The Too Valuable To Play Syndrome

Trotter

Same as a lot of comments here really: I have one particular guitar that only comes out at the bigger shows and precisely for this reason I'm currently thinking of selling to replace it with 2/3 less valuable guitars that I won't be worried to gig. Wierdly however I have one other guitar which is worth more than the case queen in question that comes to every show; the difference is to the untrained eye the "battered old guitar" is worth considerably less than the "fancy flamey one" that's in mint condition. We are a strange bunch aren't we!?!?

ChrisMusic

Trotter said:

... the difference is to the untrained eye the "battered old guitar" is worth considerably less than the "fancy flamey one" that's in mint condition. We are a strange bunch aren't we!?!?

It's all a matter of risk management.

Making it difficult for them is always a discouragement, and hopefully they will leave well alone, no thief wants to get nicked.  (Unless they are drug fuelled, and then there is no common sense or predictability and anything goes.)

As a photographer I am well aware that recognisable "name" brands, and new looking nice shiny things that will be easy to sell on to the unscrupulous, are sought after targets.  Kids in third world countries are taught to look out for "Nikon" or "Canon".  One protection is to travel with battered old kit, or lesser known brands.  Another is to cover cases with rough old stickers.  On the camera, insulation tape over the brand name, and probably bits over the body so it looks old scruffy and unloved (read - not worth nicking, as who would want that old thing)

I shudder at the thought of a 59 LP covered in gaffer tape though.

So I'm not sure these ideas translate to music kit that easily.

And wasn't there just a bit of ego in what you were playing, or was I just so much younger then?  

stickyfiddle

I don't take my CS336 to potentially dive-y venues, or anywhere that might be a small stage, easy steal, etc. I bought my broke-necked SG precisely so I could have a take-anywhere, throw-around Gibson.

But I wouldn't go so far as to not play a guitar for fear of ruining its value. I'd never buy a vintage gutiar so mint that making repairs (changing scratchy pots, etc) would kill its value. That's a fools' game.

mike_l

The only guitar I'd be really wary of taking any where dodgy would be my Jackson as, to me, it's irreplaceable.

[Deleted User]

Further to my earlier comments about Joe Bonamassa gigging vintage Gibsons; I was with someone last night who has worked with him quite extensively. He tells me JB now owns '6 or 7' LPs made between '58 & '60.... The guy's clearly doing well...

redrighthand

I'm a bit like this. Bought a LP a while back that I've never taken out of the house. Now I have a couple of MJT relics I feel even less inclined to do so. Hence it's - as of yesterday - in the classifieds.

The first ding is the deepest though, always.

scrumhalf

What makes a guitar valuable? The price that someone (other than the current owner) will pay for it.I don't believe that sentiment plays any part in it.

It's for the owner to decide whether it remains an instrument to be played or an investment to be protected.

I'm sure there must be similar arguments goiong on in classic car forums/fora across the web.

ICBM

scrumhalf said:

What makes a guitar valuable? The price that someone (other than the current owner) will pay for it.I don't believe that sentiment plays any part in it.

Not entirely true. I have a guitar (not the Rick) which is very valuable to me, although probably not to anyone else - to the point I'd be careful about taking it out to gigs. It's a twin of the first electric guitar I owned in 1985, which I then proceeded to modify to destruction. It turned out to be a very rare model - it took me fifteen years and a worldwide search to find another one, and cost me at least twice what I would expect the market value in this country to be.

tonyrath

To me several strands emerge 

1 The collector who either through desire or investment buys vintage or valuable guitars but does not play 

2 The semi pro or pro player who has a valuable instrument which only comes out when it is safe to do so 

3 The rich hobbyist who buys a top name guitar and derive enjoyment from doing so 

4 The pro or semi pro who pays a good price for an instrument which is well used. 

None of these to me are wrong choices BUT the collector who does not know how to look after their instruments, thats a different matter 

[Deleted User]

tonyrath;8883" said:

To me several strands emerge 

1 The collector who either through desire or investment buys vintage or valuable guitars but does not play 

2 The semi pro or pro player who has a valuable instrument which only comes out when it is safe to do so 

3 The rich hobbyist who buys a top name guitar and derive enjoyment from doing so 

4 The pro or semi pro who pays a good price for an instrument which is well used. 

None of these to me are wrong choices BUT the collector who does not know how to look after their instruments, thats a different matter 

Or the relatively impoverished player who saves hard to buy the instrument of their dreams as they are massively dedicated to their art and want the best tool available?

stonevibe

I generally prefer buying used, player grade guitars anyway. They just feel nicely worn in and you don't get the 'first ding' issue as someone has done that for you already.

Whenever I look for a new guitar (currently on the lookout for a Japanese Custom Tele '72...), I look for used examples first and preferably ones with dings. Mainly because then it will also be cheaper!

tonyrath

FAO Richard yep that will do it too although I think that is covered to a certain extent by my point 4 

randomhandclaps

To buy a guitar and decide it's too precious to play is a bit like marrying a model and then deciding she's too beautiful to shag.

impmann

Having had a vintage guitar (1968 Telecaster) stolen from the stage in a small pub in North London, I can tell you it hurts. A lot.

But, you know they are only pieces of wood with some magnets and a few bits of metal... and although I lost every penny I didn't have in the world, I got over it and kept playing. I've since replaced the guitar and you know, the replacement is probably better!

grungebob

I realised after my 3rd prs that I don't like being the one who damages the guitar first,so got scared of playing them,now all my guitars are either used or in the case of the jaguar a relic so I don't worry about these things and can just enjoy them.

digitalkettle

impmann said:

Having had a vintage guitar (1968 Telecaster) stolen from the stage in a small pub in North London, I can tell you it hurts. A lot.

But, you know they are only pieces of wood with some magnets and a few bits of metal... and although I lost every penny I didn't have in the world, I got over it and kept playing. I've since replaced the guitar and you know, the replacement is probably better!

Bad times...how did that happen? Were you distracted or was it opportunistic?

ICBM

grungebob said:

I realised after my 3rd prs that I don't like being the one who damages the guitar first,so got scared of playing them,now all my guitars are either used or in the case of the jaguar a relic so I don't worry about these things and can just enjoy them.

I bought all my PRSs pre-dinged... even the new one. Nice big shop dent which saved me £700 off the list price, I asked if they could do another one and take another £700 off but they said no .

That said, there's just something 'PRS' about them which makes them more of a worry at gigs than a beaten-up old Fender which is actually worth more - or even a more fragile Gibson... I don't know what/why exactly.

impmann

digitalkettle said:

impmann said:

Having had a vintage guitar (1968 Telecaster) stolen from the stage in a small pub in North London, I can tell you it hurts. A lot.

But, you know they are only pieces of wood with some magnets and a few bits of metal... and although I lost every penny I didn't have in the world, I got over it and kept playing. I've since replaced the guitar and you know, the replacement is probably better!

Bad times...how did that happen? Were you distracted or was it opportunistic?

We'd finished the gig and I'd left the guitar on a stand on the 'stage'. I went to the bar to get a drink. Out of the corner of my eye I saw something move and realised that it was my guitar being carried out the pub by another guy. I gave chase up the road shouting every name I could think of - and then rounded a corner to find him standing there with a group of his mates... and all of them were a lot bigger and scarier than me. It was clear that if I tried to get it back off them, I would end up seriously hurt, so I admitted defeat and walked back to the pub - crying.

Its not nice, I can tell you.

digitalkettle

Damn, that's harsh...you might have stood a chance if you'd been swinging a backup Tele

jaygtr

What a horrible story. You did the right thing though (