiscal value of a lower cost to acquire, but when we consider the quality of the build versus out of pocket expense, you can begin to see the true value of the guitar. If you ever have the opportunity to visit the factories of a higher end builder, take the tour, once you see how much goes into the construction of your guitar you will begin to see where the value in building quality begins to take shape. Again a $300 guitar that last a few years versus a $1000 guitar that will last a 100 years. Which guitar has better value in that context?

 

Personal Value

Now this is a question that lacks a chart or diagram that I can point you towards to understand the concept. The personal value that the guitar brings to you can only be quantified and assessed by you. I must confess that I took a break from writing this and strummed a few chords on one of my, what I considered to be expensive guitars when I bought it. And even all this time later I still get goose bumps when I play it. How can I associate a value with that? Your guitar is an investment in you. It is in investment on what Cameron Crowe called “pure joy”. If you take your answers to the above mentioned questions raised in this post:

Is it a good investment financially? Is it a quality build that will act as a better tool for my passion for music?

Add them together and  you may begin to see where you can create and define that value to yourself. That personal value, that pure joy you get when you play the guitar. Now, one can certainly argue that the act of playing music is in of itself the goal, but I would argue that given the right tools, any passion can be amplified to the next level and you may find yourself stopping one day after all of the stress and worry of buying that “more expensive” guitar is over, and say, wow I did not realize I had it in me. The idea of the muse inspiring art has been around since, well, art.

Value is what you get. And at the end of the day no one can really help you come to terms with the value you get from your instrument purchase, there are plenty of logical rational arguments that can help ease your mind of what ever worry you may have to bear down on, but at the end of the day, all I ask is that you take a step back and ask yourself those questions. The goal of music is to inspire. I want to be inspired when I play it and I want to be inspired when I hear it. And to get both, we here at Guitar Adoptions want to make sure you are getting the best value for your dollar and more importantly, the best value for your soul. The next time sticker shock raises it ugly head, take a breath and remember what Mr. Buffet said:

Come Monday it will be all right………

If Larrivee Builds It, Can a Zebra Change It’s Stripes?

Thursday, July 23rd, 2009

Okay, yes I know that it is popular theory that a Zebra can not change its stripes. However Larrivee can build a guitar from Zebrawood that may make you wish your current guitars tone wood would change its stripes.

Larrivee has introduced two limited run guitars, the Larrivee LS-03 and the Larrivee L-03 Zebrawood.

The Larrivee LS-03 differentiates itself from the Larrivee L-03 with the “S” designation indicating a smaller body size than the standard Larrivee “L”. The Larrivee LS-03 also is built with Rosewood body binding instead of the Maple used on the Larrivee L-03. Other Specs include:

  • Single Piece Mahogany Neck (S. American)
  • Canadian Sitka Spruce Soundboard
  • African Ebony Fretboard & Bridge
  • Rosewood Body Binding
  • Herringbone Rosette
  • Symmetrical X-Bracing
  • Dovetail Neck Joint
  • Ping Tuners (18:1 Ratio) with Chrome buttons
  • Ivoroid Fretboard Binding
  • Microdot Fretboard Inlays
  • Ebony Bridge Pins w/ Abalone Center
  • Traditional Larrivee Tortoise style Pickguard
  • Cleartone Light Gauge Strings
  • Will Handle Medium Gauge Strings
  • Limited Lifetime Warranty
Larrivee LS-03

Larrivee L-03 Zebrawood

If you are not familiar with Zebrawood as a tone wood, may I recommend that now, might be a good time to introduce yourself. Zebrawood is rosewood that shares the land with its name sake in western and central Africa. It is a dense wood that can be difficult to work with but worth the time and effort for its tone and appearance. If you have skipped down to sneak a look at the pictures, you can see why it is called Zebrawood. The brown and black lines against the back drop of tan give it the appearance of a famously stripped African equid. As for its tone it has been said to be comparable to Indian rosewood but perhaps a bit woodier with a full tone and subtle notes. Some specs on the Larrivee L-03 Zebrawood:

  • All solid wood construction
  • Zebrawood (African Microberlinia) Back & Sides
  • Single Piece Mahogany Neck (S. American)
  • Canadian Sitka Spruce Soundboard
  • African Ebony Fretboard & Bridge
  • Rosewood Body Binding
  • B/W/B Rosette
  • Symmetrical X-Bracing
  • Dovetail Neck Joint
  • Rounded Larrivee Headstock
  • White Wood-Fiber Inlaid Logo
  • Chrome Tuners (18:1 Ratio)
  • Ivoroid Fretboard Binding
  • Microdot Fretboard Inlays
  • Traditional Larrivee Tortoise style Pickguard
  • D’addario Light Gauge Strings
  • Will Handle Medium Gauge Strings
  • Limited Lifetime Warranty
Larrivee L-03 Zebrawood

Larrivee L-03 Zebrawood

Did you notice earlier when I did this, “limited run”. Well yes that is indeed a method to my madness there, as I certainly wanted to draw to your attention these are indeed are limited run guitars with only 60 of the Larrivee LS-03 and 6, yup I said 6, of the Larrivee L-03 Zebrawood built. I would make a bet that in a race, a real Zebra would not be gone as fast as the Zebrawood model, so act now, as they say and order yours today from Guitar Adoptions, where both of these guitars are being offered at special pricing.

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Larrivee L-03 Zebrawood Side View

Larrivee Brings the Whole Hog Back to the Parlor, And It Ain’t BBQ

Friday, July 17th, 2009

Summer NAMM 2009.

Just in case you don’t get my reference, in the world of guitar tone woods Mahogany has been known to be short handed as Hog, as in an all Hog guitar.

Larrivee P-03 Parlor

Larrivee P-03 Parlor


Larrivee re-introduces the P-03 model Mahogany Parlor for a limited time. The P-03 comes with a an impressive list of specs.

  • Satin finish
  • Solid Mahogany back and sides (South American)
  • All solid wood construction
  • 3 piece South American Mahogany Dovetail Neck
  • Canadian Sitka Spruce Soundboard
  • African Ebony Fretboard & Bridge
  • Flamed Canadian Maple Body Binding
  • Symmetrical X-Bracing
  • Dovetail Neck Joint
  • Rounded Headstock
  • Ping “Mini” Tuners (18:1 Ratio) with Chrome buttons
  • Tortoise pick-guard
  • Herringbone Rosette
  • Ivoroid Fretboard Binding
  • Silver Microdot Fretboard Inlays
  • D’addario Medium Gauge Strings
  • Tusq nut and saddle
  • Larrivee hard shell case

Larrivee started building their first Parlor guitars on July 6th, of 1999. Today the Larrivee Parlor has become the parlor guitar by which all others are measured. Quality, tone, workmanship, and playability– all wrapped-up in an affordable package! And now for a limited time, the reintroduction of the satin Parlor that started it all.

It is time to throw on your bib, grab some wet wipes and dig into this Hog coming soon to Guitar Adoptions.

Rosewood and Mahogany

Thursday, July 2nd, 2009

Or How I Stopped Worrying and Loved the Guitar

So you have taken the first step in getting a new guitar. Great! What now? Let’s talk about tone woods. You may have heard, “Rosewood or Mahogany?” in your great search for that new guitar. And I would bet that you stopped and wondered to your self, “Which is better?” Well for guitar makers and players all over the world it has kind of become the wooden equivalent of the Coke or Pepsi challenge.

Seek and ye shall find a large pool of opinions and debates and downright arguments when it comes to Rosewood V. Mahogany but as a new buyer or a player who has come to the realization that the wood from whence the guitar is built can affect the sound that shimmers forth when you strum that G chord. Is there a simple way to understand this age old debate? The simple answer is…hopefully.

Step One: Understanding the tone.

Mahogany has a long history of use in the building of guitars due to its natural strength and its ability to create dark, warm tones. In your search you will also find words thrown about describing Mahogany as, woodsy and less complex with a great midrange and an attack that rolls of quickly. Rosewood also has a hold on history as a tone wood in guitar construction. Rosewood is known for its striking looks and ability to create bright tones. You will also hear words such as articulate and complex with more sustain, overtones, and a fuller bottom end and treble range. The short and the sweet of it, is that your ears are the final authority on how the guitar sounds, but these descriptors are a fairly good survey of players and builders from around the world, describing how they interpret the sound of these two tone woods.

Larrivee D-50 Traditional

Larrivee D-50 Traditional

Step Two: Chasing the tone.

With a solid wood, well built guitar you may have a harder time detecting a dramatic difference in the tone woods and luckily there are few really great builders out there who understand the affect of these woods on tone. The great builders offer the same models built using Rosewood and Mahogany, a great way to experiment with your understanding of tone. Larrivee offers their D-03 model in Mahogany or the D-03R, in Rosewood. This model represents a great value and provides you the option to choose either tone wood using the same build. Guild offers their D40 Bluegrass in a Mahogany, while the D-50 Bluegrass will cover your Rosewood needs. You may also look at different styles of guitar. Morgan offers their Grand Concert with Mahogany but uses Rosewood on its Traditional Dreadnought and Traditional Jumbo guitars. You can also look to different builders to compare, take the Larrivee 000-50, a Mahogany guitar and compare it to the Northwood R80-MJ, a Rosewood guitar. The idea here is in chasing the tone, you have a variety of builders and price points to compare before settling on which tone wood works best for you. In the end, as much as we all may resist it, you will end up getting one of each.

Northwood R80-00 14 fret

Northwood R80-00 14 fret

Ultimately one can not be told which is better and why because this is such a subjective, user experience. The question should not be “Which is better Rosewood or Mahogany?”, but rather “Which wood moves you, the player the most?” Every great player or great builder is in search of the tone. That sound that grabs you and inspires you to put string to wood and make that connection with all things music.

This where the “hopefully” comes into when seeking an answer to the question of the differences between Rosewood and Mahogany, for there really is no definitive answer to that question. You can pick up on some of the ideas of tonal differences, Mahogany being warmer or Rosewood being brighter, and these ideas are a great place to start. But at the end of the play (as in the guitar), only you can decide which wood you prefer. But remember that in the eternal debate of Coke or Pepsi, both, in their own right will satisfy your thirst. And in quenching the parchment of musical desire, we are all lucky to have builders like Larrivee, Guild, Northwood and Morgan offer a variety of models to sate our need.

And to think you have not even gotten into body shapes and bracing patterns, but that, is for another discussion….

How to Choose an Acoustic Guitar Part 1 – The Basics

Thursday, June 25th, 2009

Buying an acoustic guitar doesn’t have to be intimidating. Many guitarists will tell you the process of buying a guitar can be almost as fun as owning one. Guitar Adoptions offers a broad range of acoustic guitars including models from Larrivee, Morgan, Guild, and Northwood Guitars. But how do you decide which is right for you?


First, think about how you will be using the guitar. Consider what styles you’d like to play. Will you use it for performing on stage or playing at home? Think about some guitarists you admire and find out what kind of guitar they play. This will help you identify the kind of sound you are looking for.

Next, learn what choices you’ll be faced with in along the way. Here are a few of the most important things to consider.

Body Size – If you are new to guitars, you may have never noticed that guitars come in many different shapes and sizes. Big guitars, like the D-Series dreadnought from Larrivee Guitars, provide lots of volume along with plenty of bass. Smaller guitars are more comfortable and are more tonally balanced. Also, most guitars are identified as either 12-fret or 14 fret-models. This means that the neck joins the body at either the 12th or 14th fret. While they give up access to a couple of frets, many people feel 12-fret guitars, like the Northwood FM80-12-00, offer a little something extra in the tone department. See Part 2 of this series for a more in-depth discussion of body sizes.

Tonewoods – The way a guitar sounds, or its tone, is a direct result of the materials it is made of and how it is built. Higher quality guitars are made of solid woods while some lesser expensive models may be built with laminates or composites. The wood used for the top of the guitar is most important. Two popular top woods are Canadian Sitka spruce (Jean Larrivee’s favorite wood) and western red cedar, which is used on several of the Morgan and Northwood guitar models. Each offers its own unique tonal qualities. The woods used for the back and the sides add flavor to the sound created by the top. The most common back and side woods are rosewood and mahogany. In addition to these, there are more exotic woods available that have their own tonal and visual qualities. In Part 3 we will take a deeper look at guitar woods.

Neck Profile and Nut Width – Even if a guitar sounds great, you won’t keep it long if it is uncomfortable to play. The neck profile refers to the shape of the neck and how it feels to your hand when you play. Necks can be oval shaped, v-shaped, or even C-shaped. The nut width refers to how wide the fingerboard is at the end of the neck near the nut. This can range anywhere from 1-5/8” to over 2” on classical guitars. Bluegrass players like a narrower fingerboard because it brings the strings a little closer together, making it easier for fast picking. Fingerstyle players usually like a wider nut because it allows more room to move on the fingerboard. For the ultimate fingerstyle guitar, take a look at the Larrivee LSV-11 model.

Scale Length – Scale length is a measurement of the distance from the nut to the saddle on the guitar. Why is this important to you? The scale dictates the tension on the strings and the spacing of the frets. For most beginners, a standard scale guitar (around 25.4”) is just fine. It’s what most people play. A short scale guitar measures 24.9” or less. Short scale guitars have slightly less string tension and might not be as loud. But if you have small hands or like to finger complicated chords, then a short scale guitar is worth looking into. The popular Larrivee P-05 and P-09 Parlor guitars come with a scale length of 24”.

Electronics – There are many different kinds of pickups that can come either factory-installed or be mounted after you buy the guitar. Many manufacturers also include volume controls and equalizers. Choose an acoustic-electric model if you’ll need to be plugging in for performing or recording. But keep in mind that pickups can easily be added at a later date too. Many of our Larrivee models come with L.R. Baggs pickup systems. Look for the letter “E” on the end of the model. For example, a Larrivee L-03 with a pickup system is called a L-03E.

Action and Intonation – The action on a guitar is the height of the strings above the fingerboard. If the action is too low, the strings will buzz when fretted. If it is too high, the guitar will be difficult to play. In addition, many players do not know that low action will also reduce string vibration and reduce the sound quality of their guitar. Intonation refers to the ability of the guitar to play in tune over the entire fingerboard. Setting the intonation is best left up to a guitar tech. You will find that all the quality builders that Guitar Adoptions carry do a exemplary job of setup and intonating at the factory.

Humidity and Heat – Guitar Adoptions offers acoustics made of the highest quality woods. If not properly humidified, the guitar could dry out and, if left alone for too long, crack or suffer neck issues. But don’t worry; with just a little information you can learn to take good care of your guitar. It will probably outlast you! Check out our article on proper Care and Feeding of your guitar.


** See how the end of the fretboard is sinking into the soundhole? See the gap under the fingerboard by the side dot? All caused by very low humidity **
Finally, it is critical to find a dealer who is knowledgeable and is able to work with you as you choose. Contact Dave at Guitar Adoptions for practical and honest advice on which acoustic is best for you.