If an X-braced Gil is unsellable I can't imagine what it would take to
actually sell my X-braced Master Model!  I think you have it right, the tone
bar braced instruments are mid-range monsters and attack the back of a room
like nothing else, particularly Steve's instruments, the X-braced
instruments tend to have a little more bass/treble response.  But, he'll
also tell you that the wood used top and back have more effect on the sound
than the bracing pattern.

M


On Mon, Jun 7, 2010 at 9:00 AM, 14strings <[email protected]> wrote:

> Sorry.....for being too cryptic and being a little facetious. Lou
> often writes from an authoritative perspective complete with
> painstaking detail and footnotes. Guess I felt the need to set the
> record straight. I suppose I should have come right out and said it
> was a Greg Brown tune. Greg Brown is a favorite of mine and writes
> some great tunes. When I first heard his tunes "If I Had Known" and
> "Laughing River" I must have spun them a hundred times. Would have
> worn them out if they were on vinyl.
>
> Regarding x braced here's what Lou states:
>
> "the tone might become 'too wide or 'too tubby' with prolonged use.
> Also there was a preceived lack of subtlety and nuance in such
> instruments" "today such cross braced instruments are rarely purchased
> new, and many people are cautious about even buying a new one."
>
> I actually spoke to Mr. Martin when I ordered my 2004 Gilchrist Model
> 5 cross braced. To be fair I can't recall the conversation verbatim
> but I don't recall him telling me to stay away from x-braced. He did
> convince me a one piece back was really important so I ordered mine
> with that. It sure does look purty not sure it influences the tone
> though?
>
> Interestingly I always thought that tone bar mandolins were generally
> considered to be more in your face mid-range wise
> and x-braced maybe had a little more subtlety and nuance; quite the
> opposite of what is stated above. I suppose though a luthier could
> build either to sound like the other. Back then I think the general
> consensus was that x-braced were thought to be a little more versatile
> if you were going to be playing music other then bluegrass. Not that
> it all really matters because I really love my Gil and wouldn't have
> it if not for Tater's influence so thank you!
>
> I thought I would mention all this here because of Tater related
> content. Interestingly the Mike Compton bio is a reprint written from
> a 1988 perspective. Lou's newsletter is a fun read and almost always
> includes Bill Monroe content. Another interesting tidbit: Lou cites
> the "Tanyards"  from "Grounded, Centered, Focused" as having "one of
> the greatest endings in the history of bluegrass" It's a fantastic
> album for sure.
>
> Congrats on the return of the F4, I didn't know it went away?
>
> On Jun 6, 9:20 pm, mistertaterbug <[email protected]> wrote:
> > Strang,
> > The song "The Train Carrying Jimmie Rodgers Home" was written by Greg
> > Brown and has nothing to do with me whatsoever. It *is* however, a
> > damned well-written song. And what exactly is it about an X-braced
> > Gilchrist F5, according to Lou Martin/Harry Gilmore, that makes it
> > unsellable? If I had the money, I'd buy it off you in a New Yawk
> > second. Oh, by the way, I GOT MY F4 BACK! Yaaaaaaaaaaaaaaaaaaaaay!!
> >
> > Taterjoy
> >
> > On Jun 5, 1:04 pm, 14strings <[email protected]> wrote:
> >
> > > I learned some things this month:
> >
> > > That the tune "The Train Carryin' Jimmie Rodger's Home" was inspired
> > > by Tater's stories of home.
> > > I also learned that my x-braced Gilchrist may be unsaleable ;)
> >
> > > Lou's newsletter has a nice little bit about Tater in this month's
> > > issue as well as some "Paddy" commentary and sheet music.
>
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