How many of you have "multiples" of the same type of guitar???

[onewilyfool]

I have a friend who has 10 Dreadnaughts, Martin, Guild, Gibson.....etc.....They are all beautiful, and they all have a somewhat distinct sound, but basically all have the "bluegrass" heavy bass kind of thing going on......Do any of you have like three J-45's, or slope shoulder Dreadnaughts with different species of top and back and sides? All of my guitars are fairly unique, so I'm trying to understand this phenomenon......thanks....

[august_reader]

I have a D-35 and a D-18, which are both dreads, different back and side woods.

 

Then I have an 0-18, which is mahogany back and sides like th D-18, but small bodied.

 

Is a SJ-200 considered a Dreadnaught? Have one of those too.

[nodehopper]

I have to admit a real fondness for 12 fret slot heads ..... I have 4 but all are VERY different.

 

One is the John How that is Ladder Braced Concert ....very distinct sound. Second is my Martin 000-15S which is all Mahogany ....again very distinctive tone. Third is the Washburn 125th Anniv. Parlor and while it may be a bit close in tone to the How LBC it really has a more banjo sound and because it is a relatively inexpensive guitar it is my leave out on the stand guitar. Then I do have a Republic Resonator Parlor guitar, I have it stashed in my closet waiting until I am up to tackling learning some open G slide guitar.

 

So while I have similar configuration on a few they are in my mind totally different beasts. Maybe I am fooling myself because I have to admit that I sorta shake my head in wonder when I see some folks having 4+ dreads. I do agree with OWF and would love to hear the reasoning and description of how they are each different. I think my collection is based upon each having a unique sound, but like I said...maybe I am fooling myself and others here will shake their heads in wonder at my 4 12 fret slot heads.

 

OWF ....great conversation starter ....

[Red 333]

I have a bunch of Gibson slope shoulder models. Although all are similar, each has something that differenciates it from another to my ears and in my hands.

 

I have a FVG J35 and a J45 TV, which are very similar in construction. They certainly have similar qualities, as you'd expect, as both have red spruce tops and AJ bracing, but it's as if they were EQ'd, differently. The J35 has super quick response and exuberant midrange response; the J45 TV has that real rock solid, rumbling bass. The J35 has 19 frets, while the J45 TV has 20, like a post-1955 J45. The absence of the extra fret positions the bridge, soundhole, and x bracing in a slightly different location on the J35's top, which may have something to do with the difference in sound. The J35 also has the Advanced Jumbo's thicker lower two back braces, while the TV has the high thin braces there. The J35's neck is also girthier.

 

I also have a short scale, maple bodied Advanced Jumbo. That makes it something like a maple J45 with TV/AJ bracing, I guess, or a maple J35. Each strings rings terifically clear and individually. It probably belongs in the hands of a better finger picker than I.

 

I have a J45 Rosewood Vine. Though it's a J45, it's braced differently from the J45 TV, and has rosewood b/s. It has a very rich, syrupy sound. Chords are very lush, like two guitars playing together, or a 12 string. Plus, it's just gorgeous. Speaking of rosewood, I have an Advanced Jumbo, too.

 

Some would say the J160E is a souped up J45, but it's braced very differently. I have two models: a Standard that is x braced with a solid top and fixed saddle, and the '60's spec version that is ladder braced, has a laminated top, and an adjustable bridge. The Standard has a unique acoustic quality: it's very dry and decays quite quickly. I'm certain it was designed to sound to the ear the way the ladder braced version sounds close miced. Both have an almost round, archtop quality amplified.

 

I have three Epiphone Texans: two of the McCartney Texans, and one Elitist. The McCartney Texans are nitro finished, and the Elitist is poly. You could say these are long scale J45s. All three sound pretty close to one another, though there is one that I favor over the others. I got one of the McCartney Texans for such a great deal that I couldn't pass it up; it's been my intention to sell it, but I haven't got around to it yet. These guitars, all built by Terada in Japan, are constructed immaculately. I leave the Elitist out all the time on a stand; it's my pick up and play guitar. My other guitars are usually in cases.

 

Red 333

[Jinder]

I have often owned two Dreads at once, and at one point in 2008 I owned a J45, Hummingbird and Dove.

 

I like Dreads as I'm a big guy and tend to favour larger guitars (Part of me wants an Arlo 3/4 LG2 though!), and as I gig a lot it has always made sense to me to have more than one stage guitar, so as when one is having setup work done, is being used for studio work or just has a tired set of strings onboard, I can grab the other one for whatever gig is happening that night.

 

Those three compared very differently, interestingly...the J45 was very dry, chimey in the mids and expansive in the bottom end...a great writing guitar, I wrote many songs with it whilst I had it. The Dove was HUGE sounding, not dissimilar to Concorde taking off. From your face. It looked beautiful but was a bit too gigantic sounding for the trio work I was doing at the time, so a then bandmate ended up adopting it-it suited his style better than mine. Having said that, it would be perfect for the solo work I'm doing now!

 

The Hummingbird is the only one of the three I still have. It's a

magnificent guitar, and one that accompanies vocals in a way I've never heard in any other guitar-it's tonal spectrum is shaped not unlike a dugout canoe-there is a little compartment hollowed out of the midrange which the male vocal frequency fits into perfectly. The Bird isn't a go-to guitar for lead parts/solos, but it is arguably as great an all-rounder as a J45, which is some accolade.

 

My current three steeds are very different to one another-I have an ocean of maple, huge sustain, sparkling mids and warm, warm bass in my now somewhat careworn road veteran SJ200, my go-to vocal accompaniment Dread in my Hummingbird, and lush, loud, overtone-heavy Rosewood prettiness in my default lead machine (not to mention superbly built and ridiculously cheap tonelord), the Guild GAD 30RE.

 

All my bases are covered...now if I could just get my mitts on a decent electric for recording...:-)

[jt]

I'm a fan of the Gibson L body and have several:

 

 

The 1928 L-1 in the upper left is obviously the earlier, smaller L body. Since this photo, I've swapped out that circa 1920 L-1 in the upper right for a gold sparkle, 1931 L-2 of the same size.

[Red 333]

I'm a fan of the Gibson L body and have several:

 

Sweeeeet!

 

Red 333

[jgwoods]

Nope- mine are all different. I had a few that were pretty much the same and they competed, with one finally winning, the other sold. Eventually I wound up with a variety- an L body, and OM, a J185, and a OO thin body with electronics- all very different and not a dread in sight.

[QuestionMark]

I have groupings in the guitars I own. Different, but complementary to one another.

 

1) My 72 Gibson Southern Jumbo (dreadnaught) resides in the same "dreadnaught hall" as my '94 Gibson Gospel Reissue (also a dreadnaught.)

 

2) My 1965 Gibson LG1 (Cherry Sunburst-round shouldered) and my new (2006?) CS 1964 J-45 (Cherry sunburst-round shouldered) reside in the same "round shouldered hall" as my 1965 Epiphone FT30 Caballero (round shouldered,same as a Gibson LG0 which complements the LG1) and my 1956 Epiphone FT79/Texan (round shouldered) figuratively reside. A Gibson TG0 (a tenor version of an LGO) also "resides" there.

 

3) My 1936 Epiphone Zenith (archtop) resides in the same "archtop hall" as my 1965 Gibson 125 TC (archtop), my 50's Silvertone archtop, my 1962 EKO archtop, and my 1933 Kaykraft archtop.

 

4) Somewhere between halls 1) and 2) an Epiphone Southern Jumbo (round shouldered import) struggles to fit in because it shares a name with my dreadnaught Gibson SJ and looks like a J-45...in even though its just an inexpensive beach guitar.

 

5) My Regal RD 45 square neck resonator/dobro replica resides in the "slide hall" as does my Regal Dualian round neck set up with a Hawaiian nut for square neck playing as does my 50's Gibson BR9 lapsteel and a 50s/60s Custom Craft (Kay variation with a huge neck) whose set up is so warp it works well for square neck slide playing.

 

Plus, I have a few other halls of guitars as well as a "5 string banjo hall"( two Vegas, a Kay, a Gretsch, and a no name)...you get the idea-er.

 

QM aka Jazzman Jeff

[rar]

I have a bunch of Gibson slope shoulder models. Although all are similar' date=' each has something that differenciates it from another to my ears and in my hands. ... [/quote']

 

+1

 

If I find a guitar that sounds great, and different from what I already have, I don't discriminate against it just because I have another with similar specs. I don't much believe in specs anymore. Guitars with identical specs can sound quite different.

 

-- Bob R

[ksdaddy]

I think the only overlap I have here is a '64 SJ and a'91 J-30. And they're as different as Betty and Veronica.

 

Come to think of it, I think the J30 is a 25.5 scale. All bets are off now.

[ChrisA83]

I'm a fan of the Gibson L body and have several:

 

 

The 1928 L-1 in the upper left is obviously the earlier' date=' smaller L body. Since this photo, I've swapped out that circa 1920 L-1 in the upper right for a gold sparkle, 1931 L-2 of the same size.[/quote']

 

What's the one at the top in the middle? I love it!

[jannusguy]

What's the one at the top in the middle? I love it!

 

the fret markers suggest a nick lucas but i'm prolly wrong. it sure is nice but they ALL are.

[nid2007]

Like my signature shows, my collection has some boxes of the same body shape. I know it's a cheezy cliche at this point: but they each have different songs in them--they really do.

[eeh1]

I have a friend who has 10 Dreadnaughts' date=' Martin, Guild, Gibson.....etc.....They are all beautiful, and they all have a somewhat distinct sound, but basically all have the "bluegrass" heavy bass kind of thing going on......Do any of you have like three J-45's, or slope shoulder Dreadnaughts with different species of top and back and sides? All of my guitars are fairly unique, so I'm trying to understand this phenomenon......thanks....[/quote']

 

 

 

 

3 SJ200's 1951 maple sika 1994 brailian adi 2008 maple adi

 

3 Loo's 14 fret maple sitka 12 fret madagascar adi legend hog and adi

 

d18 authentic hog and adi d28 braz adi

 

3 j45's legend hog and adi tvvos hog and adi aj brazil adi

[TP]

I have always looked for something "Different" when looking to add a guitar to the fold. My current collection includes a Gibson AJ for my Dread for strumming and fingerstyle, a Taylor 612C for fingerstyle that needs more of a contemporary sound, my Gibson LG1 for blues stuff, a Semi-hollow body electric with humbuckers and a Mahogany hardtail Strat with Texas Specials single coils.

 

I have had overlap over the years but usually found the one I liked best and moved the other for (as Monty Python would say) Something Completly Different!

[suburude63]

I have had many many slope shouldered guitars as you guys know but beleive it or not I only have one left.

:- for now

They were all different in sound ,projection ect. But only one so far has won my heart Kevin Kopps K 35

 

I now have a John Greven L00v and a David Flammang L 35. I have on the way (will be here Fri or Sat) a Mike Hauver Nick Lucas.

 

I think I may have a Kevin Kopp L02 in the future We will see!

 

All there guitars I have had have been wonderful . I feel very very fortunate[cool] to have owned many great makers guitars

Collings, Gibson, Martin, Huss&Dalton, Guild, Steve Swan,Santa Cruz, Dana Bourgouis , John Greven, David Flammang and John Walker and Kevin Kopp.

 

[jt]

What's the one at the top in the middle? I love it!

 

Thanks! That's my 1929 Nick Lucas.

 

Whether these guitars "overlap" is' date=' i suppose, in the ears of the beholder. The 1929 Nick, 1930 L-1 to its right, and 1932 black and white L-00 in the front row are all mahogany/Adirondack 12-frets L-s. But, Gibson bracing changed from 1929 through 1932, so they actually sound quite different. That L-1 did sound fairly similar to the L-00, so I swapped it out for a 1931 l-2, the lightest guitar Gibson ever produced, which has a different tone form all of them:

 

 

[img']http://inlinethumb51.webshots.com/45426/2315538250033810361S600x600Q85.jpg[/img]

[DanvillRob]

Man... I feel like a slacker..... I only have a Dove and a Doves In Flight, (and they sound TOTALLY different).

[Bca143]

That Nick Lucas is really special looking! I love it.

[Hoss]

I was feeling quite sanctimonious about this topic---thinking "EVERY guitar I have is different".

 

Then I remembered that I have 2 L-00s, a new one and a vintage.

 

Then I remembered that I'm going to sell the vintage one.

 

But really- if a model works great for you, why not explore some options using different B/S, tops, vintage/new?

[jannusguy]

I was feeling quite sanctimonious about this topic---thinking "EVERY guitar I have is different".

 

Then I remembered that I have 2 L-00s' date=' a new one and a vintage.

 

Then I remembered that I'm going to sell the vintage one.

 

But really- if a model works great for you, why not explore some options using different B/S, tops, vintage/new?

 

 

well said. i have 5 Gibson slope dreads with varying woods. each sound unique to me.

[rar]

... a 1931 l-2' date=' the lightest guitar Gibson ever produced, ...[/quote']

 

John,

 

I believe you mean "the lightest guitar Gibson ever produced that says 'Gibson' on it".

 

-- Bob R, '31 Kel Kroydon owner B)

[sumner77]

Lovely guitars all, but JT that collection takes the breath away.

[jt]

John' date='

I believe you mean "the lightest guitar Gibson ever produced that says 'Gibson' on it". Kel Kroydon owner :D

[/quote']

 

Well, a funny thing happened last week. A friend brought over his Kel Kroydon. We took a look inside (with mirror and X-ray). The L-2's bracing was smaller. We weighed them. Even with the metal truss rod (which the Kel lacked), the L-2 was 2 ounces lighter. So, I stand by my statement.

 

Still, the Kel was an amazing sounding guitar. ... Almost as amazing as the L-2.