My dream guitar would be a double-neck: classical/nylon strings on one neck and 12-string dreadnought on the other. As far as pickups, just transducers under the saddles. Then, a three-way selector that would be able to limit the output to just one neck or the other, or both at the same time.

My question is, would it be cheaper to get a guitar synth than to try to have such a thing built? Or, if it would be better to have the custom thing built, does anyone have any recommendations for custom builders, preferably in California (even more preferably in the greater SF Bay Area).

would it be cheaper to get a guitar synth than to try to have such a thing built

I would think by almost the cost of a house.  I've never seen a dual neck acoustic, largely because the stress factor that two necks would create.  And a dual neck Gibson electric has a retail of 4-5 thousand, and that's for something that is manufactured, not custom. 

I have seen multi neck custom acoustics before. But I don't know who you would go to to have one built. And I suspect it would cost a small fortune.

Acoustic modeling or a guitar synth would be a less expensive option. But it would not replace a true acoustic instrument. Most acoustic modeling circuits that I've tried fall short of a good acoustic sound. I'm not sure they could do classical well. But then again, I've only tried the cheap stuff.

Gibson tried to build the dual acoustic version before the electric but they had problems both with keeping the tuning true, but also I understand that the neck/body had a tendency to bow badly, so they gave up.

Hmmm...  I'd assume that someone like Ovation would have the best luck in constructing something like that out of a composite material, not wood. 

I remember when Ovation was the acoustic choice because of the way it sounded miked.  But Ovations had bad bowing problems and now mostly I see Taylors.

Yep. i've seen the same.  Lots of Ovations in studios, though.

I've only seen the Ovations used live, and like I said, that was some time ago, like the 80s.  In the studio where you can mike without amplification you could go for more vintage instrument and get a much warmer sound for recording.  Or for something that offers greater ease of playing.  So, where Jimmy Page is famous for using the Gibson LP and Marshal stacks in concert a lot of the studio stuff was done using a Tele, including the famous one-take run on Stairway to Heaven.

It's not my job to choose instrumentation, it's my job to make it sound the best that it can. 

Guitar synth? Like that fender vg guitar or the Gibson robot guitar? Or like one of those key-tars? which could be made nifty if one was plugged into a sampler based vst instrument using a guitar-bass-etc. patch. or a Z-tar  http://www.starrlabs.com/

I wasn't thinking of a double-neck acoustic. I was thinking of a solid-body guitar, but with "acoustic" guitar strings, bridges, saddles, and pickups.

My goal is NOT to replicate acoustic guitar tones, but to have a guitar with unique (perhaps "odd" is a better word) sounds.

key-tars - the gayest instrument ever, they rank right up there with ego risers on the monitors and confetti cannons.

My goal is NOT to replicate acoustic guitar tones, but to have a guitar with unique (perhaps "odd" is a better word) sounds.

Use ProTools and emulators like Digitechs and an array of pedals. That seems to be what the big dogs do.  I suppose for home playing with yourself stuff custom equipment is good, but for most commercial applications the rule is "nothing you can't replace in Cleaveland on a Sunday night."

Quote from: tekla on February 06, 2009, 10:16:37 AM
Use ProTools and emulators like Digitechs and an array of pedals. That seems to be what the big dogs do.  I suppose for home playing with yourself stuff custom equipment is good, but for most commercial applications the rule is "nothing you can't replace in Cleaveland on a Sunday night."

Thanks, Tekla.

Actually, what you really need its a tech/engineer.  There are a lot of guys (and they tend to be guys, chicks play keys or bass) who are out playing with someone sitting/standing in the wings like the real wizard of oz manipulating the effects, the send, the attack, the delay, the reverb and all that - it don't matter much, after all, its not like the guy on stage can hear what is being sent into the house. 

I use a cheep-O digitech and I love it.  I can make my little crate (single 10 inch) and crappy but very pretty Korean guitar sound like shread city if I set it right. I use the first series, and most basic one at that, but they have got a lot better and can do a lot now, I'm thinking something like this, not cheap, but a hella cheeper than a custom instrument by thousands and thousands and thousands of dollars.
http://www.digitech.com/products/Multi-Effects/RP355.php

Now, if you are playing/recording on a Pro level (meaning your hoping to sell lots of tickets or CDs), you want all the real pedals, they have a much faster slew rate (have I lost you yet?) and you will go to SIR (Studio Instrument Rental) and get the real equipment, because a Marshall Stack does not sound like a Fender Twin, but otherwise, the difference is minor in your music room.

I had been looking at the RP250, actually. That, and a Squire Tele or Strat and maybe a Roland Cube 25.

The Roland tends to be more of a keyboard amp for some reason, if I was going with a Fender guitar - depending on what I was inflicting on people, I'd go with a Fender Dual, or Showman, or a Mesa Boogie setup, but that's just me.

When I was a kid, I wanted a Roland JC-120. I loved the sound King Crimson had in their 1980's configuration, so that was the basis of my amp choice. I ended up with a Peavey Bandit 65.

These days, a 65-watt amp is far more than I need. I'm thinking something in the 30-watt range with reverb would be good.

Get thee to guitar center, I love my Crate, but there are a lot of really good small amps out there now, and those big huge Marshall Stacks that your favorite headbangers use?  Mostly dummies with an LED to make them look like they are on.

And you're going to hate me for this - but at least you'll hate me for the right reasons, but a bunch of years ago Meyer's was testing out their new concert array that would become the Milo System.  King Crimson was booked that night and they asked if Mr. Fripp would test the system and tell them what he thought.  So Fripp wanted the entire hall cleared, which was my responsibility, and I said "Gee, I have to go up in the balcony and fix the seats that the headbangers broke last night before we open" and so the ever so polite Mr. Fripp said "OK, you and no one else."  For the next hour and 45 minutes he sat there playing while I was fixing seats.  One of the most amazing times in my life.  Almost makes up for all the crappy bands I've worked for. 

Quote from: tekla on February 06, 2009, 12:12:13 PM
Get thee to guitar center, I love my Crate, but there are a lot of really good small amps out there now, and those big huge Marshall Stacks that your favorite headbangers use?  Mostly dummies with an LED to make them look like they are on.

And you're going to hate me for this - but at least you'll hate me for the right reasons, but a bunch of years ago Meyer's was testing out their new concert array that would become the Milo System.  King Crimson was booked that night and they asked if Mr. Fripp would test the system and tell them what he thought.  So Fripp wanted the entire hall cleared, which was my responsibility, and I said "Gee, I have to go up in the balcony and fix the seats that the headbangers broke last night before we open" and so the ever so polite Mr. Fripp said "OK, you and no one else."  For the next hour and 45 minutes he sat there playing while I was fixing seats.  One of the most amazing times in my life.  Almost makes up for all the crappy bands I've worked for.

Some of Fripp's work is difficult to listen to. I know die-hard King Crimson fans who call their stuff "unlistenable crap." But, that does not mean by any stretch that the talent is not there.

Damn, would I loved to have been a fly on the wall then.

Yeah he was doing the entire fripptronics catalog.  And I like some of the stuff like Islands, and Starless and Bible Black.  When you consider the entire catalog, including the League of Crafty Guitars, his career has been pretty amazing.