Playing other types of guitars after 'Selmers'

Stringswinger

When it comes to guitars, I generally feel that you want to use different tools for different jobs (if nothing else, that feeling justifies my having 20 guitars!). That said, one can play any style of music on any guitar, bearing in mind that it will sound different to a listener on each different guitar that you use. I am a fan of Selmer style guitars and own 2 of them. They are not my favorite style of guitar. Archtops (electric and acoustic) are my favorites. Selmer style guitars are (for me) tied with solid bodies, flat tops, Classicals and semi-hollows (in second place). I know quite a few jazz guitarists who have tried Selmer style guitars and do not care for them at all. I am aware that for many on this forum, Selmer style guitars are the best thing since sliced bread. That is great. Play whatever inspires your playing!. I have done solo jazz guitar gigs on a Selmer style guitar and it was awesome. I have done the same gig on a solid body, a classical or a flat top. All were good (and different enough to add variety to a gig that can be much the same sound from week to week). Just remember that what is right for one guitarist, may not be right for the next guitarist.

Buco

Jazzaferri wrote: »

Buco if your finger is hurting after a 3 minute grande barre...either you aint playing enuff or your squeezing too hard LOL

)

I know it would sound like that but I'd bet you my favorite pick, you know which, to play through this thing without a blink.

Russell Letson

Bob--I get it now: you're looking at structures, when I was thinking of sounds. And since my Selmeroid is a Dunn grande bouche, the sounds I get are significantly different from the tighter, drier tone lead players want from their petite bouche models. (If I couldn't have my Dunn, I'd probably go for a Park or a Lehmann.) Plenty of times when I didn't want to lug two guitars, I've chosen the Dunn to play out on--it works for the range of tunes my partners would call, from swing to folkie fingerstyle.

bucoo

BlueSkies wrote: »

I've noticed the same thing. I think GJ guitars are basically classical guitars, set up for steel strings. Also, whenever I play a normal round-hole acoustic guitar after playing a GJ guitar, it kind of sounds like it has some sort of head cold. Anybody else notice this?

I completely agree. I played my (Westerly) Guild dreadnought for the first time in a long time since getting a GJ. I used to love it, but now it just sounds dead and lifeless. Muddy at best.

Jeff Moore

I've been playing a Weber OM just because audiences seem to "get" (I'm solo) that Martinesque sound, even though my ears hear the "head cold" sound. I've always heard the GJ guitar kinda like a classical too. The other similar to GJ sound is ladder braced early 20th century style guitars.
I think we all have the sound of these eras (blues, merle travis, folk, classical, rock, jazz etc..) and the sound of those guitars are stuck in our heads. They are all guitars in the end.
It also seems like GJs copper wound strings are closer to classical strings that any other metal string. I've tried all the other strings I could find but these GJ guitars are really a perfect match for the copper wound strings. Most kinds of other strings cloud the classical character of the GJ guitars for the most part.

alton

I play with a gentleman who is a fantastic older country/folk/blues singer and guitarist. I accompany him, filling out rhythm guitar and I solo when he wants me to. I used to play a flattop with him, but when he heard my GJ guitar, he insisted that I use it when I play with him. He likes the sound complexity of him playing a flattop with me playing a GJ guitar. My leads pop out with no effort.

Now when I play my old flattop, it sounds like I am playing with a blanket over the guitar. And damn those Martin .013's are huge. Sigh.

Al Watsky

You need to be able to play any guitar .
If you can't make the adjustment on stage in the moments it takes to put down one instrument and pick up the other , you are not prepared to do either.
When string players double on viola and violin they have to transition seamlessly between the two within seconds. Its takes mental preparation .
Its part of a professional skill set. Another trade skill.

DragonPL

That's very true; I'm getting old and can't handle 'manly' guitars anymore

Al Watsky wrote: »

You need to be able to play any guitar .
If you can't make the adjustment on stage in the moments it takes to put down one instrument and pick up the other , you are not prepared to do either.
When string players double on viola and violin they have to transition seamlessly between the two within seconds. Its takes mental preparation .
Its part of a professional skill set. Another trade skill.

rgrice

Agree with @Buco and @adrian I'm also a thumbpick fingerpicker ala Travis, Chet, et al and GJ guitar doesn't fly compared to my Gretsch or Martin. I leave my Harmony classical out to practice GJ on tho as they feel the same!

alton

rgrice wrote: »

Agree with @Buco and @adrian I'm also a thumbpick fingerpicker ala Travis, Chet, et al and GJ guitar doesn't fly compared to my Gretsch or Martin. I leave my Harmony classical out to practice GJ on tho as they feel the same!

I have in my posession a guitar that I think will eventually become a family heirloom to be passed down - a 1960 Gretsch 6120 (longish story as to how I have it). What a beautiful instrument! There is nothing that sounds like a Gretsch . It is my understanding that it was designed with/ for Mr Atkins. Not a fingerpicker myself, I often wonder how Chet and Merle pulled off such fabulous playing on guitars with such close string spacing.

...or maybe I am just so used to a GJ guitar with a relatively wide neck that all other necks seem narrow now.