Custom D-18 Question

[Jed C]

I am getting a guitar from a guy based out of Kansas who builds custom guitars. It is basically a D-18 Golden Era. Tone woods - Honduran Mahogany and Adorondak Spruce. Forward shifted x-bracking.

I have the option to get a large sound hole at no extra charge. Would this be a wise choice? Clay Hess told me in person that every large sound hole guitar he had ever played was "muddy".???

Here is an Honduran/Adorondak guitar that he built with a regular sound hole. http://www.youtube.com/watch?v=RNqBUOtXu54

Your input is really appreciated!
Thanks!

[Jeff Mayer]

Thanks for introducing me to Faris guitars. I am very impressed with their sound! I have emailed him to inquiry more about his guitars.

As far as a large soundhole, it really depends on the guitar and what you are looking for. As far as a large soundhole guitar sounding muddy, I have to differ on that. Having owned a GREAT sounding Martin HD16RLSH for over a year, I can honestly say that muddy was not even in its vocabulary! It was clear, rich, loud, full, great string-to-string separation, and balanced.

Jeff

[Jed C]

Great! Tell him Jed sent ya! I will definately get as many pics and videos up as I can when I get it. Probobly won't be untill around Thanksgiving.

[Mark Thatcher]

I've had a 2000 Adi topped HD28-LSV for a while now and my mortal ears dont detect any muddiness in the guitar. Maybe in my playing but thats another story. There have been a few articles in FGM that specifically address the legend of Clarence/Tony's D-28. In reality the Santa Cruz, Collings CW's, and Martin LSV's are all homages to ole' 58957. They are all great guitars in their own right and although none are exactly identical to 'the bone' they all bow down to it in one way or another.
Does the large sound hole actually do much? Eh I dont know, but it sure looks cool and all the better pickers that played my LSV seemed to think it had 'something'. It does have something going on, its a great guitar. I have a buddy that has an outstanding adi topped Marquis, and another buddy thats got an adi topped GE (yes I know all the Marquis and GE's are red spruce, duh) . It's true, the 28 has the GIANT 'Boom chuck', and the GE can cut through steel. Both are fantastic guitars, really excellent representations of their models. Both great for rhythm and or lead but the 28 is the wall of sound and the 18 is the lead machine. My LSV tonally fits in nicely between them. It's not as Boomey as the 28 but does have more bottom than the 18. Nice I am real happy with it. It is more guitar than I'll ever 'need'.
As for a Large sound hole on 18 style guitars? Eh seems more of a rosewood thing to cut down a little on the big boom. Clarence had a normal 18 to do his lead work. The bone was not his main axe. Tony got it because it was Clarence's (and it was a 1935) not because it had any 'magic'. And tony likes the rosewood.
FWIW I love Martin Dreads. I think they are the standard by which all other bluegrass /flatpicking guitars are judged by. But, my buddy with the awesome Marquis, he got himself a German topped D1. And that Collings has MORE of EVERYTHING. Standard sized hole too.
Just my .02

[Gary Foster]

let us know how Rick Faris, does with this guitar, how good it is?