Seriously though. That earlier point about better mandolins sounding more powerful when played up the neck is useful. I bought my 2006 Breedlove OF because it played well from fret 9 up when playing in E. I don't really play above fret 13 I admit.
And yes I do realise that some people would not agree with my choice of instrument as a "better" instrument but that is my choice.
Last edited by RichardF; Feb-13-2018 at 5:59am.
"It's comparable to playing a cheese slicer."
--M. Stillion
"Bargain instruments are no bargains if you can't play them"
--J. Garber
Just hand a Telecaster plugged into a clean Fender amp to a Les Paul guy used to playing through his effects pedals. View the look of consternation when they realize how crappy their technique is.
Mandolin is the only instrument I've played that demands more of a player. I imagine fiddle is harder still. I doubt there is a mandolin out there that would make you sound better than three or four thousand dollars worth of lessons with a great teacher would. So I say, get a three thousand dollar mandolin and take a couple of years worth of lessons. You'll be happier in a few years. Buy that five thousand dollar mandolin and a year from now you'll be looking for another.
Imagine being able to pick up any old mandolin and make it sing. That friends, would be true happiness.
Silverangel A
Arches F style kit
1913 Gibson A-1
I don't mean to be adversarial, and yet here I am. I don't there is a clear dichotomy. I know there are folks here that play a Rogue mandolin with a piece of string as a strap who probably are fine musicians, and others that own Loars who are not professionals. I think we can assume that for most of us, playing music is what is important - whatever our skill level. Plenty of artists are gear nerds, too, or at least have a connection with a particular fine instrument.
Mitch Lawyer
Collings MF5V, Schwab #101 5 string
1918 Gibson A, 1937 Gibson T-50 tenor guitar
Jones OM, Hums bowlback
Jim
My Stream on Soundcloud
19th Century Tunes
Playing lately:
1924 Gibson A4 - 2018 Campanella A-5 - 2007 Brentrup A4C - 1915 Frank Merwin Ashley violin - Huss & Dalton DS - 1923 Gibson A2 black snakehead - '83 Flatiron A5-2 - 1939 Gibson L-00 - 1936 Epiphone Deluxe - 1928 Gibson L-5 - ca. 1890s Fairbanks Senator Banjo - ca. 1923 Vega Style M tenor banjo - ca. 1920 Weymann Style 25 Mandolin-Banjo - National RM-1
Silverangel A
Arches F style kit
1913 Gibson A-1
I get your point, and there is truth to it. Which part of the hobby of music different folks get attracted to. But I think the one statement I quote above is perhaps misleading. I think most everyone feels that playing music is important, very important. Some are more interested in the tools and maximizing the quality of what the use, others perhaps more emphasis on technique and practice and maximizing their ability.
I don't think there are very many, if any, for whom the brand and what others play is of supreme importance. I really don't. I think such issues get a lot of "air time" here on the cafe, because they are interesting and it is fun to dream. But I don't think there are many who spend money except to maximize the quality of the tools they use to make the music.
I might be wrong, but I think such a person is a straw man constructed out of a frustration with those who do manage to get the things we want but can't get.
Sam Li a chinese businessman is the owner of that beast! Check out some of his other sort of 'one-off' junkers.
http://supercars.agent4stars.com/pow...lection-china/
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