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We got the original in the can. Will worry about fine tuning the mixes later.
Instrumentation: Octave mandolin, 5 string hollow body electric mandolin (the Arrow G5) into a Fender Champ through a ProCo Rat. (yes. That surprised me too), hamonium, Fender P bass, kick drum, shakers.
I did a bit of rhythm guitar on the Santa Cruz 1942 Bluegrass D, but it didn’t make the cut. Too much midrange.
Strangely, what it seems to lack –having listened to it about 20 times in the last 48 hours– is top end! I’ll have to add a proper mandolin part!
BTW, did both a bridge and a solo. Might keep the bridge, might not. Solo is definitely staying.
Back at Saltwell in November. Might do a few bits here in Laon before that.
🙂
Daniel
Thanks my cunning friend.
Yeah. Wrote a bridge for it today. That means I don’t need to spend an hour working up a solo in the studio. 🙂
So I might have time for it and a trad.oo here’s me being ambitious!
Daniel
I have it on good authority that Matt Hayden owns a mandolin as well as a very cool 3/4 size bull fiddle. Gotta picture of one of those things round here somewhere…
🙂
D
Hello Newbs and welcome!
The Taylor 522ce looks like a 00 with cutaway to me. So there you go for size.
Putting a cutaway on Skye would be wrong. Look Eric up on Youtube and you’ll see why. 😉
A Firefly would be a bit smaller than a 00, and it will have a shorter scale. So it might suit you right down to the ground. But I would try one first.
I wouldn’t worry about sound and playability from a SGCG. Those are built in.
If you’re in California, go to Santa Cruz and do a shop tour. Have a conversation with Richard or anyone one of his staff about what you’re looking for. They’ll hook you up with a dealer who will sell you the guitar, whether you have it custom made or want one from stock.
Failing that, call up or visit your closest SCGC dealer and chat with them. They can make special orders on your behalf to the shop.
Enjoy the process!
DanielThat frozen spruce is a very cool colour.
I like my acoustic guitars to look like the material they are made from. It’s a sort of visual unplugged-ness.
I do have a mandolin with a black top, and I ordered it that way. Not sure why those are an exception for me.
I prefer definite colours on solid body instruments. Electric mandolins need a bit of splash because they’re small, so I have those in TV yellow, sea foam green, and gold sparkle.
You know what? If SCGC had a brilliant sounding piece of really ugly spruce, I’d go for a Skye sig model with a coloured top and fancy binding. Blue maybe or TV yellow. 🙂
Daniel
I did. It was John Jorgenson.
The gig was a JJ Hot Band gig at the Iron Door in Groveland. I went with Ken vande Kieft and Meg Eshom, who some of you might know. Must be about 10 years ago now. Brilliant show. Afterward, the band lined up by the door to shake hands and say Thank You to everyone who came.
I asked JJ if I could shake his left hand and let a little of that speed rub off. He got a great big smile on his face and moved the coffee to his right hand. He shook my hand, looked me in the eye, and said, “Sure! I hope it works!”
I don’t know how, but it did. Maybe it was confidence, maybe it was asking the universe for something I wanted and then setting myself on a path to get it. But from then on I believed I *could* do it.
OK, I’m not JJ speed, and those Bluegrass guys kill me still. But I go as fast as I want, and I know how to learn to get faster.
🙂
DanielThe title of this thread reminded me of this song:
My own experience is that my dreadnought was pretty loud when I bought it nearly new in 2002. But it was brash. A perfect Rockabilly guitar. So I banged on it fr about 6 months. “Wake Up Little Suzy” was indeed one of those songs. 🙂
After 6 months, the tone started to get more complex, but the power did not drop.
For a number of years I couldn’t overdrive the top. It always just got louder and the topped out without flattening. These days, like me I guess, it’s more mature, more complex, and a little less powerful. I can overdrive it if I try.
🙂
DFretboard radius has a lot to do with how effective a capo is.
If they don’t match well, either the outside strings or the inside strings will not make great contact with the capo. Lots of companies solve this problem by using soft enough material to form properly to the fretboard despite the curvature mismatch.
I suspect, Rich, that your cheap capo matches that one guitar perfectly and the other not so well.
In my case (ha), I’ve got a 15 year old Elliott that matches my SCGC perfectly and is as sonically transparent a capo as I have ever heard.
I have a lovely Shubb I bought for my Telecaster, a model made for electrics, that has too much radius. So it doesn’t quite fit the Tele! Sounds rubbish. 🙂 I suspect the old elastic and rubber ones would sound great on the Tele.
Daniel
Hi Ciosi,
Do you mean fossilised mammoth ivory? I’m a bit out of touch with guitar paraphernalia, but I recall that being discussed some years ago.
Basically, denser material absorbs less energy than lighter material. So a denser material should improve volume, tone, and sustain. Most fossilised mammoth ivory will be more dense than most bone. Though, it doesn’t always make a guitar sound better.
I think it’s worth a try if you can find some legitimate material. 🙂
Daniel
