posted 02-03-2004 05:37 AM
quote:
Originally posted by itziks:
...I'm thinking about purchasing an acoustic guitar in order to broaden the type of music I can play...My questions are as follows:
1. Would you buy from a big store or from the guitar repairperson?
2. If buying from a store - suppose you check some guitars and find one which you like - would you take that specific guitar from the shop's display, or would you ask for that model in a closed package?
3. Any things to look for when buying a used guitar?
Please bear with my extended post (a response to a previous Forum inquiry which I'm largely duplicating here); as a player for the last 42 years and a teacher for 34, I've been asked these questions more times than I can remember. Without recommending any particular brands (I'm sure you'll get plenty of other responses in this area) I'll try to give you as much info as possible - and help you avoid some common first-purchasers' pitfalls...
We will deal exclusively with new instruments here; although there are many potential bargains to be had in the used/vintage market, it takes a careful eye and many years of experience to properly evaluate a used guitar with regard to playability, hidden structural defects (and repairability of same), tonal character and potential, etc. In addition, a good new instrument will always come with a written manufacturer’s warranty, should any defects arise within a reasonable amount of time...
First of all, considering you've already got some playing time under your belt and have begun to appreciate good-quality tone and construction, buy the very best you can afford - even if it involves a temporary financial sacrifice. In today’s competitive international market, good-quality student instruments can be had at surprisingly reasonable prices - in many cases far less than the cost of this week’s hot new electronic gadget. A wisely-purchased instrument (with the emphasis on WISE), however economical, can easily serve its original owner for a lifetime (or more!) with proper care; a good-quality, name-brand instrument will also tend to have a higher resale value should this option be considered at a later date (either due to lack of interest or as a trade-in toward a better instrument)...
Regardless of brand, a good-quality, purely acoustic steel-string guitar will always find use, no matter what the player’s preferred style, and as such remains the instrument of choice for a first purchase. If a real need for amplification is anticipated, however, one possible (and very useful) compromise is a full-size “acoustic-electric” guitar, i.e., one with a built-in pickup (or pickups) that seeks to amplify the natural sound of the instrument. Trade Secret: virtually all of the “unplugged” acts - as well as primarily electric-oriented bands that use acoustic guitars on record or live - use instruments of this type...
Quality in an instrument is determined not only by the materials used but how they are assembled, and whether or not a certain amount of care is evident in their selection, application, and final assembly; all parts should fit tightly, with no visible irregularities, looseness, glue spills, cracks, splinters, etc. A good method of comparison would be to examine in detail a similar instrument in a higher price bracket (most good music stores will have a Martin D-28/HD-28, Taylor 710/810, Guild D-40/50/55, Gibson J-45/Advanced Jumbo/J-200, and/or Ovation Legend on hand - any of these would be quite suitable); ask the salesperson to play a brief selection as well, to permit acquaintance with tonal characteristics - in case you're unaware, an instrument can often sound totally different when heard from the "audience" perspective. Try to approach, as closely as possible, the sound, feel, and construction qualities of the high-priced instrument within your own chosen price bracket; while a $300 guitar will never sound as good as a $3000 guitar, you might be pleasantly surprised at just how good the best $300 instruments can be in comparison to others of similar (and sometimes higher) price. In addition to observable/audible characteristics, the manufacturer’s warranty is a good indication of the confidence that company has in its products, and may range from ninety days to the lifetime of the original owner (lifetime warranties - once the exclusive domain of top-of-the-line, investment-quality instruments - are often available in the lower price brackets as well)...
The three principal parts of a guitar are the head, neck, and body. As is the case with our own selves, an “ailment” in any one area downgrades the overall performance potential; some of these are readily adjustable by the dealer, coming under the heading of “set-up” (such adjustments should be insisted upon and made before final acceptance of the instrument), while others constitute major defects or deficiencies sufficient to warrant rejection. It is good practice, if possible, to examine at least two examples of any make and model instrument that you are seriously considering (this in addition to the usual comparisons between different makes and models); there are often subtle differences between otherwise identical guitars which would tend to make one the instrument of choice...
The most important part of the head is the tuning machines; the quality of these will be a significant determinant of the guitar’s ability to play (and stay) in tune. They should be made of steel, brass, and/or bronze (often chrome- or gold-plated) and should turn easily without binding or snagging. They may be either open-gear (gears exposed) or enclosed; enclosed machines of the cast variety (Grover, Schaller, Gotoh) are usually permanently lubricated. Good-quality tuners may be had in either type: many modern steel-string players prefer the enclosed variety, while the best classical guitars (as I'm sure you know) are almost always equipped with open-gear machines...
The neck is the major determinant of the playability of an instrument. The key word here is comfort; an uncomfortable neck may cause undue strain on the hand/fingers or make the instrument more difficult to play. The fingerboard - the front part of the neck over which the strings pass - should, as a rule, be made of ebony or rosewood with an oil finish that allows the natural grain and color of the wood to show through (in the interest of rainforest preservation, certain alternative woods - cocobolo, bubinga, morado, pau ferro, wenge, and walnut, just to name a few - are coming into increasingly frequent use; the two named are traditional and still used by the majority of manufacturers). The frets - the small metal bars inlaid on the fingerboard - should fit flush, with no gaps between metal and wood, be of even height and free of any sharp edges (sliding a hand quickly up and down the neck is a good test); inlays (dots, blocks, etc.) should be absolutely flush with the surrounding wood and tightly glued in place, as should any binding around the edges of the fingerboard. Virtually all good modern steel-string guitars have a truss rod, an adjustable steel reinforcing rod inside the neck designed to prevent warpage, compensate for seasonal expansion and contraction and/or different string types/gauges, and insure neck stability and uniform action (playability as determined by string height above the fingerboard surface)...
The body determines the sound that the instrument will ultimately produce. Bodies come in various sizes and types, each producing its own characteristic tone; as a general rule, a larger body will produce a stronger and deeper-sounding tone, a smaller body a lighter and sweeter tone. Bodies may be made of either laminated or solid woods, with each having its relative advantages and disadvantages. Laminated woods (multi-ply) have the advantages of low cost and high strength, and are used almost exclusively in lower-priced instruments; solid woods are generally more expensive and sensitive to climate/storage conditions, and can be found in all but the very lowest price ranges (the least expensive of these have solid tops only). Solid woods also exhibit the legendary “aging” property - an improvement in tone over the life of the guitar - and a richness of sound (even in the smaller sizes) that eludes all but the most expensive laminated instruments. Examine the inside of the body as well as the outside; wooden parts should be smooth, splinter-free, and tightly glued, with no drips, smears, spills, or other evidence of excess - try to bring a carpenter’s inspection mirror (resembling an oversized dentist’s mirror and available at most home supply stores) and a pocket-size, high-intensity flashlight (the Mini-MagLite is especially good) along on all your shopping trips for this purpose. The bridge (to which the strings are attached) is critical to both the sound and the structural integrity; it must be tightly fitted to the top with NO gaps between surfaces. Inlay (around soundhole) and binding (around edges of body) trim lines should be sharp, clean, well-defined, and absolutely flush with all adjacent wood surfaces...
Never confuse a bad set-up job with a bad guitar; even the most expensive instruments need adjustment if they are to live up to their full potential. If you are seriously considering a particular instrument, ask the dealer to make any and all adjustments so that you may accurately evaluate its virtues and vices; incredible as it may seem, a turn of a wrench or a well-applied piece of steel wool can sometimes turn a mediocre guitar into a great one. As a relative novice purchaser, try to buy from a dealer who maintains a repair facility on the premises; this will insure familiarity with your instrument when bringing it in for periodic routine maintenance, or if any major problems should arise...
Never purchase an instrument without a case - a well-made, properly-fitting case is the best protection for your investment - and always keep your guitar in its case whenever it is not in use; avoid all but the most expensive bags (Reunion Blues, Levy’s, etc.), as they provide no protection against damage to the neck in transit. As with guitars, cases come in all price ranges; with increasing price come increasing levels of protection. Least expensive are the chipboard cases (which are sometimes available as a “freebie” with a new instrument purchase - shop around!), while at the extreme upper end of the scale are custom-designed flight cases (Mark Leaf, Calton, etc.) which can cost nearly as much as some of the better guitars that they are designed to protect; these are best reserved for players in touring bands (who usually have strong roadies to carry their equipment) or concert artists who must frequently travel by plane with very expensive instruments. The best all-around choice for instruments in the mid- to high-price range (and any lower-priced instrument with a solid top) is a hardshell case made of either vinyl- or tweed-fabric-covered plywood (e.g. Harptone, Everest) or molded ABS plastic (SKB), as these will provide adequate protection in all but the most severe conditions; in many instances they are custom-fitted to a particular size/shape instrument in order to prevent damage due to movement inside the case (the Ovation company’s molded ABS case for their “bowlback” guitars, and Taylor’s vinyl/plywood line - made in-house and probably one of the best cases of its kind on the market - are two good examples), and are sometimes available with a separate case cover (either from the manufacturer or an independent maker) to provide a level of impact/thermal protection almost equal to some flight cases...
Finally, always comparison-shop before settling on a final choice. Keep a written log of makes/models tried (and your impressions of their sound and feel - DON'T trust your memory on this one!), prices and stores, whether a dealer has service facilities, return/exchange policies, etc. Be extremely cautious if a dealer’s prices for a given instrument are too high or too low in comparison to others in your own geographic region (more than about 5% net difference in either direction); while there are often legitimate reasons for these differences (large chain with very high sales volume, special purchase, factory-authorized clearance on discontinued models, exceptionally liberal return policies, superior service facilities) sometimes the instrument may have hidden defects, or the dealer may not be authorized to sell that particular line (very important when buying a higher-priced item, as some companies will not honor a warranty on an instrument purchased from an unauthorized dealership). In addition, all of the major manufacturers and most of the better-known dealers maintain websites; these can be an invaluable aid in the search for your dream guitar. Above all, try to find the combination of quality, price, policies, and service that is best suited to your needs - what works for one person may not work for another...
Good luck and good music... 
posted 02-01-2004 03:25 AM