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Haasome that is spec for spec my same experience
I check my daily reverb email feed everyday
Had an h13 and loved it. Although I ordered it in EIR and wished I had done adirondack mahogany. Santa cruz does mahogany so well and I personally think it suits their voicing. The H13 is enchanting.
I sold it to get an OM Grand because I needed more airspace and more low end to support strumming and singing. Although the smaller Santa Cruz guitars are loud, I find they are not suited to all out gusto – more for ‘sensible’ playing. I think the H13 would do great for folk. Yes it has a deeper body.
For your first one… I would suggest going certainly for any upgrades you want. Adirondack, mahogany, hide glue… they build a great guitar but the upgrades take it all the way there to 100% in my opinion.
It does have a bluesy folky enchanting sound in the H13, different than OO
I have a telonics volume pedal and it is the only one that I was satisfied with … otherwise I don’t know I’d use one, the quality is absolutely fantastic, but I had to get the pro model, the standard chopped off too much low end. Get ready for the price tag though – 550
It’s actually over time because nearly the only model I’m super super interested in and my next model will be that after having an H 13 and OM Grand, just couldn’t feel enough air movement off either one, not big enough of a sound and I don’t like square shoulders much … the RS is really a sweet spot for me and based on my experience something santa cruz must do really well if the VS and my experience are any indications
Oh , man you are in LUCK more than I’ve ever seen.. there is an adirondack mahogany hide glue brazilian bridge and fingerboard VS for sale on reverb for like 5200 I think cream city music or something. I spoke with them and they are really awesome people there. I was tempted to sell the guitar I have right now for it , but I think I’d rather have an RS and I’m not done with my OM Grand yet
Ah thank you for the tip on that bert! I’ll check it out!
That’s good to hear, I think it’s going to be a year or two before I get to CA since I did a US tour from Texas to Philly and back two different ways. That took about a month. Nice Jumbo stories 🙂
Daniel – yes that’s the sound I became accustomed to but when I was revisiting them recently over the past year or two trying to find something I enjoy singing over more I discovered quite a few custom shop ones that did not sound like that. It made me think perhaps they are not meant as a model to sound so thin and trebley because those were perfectly balanced to my ear. It seems more common to have the treble and thin sound, but it doesn’t seem rare to get a nice balanced one either. From what I can tell anyway, I have more road tripping to do and shops to visit.
Matt, so the 12 fret OOOO is actually the thing I most adamantly wanted Richard to do when building mine, and then secondly I had asked for a deep body. They rejected both at the time of building, I’m not sure if it’s because they just started building them a year before or what. I think the very most important thing would have been for it to have been 12 fret, followed by a slightly shorter scale…. I’m not sure if that would have done with a deep body or not, but it couldn’t have hurt I don’t suppose. I’ve thought about telling them after 5 years I still wish that they would have tried building it that way, selling it, and seeing if they’ll redo it. I’d rather just get an RS first and some type of Maple Jumbo if I can find one that sounds right. I do want Richard to build some type of 25″ roundabout or 25.25″ OOOO (the 12 fret) with adirondack and mahogany or african blackwood. The entire time I’ve had this, it has just needed a bit more of that 12 fret sound along with a bit more airspace. The only way to get the woods I have to open up a bit is to use 80/20, the phosphor bronze they sound overly rounded off. My wife says the Santa Cruz strings sound the most musical though despite not having any chime with my woods.
I’ll be excited to pursue that in the future, I want to fly out to Santa Cruz and chat about it in person. I was looking up the history of the martin F-7 flat top conversion, and if I’m not mistaken it was originally a 12 fret, not 14 fret. Carolyn said the cutaways have no sonic drawback, so since I like that sound I see no reason other than $$ to not go 12 fret with cutaway.
Woah that’s some nice pin striping!!!
I guess for the people that are interested in santa cruz I’m in the minority then of going after Roy Smeck, L-5s and SJ-200 type sounds if they haven’t had enough demand. Seems like that would be equally as popular as a dreadnought
It’s only an issue if it’s not fitting for you 🙂 You get a little less of that internal reverb or intimacy with that large sonic cavity in those in between models without getting the charm of the OO or OOO. It’s not a negative, but I find they very much land in the territory of their own thing. My logic was that it would be a utilitarian workhorse of the highest caliber, but my OM Grand told me “no, I am not your idea of me… I am myself and nothing else. I will do what I do and that is that.” It is a very moody guitar, complicated and sophisticated. The woods I’m sure contribute to that because other ones I have played have been different. It is a torturous affair sometimes, but one I cannot seem to quit entirely.
If you are always finger style then it is a different story… a lot of the marketing and model information I find is heavily slanted towards finger stylers and not strummer singers in my own experience. I don’t know what kind of player you are. If you want any advice or questions answered feel free to message here or shoot me a PM and I can share what I’ve heard over the past 8 years playing them.
I also find personally that woods work differently in these models than they do on a small or large guitar. That was a strange lesson to learn. The OOOO or small jumbo world is like an alternate guitar universe haha, where what you thought would happen warps into reality in another fashion than anticipated… experience is really the only thing that can help you to match up what you want with what you’re going to get.
I just wanted to point out that an F or OM Grand may be no better suited as an all around guitar than the D/PW. Having said that Santa Cruz dreadnoughts do have a very stylized sound I think, the F is the most reciprocal of whatever you put in you get out. It is the smallest sounding between itself and the OM Grand in my experience, but I’ve only gotten hands on one F.
Coming down from the D PW though you’ll have a tighter waste and thinner body at the very least. I’ve also found that Adirondack and Mahogany is most versatile for the things that I do and the way I do them… for you woods may not matter or you may find that another combination is a better go to for you.
I find it’s always great to daydream, formulate ideas, write down questions, set out on the road to play some guitars to answer them, have new questions, reflect, ask them to the shop and see what kind of answers come out of the process. At the end of the day they are just guitars, but also at the end of the day I can’t stop the pursuit so I guess we can say the immovable object has met an unstoppable force…. I suppose that’s what drives life 🙂
You may want to keep an eye out for a deep body variant of those two also, stepping down from a D/PW you can lose some internal space that you might miss if you’re in a singer songwriter situation – coming from someone with an OM Grand.January 22, 2020 at 5:46 am in reply to: Light Tension vs Medium Tension Strings Compared and Contrasted with 80/20 Meds #3662
Ah yes, I grew up in the age of the curse ‘explain everything’ – as music rips through my soul I feel the need to deconstruct it so I can rebuild it in a way that has a bigger statement for my perspective of the world with the pieces I like…. Luckily for about the first 17-20 years of my life I was lucky enough to grow up around a lot of 60s and 70s songs and listened to them for sheer pleasure and in total ignorance before I decided to pursue music. I credit that time as being very formative though for music dissection, it was a lot of music listening with no judgment
Thank you for chiming in, please feel free to share any opinions that come to you in the future 😀
- This reply was modified 1 month ago by Acoustic Soul.
- This reply was modified 1 month ago by Acoustic Soul.
The F I played had a very compliant voicing, what I put in was what I got out and I really liked that. It sounded a tad smaller, but I’m sure it had old strings and was asleep because that shop hadn’t moved any SC guitars in a while. The OM Grand seems like it adds a bit more voicing to the sound. I’ve always been curious about their internal perspective and what guitar belongs to what kind of player