Molly wrote:Very thorough, Oleg. First time I've seen Harvard referencing on this forum.
John Williams made a similar observation about his classical guitars; that they improved with prolonged use.
Steve in Dunners has a conditioner. He'll likely chime-in.
Somewhat conversely, classical guitarists talk about guitars having ‘past their prime’. I’m not sure if this is just a way of bargaining the price down, or possibly even an excuse they use to their wife/partner for needing another one Maybe too much tension on the top over an extended period?
Been looking for something that offers a point of difference to my existing guitars (two Strats, a HH PRS SC, and a Tele). Thought about a 335 but couldn't bring myself to pay local prices. The idea of a black LP P90 Custom 54 Reissue with a Bigsby really appealed but I hadn't a hope in Hell of finding one at anything like my budget.
Then I started beating myself up for always having one eye on the eventual sale of the guitar. Nobody else does this, I thought. Not if they've any sense. I should just buy something I like that ticks the 'point of difference' boxes. Such First World problems... I had loads of guitars saved to Favourites and was going round and round in circles with different justifications or reasons not to proceed. A gold LP Traditional. Too expensive considering the condition even if it was cheap for up here. A posh PRS limited-edition thing. Not different enough to my SC. A cheap SG. It was a cheap SG... In the end I went back to this. It's not the '54 Custom but it offers something different and was priced exactly as it would be in NZ (which did make me feel a bit better). It's mint, apparently, and at least means I won't wake tomorrow with buyer's remorse having dropped $5k or a pretty ordinary R7 or some such (I like R7s but not at $5k - and they're still a SC HH so too close to my PRS).
Anyway, it's this:
The fan-boy in me liked it when I saw Jason Isbell playing one.