#ACOUSTIC Guitars (real)
18 messages in this thread
Martin,
Yeh, I'm getting it. No pun intended, but being in CA and all, you don't know a
dealer I can get a good Martin guitar from do you? I need that for the demo
too.
Terry
Terry,
>> know a dealer I can get a good Martin guitar from do you? <<
No, sorry. Not my department <g>.
Terry,
PMJI, but I've seen a Larrivee dreadnought mesh. Or were you looking
for a real, hold in you hand Martin? In the latter case, I'd recommend either
McCabe's Guitar Shop in Santa Monica, CA, or could buy something nicer. I
opted for one built by Don Musser (student of David Russell Young)- cheaper,
better, & built in lower humidity (19%, Martin's at about 28%). None of that
plastic edge binding.
Kevin Krell – Computer Support Associates
The Larrivee Acoustic guitar mesh is over in ASHOWCASE as AC-GUI.ZIP from Gary
K. Sim [71175,2104], Library 5. Nice model. I'd suggest contacting Mr. Sim at
the above # for any permission restrictions.
Kevin Krell – Computer Support Associates
Kevin,
>> Or were you looking for a real, hold in your hand Martin? <<
Yes a real one. I was wondering myself, after posting that, if folks would be
unclear if I was looking for a mesh or not. <g> The Don Musser thing sounds
interesting, you wouldn't have a phone number for the shop you could E-mail
would you? By cheaper, I'm assuming you are talking in the $1500 range? Does he
use Martin specs like the Sigma copy, or is this his own design?
Thanks Kevin, man, there is just no END to the information one can get in this
forum. <g>
Terry
Terry,
Real guitars: In Los Angeles, I recommend McCabe's Guitar Shop (been
there about 30+ years, I think) @ 3101 Pico Blvd. in Santa Monica @
310/828-4497. When I moved back to L.A. in 1980, I was looking to spend my
whopping $1500/month salary on a new guitar (I had a Yamaha 6-string
dreadnought rescued from the Cotati summer sun, which eventually warped from
its previous owners mistreatment). I looked at Martins, but price then was
about $1800 for a decent one, WITH plastic edge binding (which separates, by
the way) and not really very seasoned wood. The necks have adjustment rods,
but using them creates an 'S' curve in the higher frets. At that time, I'd
given up on completing one I was trying to build according to David Russell
Young's book (he was a curator @ UCLA's musical instrument museum). These use
a steel or graphite rod as passive resistance to warping. Don Musser was an
apprentice, and had begun building his own guitars. McCabe's had a Musser, but
it had a redwood top and East Indian rosewood (about $1500). I liked the neck
feel and playability, but wanted Brazilian rosewood and spruce. I gave him a
call & he came down with wood for me to pick over. I gave him specs, the type
of sound I wanted, design for a peghead inlay, etc. He built the guitar and it
was definitely better than I had even hoped for ($1200). I'm sure he gets more
now, given that many of the nice guitars at McCabes run up to $4600. Bob Dylan
bought 2 (a small-body 6 & dreagnought 12-string).
Kevin Krell – Computer Support Associates
Kevin,
>>…'S' curve in the higher frets. <<
That oughta rattle real nice. <g> Thanks for the information, I'll be
contacting them soon. I can't help but think I can do better than the prices
the shops around here ask.
Terry
Terry,
The 'S' curve thing pretty much happens with any sort of adjustable
tension bar (only if things warp enough for you to need to crank it), and
affects playability in the upper frets. I voted for the immovable object
(steel bar in the neck).
Kevin Krell – Computer Support Associates
Kevin,
>> I voted for the immovable object <<<
That sounds like the way to go. And all this time, I thought an adjustable neck
was essential. I'm going to write a letter to the shop you mentioned and let em
know what I'm looking for. First of all, to find out if they are even
interested in doing long distance business. Then we'll get down to sound design
and prices and such. Probably be a couple of days before I get around to it.
I'm trying to stitch a nose on my little critter, and it's giving me fits.
Thanks again Kevin, Terry
Boy, I'm not sure how this thread got named "Electric guitars". These are
acoustic. While it may be OK to contact McCabe's by mail (do I presume there
are no other suitable guitar store candidates closer to you?), buying a guitar
without playing it first is downright silly. So you'd have to expect to come
into L.A. once you're in the ballpark. I suppose I was pretty brave having one
custom-built, but at least I did get to test the feel of similar instruments
he'd already built, plus pick out the wood.
Kevin Krell – Computer Support Associates
Kevin,
>> Buying a guitar without playing it first is downright silly <<
Hey! I was going on your word that they made the bestest guitars in the WORLD!
<g> I bought a Guild a long time ago like this, long distance. We had a 30 day
agreement, that if all was not satisfactory, all funds would be refunded. That
would be one of the things that I would have to get them to agree to. I've
usually found music shops (if they are run by musicians) very easy to deal with
in situations like this. If nothing else, I can get some kind of base line
price to compare with the bandits around here. Besides, this is 1995 man, let
FedX do the walking. <g>
Terry
Shows you what I know! <g>. Notice the new subject?
LAM
kEVIN –
PMJI, REAL guitars? Not sure the sysop's gonna be happy about this! <g> But,
what the heck, I'll take my info where it comes. I have a Martin 0021-S that
was originally made for Phil Oaks in 1962. It sat unclaimed at Jim McMurray
Misic in St. Louis, Mo. for three years before I came across it. I was in high
school and my parents sh@#t when they found out I'd paid $600 for this guitar.
It was The Kingston Trio that influenced us back then. I think Dave Gard had a
Martin 0021-S so naturally I had to have one. It doesn't have plastic edge
binding. It's bone. The neck is ebony with no inlay. There is no apparent
adjustment for the neck, either. Unless it's behind the wood that displays its
serial #. Also, McMurray said that the body was made from 22 year old "aged"
Rosewood. That made a big impression on me at the time, but I've since heard
that aged wood in a guitar doesn't make for better tone; as it does with
violins. Jury's "still out" on that one. The tone on this baby is incredible!
Aynway, I brought it along with me when I moved to California in '69. It was
in and out of pawn shops for ten years after I made the move. It now rests in
a corner of my den. I think I'll be buried with it! <bg>
Now the question: What do you think it's worth these days? Not that I'm
selling. I'm hoping for a acoustic guitar revival! <g>
Cheers,
BB
P.S. I'm still in Burbank (working around town) and without a dealer. Oh, I
have (had?) a dealer. It was (is?) MiCROCAD but they (he?) didn't pay Autodesk
on time and get little support from them. I don't mind publicly humiliating
MiCROCAD. They had their chance. This has been going on for about one year!!
I'd like to get a Beta of MAX. I don't mind paying full price for it if I can
get an equal jump on my competition around here. Most of these guys have an
"in" with the powers-that-be and are getting early releases. I'm getting old
and need the time to learn this new stuff! <G>
Bob,
I had a friend who purchased an incredibly beat up "00" (patched when
the metal armrest, pickguards and such being removed) for $100, back about
1972. Much better sound than any other Martin I've ever heard. He also got a
small-body classical for $200. I hated him.
As for beta versions of MAX – you'll have to wait for a release copy. Gary
Yost has his tried-and-true group of beta testers, who have certainly
contributed to one of the most stable software products around. I don't think
they're looking to expand the beta program, but you can contact Bob Bennett,
the 3DS MAX product manager at Autodesk to inquire further.
Kevin Krell – Computer Support Associates
Kevin –
My 00 21-S is in mint condition. I only played for three years back then and
it's been in its hard shell case ever since. Pity, but I've moved on to
stroking keyboards (not ivory)! <g>
Yes, I'm sure -G and the Autodesk gang are happy with their long established
stable of Beta testers. Only I happen to know for a fact that some newcomers
on the scene will be testing MAX. Judging from performance both here, and from
their work, acknowledged, they have every right to be Beta testers.
I have no problem with this, but I'd like to see some slack cut for us longtime
users, as well. After all, these guys are getting maybe a six month jump on
their competition. Of course, they have to do a little documentation work! <g>
That aside, we all know the main incentive to Beta test is to get our hands on
the product as soon as we can.
Soooo…. I would like to see an old fashion seniority system established. It
would be for old-timers like me who have been around since 3DS r1.5 and are not
egocentrically driven to pipe our work to the forum galleries. We may not
catch the eye of -G or Bob Bennett, but we may have much more to offer in the
way of catching bugs!
As for me, and probably others, I would not mind paying full price for the
privilege of being a "2nd tier Beta tester." A six month leg up on
learning/using MAX means THAT much to me.
Cheers,
BB
I've been following your little thread, as I am an old-time folky of the '60s
myself. Now I all of a sudden catch wind of this little diatribe about
"egocentric" artists putting their work up in the AD Showcase Forum. Is that
how it seems to you, "egocentric"?
How about people just looking for work? Like myself, for example. I've been
working with 3DS for 2 1/2 years now and have yet to find anything resembling
full-time employ. If fact, I haven't made a dime since Feb. Well, maybe you
think its because my work sucks, but, that's not the feedback I get. I fact,
everyone who has at least responded to my demo reel ( I've sent out around 40
of them) has said they like my work alot. But, I still haven't hit the right
the right target; no job!! Maybe, in the Showcase Forum, one of my images will
catch the right eye.
I'm afraid the attitude revealed by your casual remark re-enforces my growing
perception of the entire animation field as another closed old-boy network.
Companies evidently are willing to continue to steal talent from one another
rather than develop and nuture talent and loyalty within their own
organizations. (But, I suppose loyalty is is dead concept, except for those of
us that still have it.) But, let me clue you in – there are still alot folks,
like myself, who simply want to work. To characterize their promotional efforts
as "egocentric" is a rude disservice and does itself reveal who is truely
egocentric.
BP
Bruce,
I'd also like to put my "stamp" on your demo reel. Great stuff, very
good motion and materials. I particularly like the sophisticated logo
treatments – of broadcast quality.
Kevin Krell – Computer Support Associates
Bruce –
I haven't had the privilege to see your demo reel. If Kevin puts his "stamp"
on it it must be great. You should try your luck in Los Angeles. There is
plenty of work here, and should be for many years to come for talented
animators. The starting pay for good work is about $200/day. If you're
blazing hot and also know C++, then you might ask $450.
I'm sorry if I pushed your button with my "egocentric" statement. Perhaps I
should've put a "<g>" at the end. I really wasn't thinking in a hostile
manner. I have great respect for those who take the time and have the pride to
upload their art.
Once you have become successful, you may find that you care less about kudos
from your peers. It's time consuming to prepare animation for display. My
lastest demo reel dates to '91. Three quarters of it done without 3DS; yet it
continues to generate new work. I'm using 3DS r4 and Animation Master
exclusively now. I'm very proud of my work and look forward to assembling my
1996 reel using the PVR card.
Also, once you HAVE become successful, you will be the happier person. One who
takes little notice of an eccentric's flippant comment.
Cheers,
BB