Tim gives a cogent and adult response. For which I am appreciative.
Until presented with evidence to the contrary, I accept his point of view about Martin guitars from the 70's or until people who Martin guitars from that period raise their hand.
However, we were also talking in detail about composite guitars. Mine was made (or injected into a mold) in 2005. And it is exactly what I expected and paid for. If it was made of paper machie (sp?) and did the job, that would by fine with me.
BTW: Mandolin bodies were made of paper machie in the 19th century, (albeit not very good Italianate ones). I just turned down a repair job because the neck separation from the body was caused by the paper shell beginning to disintergrate. And to fix it would mean rebuilding a cheap mandolin body. The price of such a repair was far more than the value of the instrument. I advised the owner to retire the instrument to his mantle.
Further, Tim said, "Finally, just to gently challenge your rather sweeping first paragraph;"
That paragraph said, "Don't you just love it when someone says that nothing is worth anything if they personnally don't like it.
By Tim's statement, he seems qualified. But he did say, "Tone was rubbish on all but the very high-end Martins, and having listened to a few,"
Tone was rubbish on all
Having listened to a few
Which was it? By listening to a few, you passed judgement on all. Maybe you're right. By is is also a sweeping statement, don't you think.
As I recall it wasn't a very good time for Gibson either.
I wish Tim continued success with his guitars. He might end up with a Martin from the 70's he likes some day. I would recommendd he listen before checking it's pedigree. I check the price first myself.I don't want to shop for instruments I can't afford.
BTW: I have a Takamine 12-string that is a fine instrument, for the price. I also have a 1949 J200 that is an exceptional instrument, at any price.
My qualifications, (since you asked):
Been playing most stringed (and fretted) instruments since 1959. I've worked as a sideman, accompaniest and soloist. I've taught (and continue to teach) guitar, banjo and harmonica. I've had compositions purchased for commercial purposes. I've worked for luthiers and continue to repair and setup instruments on the side. I've built instruments from scratch and from collected parts. And I know and have jammed with people that many consider legends. Will that do?
And I value wood as well. But I don't close my mind to progress.
I wish Tim continues luck with avoiding thorns.