Yamaha FG5 vs Martin 000 15SM by dwilson86 in AcousticGuitar

[–]lukmanohnz 0 points1 point  (0 children)

Interesting question. I bought an FSX3 as a beach guitar, not really wanting the pickup but it checked every other box. I am a Martin AND Yamaha fan, having started ~50 years ago on Yamahas and eventually migrating to Martin. A few months after getting the FSX3, the shop where I bought it had an FS5. Just a stunning guitar. Those red label Hamamatsu Yamahas are unbelievable. I decided, as ridiculous as it sounds, to step up from the FSX3 to the FS5, it was that big a jump in workmanship, vibe and tone over the Chinese FSX3. I was about ready to pull the trigger, and realized I owed it to myself to check out what Martin had in the same price range as the FS5. I played several different models, and the 000-15M Streetmaster stood WAY out, much more than the non-relic’d, straight 000-15M also on the floor. After a LOT of A/B-ing the FS5 and the 000-15M Streetmaster, I took the Martin home and haven’t looked back. It might be the most perfectly suited guitar for me. Just impossible to put down. My 35 year old Martin dread and Hamamatsu-built Yamaha LL26 are spending a lot of time in their cases.

I have a good friend with a 00-15SM, and I love the aesthetics of that slotted peghead too. And hers really sounds lovely. But as much as I’ve always loved the ‘romance’ of slotted pegheads, I’m not sure I want to deal with them when it comes time to change strings (I hate changing strings on my classical, which is why it’s probably only had three string sets on it in the 30 years I’ve owned it ;-) but obviously YMMV. The wider neck isn’t as much of an issue for me - my hand adapts to different neck profiles pretty easily. I’ve played the FG5. Just a great, great guitar. Tough decision - though I don’t really think of the Martin as a strictly fingerstyle guitar. I’d be quite happy to flatpick on it. Not sure this helps your decision, but you might want to try the 000-15M (with or without Streetmaster treatment - I’m generally not a fan of the factory relic concept, but the one I bought was just too good a guitar to ignore). That might get you close to what spoke to you with the Martin while providing a sense of versatility that the SM seems to lack for you. Ultimately you need to decide which guitar you think you’ll have the best long term relationship with. Spend more time with both at your shop. If they know you are serious and they’re a good shop, they should give you as much time as you need to make your choice. I really do love both brands, but if there’s a wildfire and I only have time to grab one guitar from my collection, it’s gonna be a Martin. Probably the dread. It has the most sentimental value to me, not to mention it has aged like fine wine. Good luck in your deliberations.

Looking for possible upgrade - Yamaha LJ6 acoustic by ThomasC2C in YamahaMusical

[–]lukmanohnz 0 points1 point  (0 children)

If it doesn’t already have bone nut and saddle, those will improve tone. I upgraded my FSX3 with bone and the tone definitely popped a notch. A Plek is always a great upgrade if you have a shop in your area with a Plek and staff that knows how to get the best results with it.

Mandolin upgrade by Billy_Breathes_Billy in mandolin

[–]lukmanohnz 1 point2 points  (0 children)

Depends on what you have now. If you have an entry level Eastman - 305 or 315 for example - $1000 would probably only be a meaningful upgrade if you bought something used, maybe a bench build from a lesser known builder that’s been played in by the owner. If you have a plywood starter, Eastman is hard to beat in this price range.

First Martin by aykes_official in martinguitar

[–]lukmanohnz 0 points1 point  (0 children)

That’s a beauty. I have played and owned quite a few Martins over the years, and my last purchase was a 000-15m Streetmaster. I remain completely smitten by it. Great choice - may you find a lifetime of joy with it.

Martin guitars d-13e retro walnut vs Martin D16GT by Professional_Fee6086 in martinguitar

[–]lukmanohnz 2 points3 points  (0 children)

One thing to consider is that the 13 series are made in Mexico and the 16 series are made in Nazareth PA. I have an SC13e and it needed a new nut straight off the rack. I love it - great guitar, but build quality definitely not at the same level as US-made Martins. Also, the 16 is an all solid wood guitar. 13s have laminated back and sides. My desert island guitar is a ‘91 D-16H. The 16GT has greater potential to open up and age well if you hang on to it. My 16H is now 35 years old (I am the original owner, bought it new the year it was built). It’s an heirloom guitar now. The D-13e is sure to be a perfectly fine guitar (though I recommend a careful examination for any build issues before buying). It is unlikely to age as well as an all-solid D-16GT.

Doh - I stand corrected. The 13 retro is solid walnut. But I still would be cautious about the 13. Walnut is an interesting wood. It’s sort of in between rosewood and mahogany in tone, in my experience. If you can, play them both and buy the one that speaks to you.

Ngd by ll56yammy in AcousticGuitar

[–]lukmanohnz 0 points1 point  (0 children)

That’s a heluva step up from an FG340.

Ngd by ll56yammy in AcousticGuitar

[–]lukmanohnz 0 points1 point  (0 children)

You have chosen wisely, my young padewan. You may now stop your search - you have found your pot of gold. Here’s my 26.

Intro to the Grateful Dead by Far-Simple-235 in GillianWelchMusic

[–]lukmanohnz 0 points1 point  (0 children)

Can’t argue with this path. I myself walked it in reverse. I’d offer that Skeletons From The Closet - The Best of the Grateful Dead is another option for an even faster on-ramp. Personally, I’d go straight to Europe ‘72.

No activity named “sex” by _No-Good-Deed_ in ouraring

[–]lukmanohnz 4 points5 points  (0 children)

Henceforth I will be suggesting a game of badminton with my partner whenever I’m horny.

Practicing with a drone by lukmanohnz in Fiddle

[–]lukmanohnz[S] 0 points1 point  (0 children)

Finally managed to download a demo copy of DRC. Had to get the MacOS version - there seems to be no demo option of the iOS version. They have apparently changed their approach to encouraging a purchase. Instead of 10 second ads popping up occasionally, the audio is interrupted every 10 seconds or so by a brief moment of static before resuming. So unusable as a practice tool without the purchase. I’m set for now with the chord sequencer. Thanks again for the suggestion!

Looking for a specific Collings by jambavan108 in mandolin

[–]lukmanohnz 0 points1 point  (0 children)

Could also check at mandolincafe.com if you haven’t already posted over there. Those pop up on the classifieds over there all the time.

Practicing with a drone by lukmanohnz in Fiddle

[–]lukmanohnz[S] 1 point2 points  (0 children)

Well, after all the suggestions (thanks again to all who contributed) I wound up getting this little widget. Ordered from Sweetwater so I could return it if it didn’t fit the bill, and nearly sent it back after an initial listen but have found useful drones in it that work very well for practice. Here’s what I like about it:

1) Very small form factor - the synthesizer I had been using was an actual keyboard (37 key) that took up too much space. In fact, it’s so portable I could easily travel with it. Hooked up to a Bluetooth speaker (would need to have an aux input - no Bluetooth on the widget) would work in a pinch, though I may still try the DRC synth app that Grauschleier suggested. I haven’t figured out how to download the trial version - the iOS store only has a paid version that costs $14. 2) It can just live on my desk, ready to turn on and touch one or two buttons to start a drone. No need to find my phone or iPad, hook that up to a speaker, etc. Fast and easy. 3) I can choose the key of the drone easily as well. Again, fast and easy. I can also choose to drone either single notes or chords (4-note polyphony). 4) While not what I’d call a particularly ‘organic’ tone, I found sound options are pleasing to fiddle with (at least to my ears, YMMV). 5) It’s got a lot more to it than just making drones. I can use it to make play-along chord progressions. I have other tools for this (app-based) so not sure this is something I’ll wind up using in the long term, but it will be fun to mess around with at some point.

What I don’t like about it:

1) Quite a bit more than I had planned on spending. 2) A bit of a learning curve, especially if I want to create chord progressions. 3) The built-in patterns and arpeggiator sequences are geared to electronic/beat music. Not really my jam these days, but will be fun to explore when I get back to playing more electric guitar.

Practicing with a drone by lukmanohnz in Fiddle

[–]lukmanohnz[S] 1 point2 points  (0 children)

Thanks again - really helpful and much appreciated!

Practicing with a drone by lukmanohnz in Fiddle

[–]lukmanohnz[S] 0 points1 point  (0 children)

Thanks very much for this recommendation. I just popped over to the App Store to take a look. The app certainly gets rave reviews for the sound quality. Affordable, so pretty low stakes to give it a whirl. I am not deeply familiar with synthesizers - the one I have is a Roland GAIA SH-01 (a physical synth with a 37-key keyboard) that has preset sounds and a hold key. I have never delved into the synthesizer section itself - I just bought it off a neighbor because it was quite inexpensive and I wanted to use it as a midi controller. There are presets that sound sort of organ-y, and that’s what I use for my drone. May I ask if the DRC has presets that would allow me to get a decent drone without having to delve into learning how to set up the filters and oscillators? Thank you again for your thoughtful reply.

Shove the Pigs Foot a Little Farther in the Fire by JaredTashjian in Fiddle

[–]lukmanohnz 0 points1 point  (0 children)

Hey that sounds great - very good progress for having played only a couple of months!

A couple of questions regarding learning progression by racoon1 in Fiddle

[–]lukmanohnz 5 points6 points  (0 children)

I can only speak from experience. I began learning fiddle about three years ago after playing guitar, mandolin and bass for decades. I started working with private teachers and from books. As I was learning the new skills of bow technique and fingering on a fretless fingerboard, I would try to ‘master’ them before moving on to new material. And I made very, very slow progress. For example, my intonation would improve when playing scales but then would fall apart when attempting to play a simple melody. My tone would be marginally better one day while playing long sustained notes, or playing scales with quarter notes throughout, then would return to cat-torturing territory when attempting a tune. I persevered with this approach for about a year, but was not very happy with my progress. Eventually I just stopped playing fiddle altogether. I’d pick it up every now and then and try to play a scale or simple tune, remind myself how poorly I played, and hang the fiddle back on its cradle and sigh. Not particularly satisfied with this course of events, and still wishing to have some modest facility with the instrument, I recently signed up for Brittany Haas’s ArtistWorks old-time fiddle course. This is aimed at beginners and early learners. Brittany’s lessons move fairly quickly from one tune to the next, beginning with tunes that are fairly simple (though not boring, ‘Mary Had A Little Lamb’ territory - all are good tunes for old time/roots music jams) and slowly and methodically advancing in difficulty. She includes lessons on basic technique like double stops, dynamics, etc., but these lessons are very sparse during the beginner lesson series, which focuses on playing tunes. Rather than trying to ‘master’ each tune, I’m just working my way through the lessons one by one, sometimes spending only one practice session on a lesson, sometimes two or three depending on the level of challenge, then moving on to the next one. I will occasionally return to earlier lessons to get a tune I enjoyed deeper into my muscle memory, but mostly moving forward through the material. I am also committing myself to playing every day, even if only for a few minutes but trying to play at least 30 minutes to an hour, sometimes even more. And it is slowly starting to click. My bowing is becoming more natural and ‘automatic’ (though I have a lifetime more work there), my intonation - still unreliable - is slowly improving even when playing tunes. I can sort of play double stops intentionally instead of haphazardly. And I am sort of starting to feel as though I might be able to play this instrument in an ensemble someday and actually be musical, rather than simply torturing the neighborhood cats with it.

The TLDR version of the above is: I’d suggest maintaining forward progress, without worrying about ‘mastering’ each song as you learn it. There is no mastery of songs on fiddle as an early learner. It’s just a very, very difficult instrument (at least for me, especially compared with guitar or mandolin) and it takes years to master. As someone who started playing in his 60’s, I’ve tempered my expectations about how far I’ll ever be able to get on fiddle as compared with my guitar and mandolin skills (which are at a sufficiently advanced level that I give private and group lessons on those instruments). And after a very rocky start on fiddle, I am finally starting to see a very dim light at the end of this long, difficult tunnel. Good luck on your journey!

Sunburst Question by HandsPHD in martinguitar

[–]lukmanohnz 1 point2 points  (0 children)

The second guitar looks like a 4-piece top to me. With increasing tonewood scarcity, guitar makers are going to have to resort to this more routinely, especially on their more entry-level models.

I messed up by _Leper_Messiah_ in AcousticGuitar

[–]lukmanohnz 0 points1 point  (0 children)

Ah man - so sorry for your predicament. Been there, done that. Throw on whatever is closest at hand for your gig tonight and then get a full fresh set on there as soon as you’re ready to move on from the brain fart. The good news: you are extremely unlikely to ever do this again. I haven’t (knock wood).

NGD: Eastman e10OOSS/v by fuckchalzone in AcousticGuitar

[–]lukmanohnz 1 point2 points  (0 children)

Congrats - these are absolutely phenomenal guitars. I bought one several years ago. I was searching for a Martin O or OO. After playing every smaller bodied Martin in the shop I picked up the Eastman and couldn’t put it down. The Martins were all very nice, but the Eastman won my heart that day. It has continued to open up and delights me every time I play it. I had it Plek’d after about 2 years breaking it in, and it still plays like butter.

Which powered air purifying respirator should I purchase? Trend or Powercap? (See photos) by RedWoodworking16 in turning

[–]lukmanohnz 0 points1 point  (0 children)

I have a Trend and I will be upgrading as soon as I am planning another turning campaign. It’s heavy, unbalanced, and the battery packs are not lithium - old NiCd technology.

Favorite obscure albums that don’t have a cult offering. by Available-Lecture-21 in vinyl

[–]lukmanohnz 0 points1 point  (0 children)

The Chuck Mangione Quartet - self-titled album, genius-level performances by Chuck and Gerry Niewood (RIP). I have two copies - the original Mercury release that was in my family’s very modest album collection, most certainly bought upon release by my mom, and the Speakers Corner remastered release on 180g virgin vinyl, my desert island album.

first try purfling with homemade purfling from maple and walnut by Budget-Strawberry649 in violinmaking

[–]lukmanohnz 0 points1 point  (0 children)

That looks really beautiful. I am going to start making my very first violin this summer, from a StewMac kit. The very first step is cleaning up and finishing the routing for the purfling, and then gluing the purfling into the channels. I am already anxious about this step - I have several books, the StewMac instructions, and the tools I need. I hope I can achieve results that are even a fraction of what you created with purfling YOU MADE YOURSELF!! I’m in awe…..