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Sigs or specs


ParlourMan

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Artist models have had a fair few mentions lately, so I thought this would be worth a punt as a topic...

 

For the owners of Artist models, or sig models:

 

Did you buy for the Artist association, or based on the model specs?

Would you buy for the artist association, or just because of specs?

 

I've always avoided sig models where possible, yet ended up with two, The Keb Mo and the Woody Guthrie, neither was bought for any artist association (I actually had no idea who Keb Mo was). As stated in another thread I'm quite drawn to the Robert Johnson model, but with a sig inlay on the actual fretboard it becomes a deal breaker. The Keb Mo I could change the TR cover if it gets too annoying and the Woody G model is basically a darker burst J-45 with no FB binding and HB style inlays, no visible sig association apart from the label.

 

There's been a few negative responses to sig models in general, purely based on the sig, the new Sheryl Crow SJ for example. Would you prefer to see models designated by specs rather that artists?

 

Is a sig a deal breaker for you?

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Generally speaking I dont like Artist models, unless they bring somethign to do table in terms of design and specs.

 

My Aaron Lewis did that in having identical bracing as his 51' SJ, and it reflects in the open, alive tone.

 

However I didnt even know who AL was when I bought the guitar. I just loved the tone and thats what sold me on it. Mind you as soon as I got home i got rid of the AL SJ truss rod cover with his image on it and placed a plain black one over it.

 

So bottom line, if the guitar adds a bit more oomph because of special design specs then Ill look at it for sure, but thats pretty much it.

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i agree with aussie , and i'd be very surprised if anyone said they like the guitar adorned with a signature or something like it . it's a nice way to fiddle around with guitar recipes for gibson , but i'd feel pretty dumb with sheryl crow written on my guitar . the aaron lewis one where you just replace the truss cover is a good way to go .

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Well, I'd buy a Nick Lucas or, if I played electric, a Les Paul. Both brought something new to the table. Both still cool.

 

The current trend --which gets most of the cat-calls-- is more about reviving old models (Jackson/Smek, Kebmo/12 fret L00) or putting a silly widget on a std (S-Crow SJ). I can do without the widgets but I figure you can live with the artist assoc if you can get a model like the Smeck that otherwise might be off the table. Besides its bad economics to lay off the marketing dept in a slow economy, lol.

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Own a Jackson Browne 12- fretter. Probably would not have not thought of picking this up to play, in fact I was intent on searching for a Hummingbird, except for the awareness that the endorsement provided. Once played, I was sold.

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Own a Jackson Browne 12- fretter. Probably would not have not thought of picking this up to play, in fact I was intent on searching for a Hummingbird, except for the awareness that the endorsement provided. Once played, I was sold.

 

theyre sure creating an interest one way or the other . which canonly be a good thing .

the jackson browne model made me look at the models he based it on , which i wasnt aware of . its one of the models i'd love to try . but if it said jackson browne anywhere on it then i would be somewhat put off.

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Roy Smeck... Shelby Mustang... Ren Ferguson... these are all worthwhile and desirable endorsements / signatures, the marketing gives an excuse to notice and consider me thinks. Oh, and I guess I have a CSN Martin too, its a pretty nice instrument that I may not have pulled off the rack to try. Again, once I did, I was sold.

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Whoa Bros. There is a big difference between a moniker designating the builder or model and a "signature" guitar. At its best, a signature model would incorprate designs recommended by a particular artist or modifications that some artist made to a stock guitar to get what they believed was the best possible sound out of it - something like the enlarged soundhole on Clarence White's Martin D28 (I gather though Martin was not going to go as far as slap a Gretch fingerboard on the guitar). A 12 fret, deep body SJ is a great idea - I don't care whose signature is on it.

 

Others have some intersting quirky details that I like and which you are just not going to find on other instruments. As I understand, the Keb Mo' guitar, as example, has a French Heel neck. Oddly enough, this as the standard Epi neck which Gibson did away with shortly after getting hold of the company - it being phased out by 1960 (the first Gibson-made Epis were pretty much put together with left over Epiphone necks slapped on J-50 bodies). But I have one of those necks on my 1950s Epiphone and really like it. As far as I know the Keb Mo' is the only modern guitar to have it. I always wondered it this was a nod to the Epiphone Bluesmaster which was Keb's favorite guitar for alot of years - although that one did not have a French Heel neck either.

 

Then you have something like the Guthrie SJ. Kinda silly as Woody had no particular loyalty to any guitar maker and if anything he is more associated with Martins than anything else. Just so happens though there is a photo of him holding an SJ with the famous This Machine Kills Fascists label. But I also think although the Guthrie Signature is not a spot on reproduction of the guitar in the photo, it is the best Bozeman-made SJ I have ever played. Not really sure why although I believe Gibson put the second X brace above the soundhole like you find in 1950s guitars. I believe the Kristofferson SJ is identical.

 

So for me it comes down to specs - not association with any particular artist. I do like it though when they put the artist's name on the truss rod cover - easy to get it off.

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The only signature model I own is the 000-28 EC. I don't like the inlaid sig on the fretboard, but I do like the look of the guitar. Thought about using a black Sharpie to blot out the signature, since it's an ebony board, but I may not keep it forever, so I'd better keep it original.

 

I think Ponty has a non-sig 000-28 built to exactly the same specs as the EC (vintage top toner, etc). That was probably a good call.

 

I'm looking at the specs for the guitar, not the signature, which I find to be a distraction.

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A 12 fret, deep body SJ is a great idea - I don't care whose signature is on it.

 

Yes, I could get with that, so long as the sig wasn't inlayed in the FB.

 

 

Others have some intersting quirky details that I like and which you are just not going to find on other instruments. As I understand, the Keb Mo' guitar, as example, has a French Heel neck. Oddly enough, this as the standard Epi neck which Gibson did away with shortly after getting hold of the company - it being phased out by 1960 (the first Gibson-made Epis were pretty much put together with left over Epiphone necks slapped on J-50 bodies). But I have one of those necks on my 1950s Epiphone and really like it. As far as I know the Keb Mo' is the only modern guitar to have it. I always wondered it this was a nod to the Epiphone Bluesmaster which was Keb's favorite guitar for alot of years - although that one did not have a French Heel neck either.

 

The story goes it was modeled after an older Gibson he had stolen, but I think you might be closer to the mark with the nod to his Bluesmaster guitar. I really love the neck on the Keb Mo, it's what sold it to me straight off, really nice neck to play. I never knew who Keb Mo was before purchasing it, I've not bought any Keb Mo records since I did buy it, I'd have been more than happy with the exact same specs, no sig on the label and a plain black TR cover.

 

 

 

I do like it though when they put the artist's name on the truss rod cover - easy to get it off.

 

 

Exactly.

 

 

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I don't care one way or the other if they have a signature....HOW DO THEY SOUND????? I see a lot of Signature series guitars from martin and gibson on Craigslist, and they don't seem to move as fast and don't really command that high a price for that signature. For example, an Eric Clapton will sell for about what a OM or OOO 28 will sell for, even though it has a higher initial price. I would NOT want to own a Click and Clack Martin, and trying to sell it for what I paid.......for example. Gibson Dwight Yokum and Aaron Lewis models were on CL a while back, and were selling for LESS than similar J-45 and Southern Jumbo stock models. Just saying....

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