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Honestly – I think you won’t find a night and day difference – the medium will probably give you a bit more volume, the lights a bit easier to play. But beyond that, you’ll probably find that the differences will probably depend on the specific guitar, and the nuances of the set-up and build. I don’t think the idea was to create a string that would sound different, but to make a series of strings (yes, we’re all keeping fingers crossed that other sets will be available in the next few months!) that give you a consistency in what they present to your guitar, so that you get more of the true nature of the guitars tone out. Does that make sense? Medium tension are suited to larger instruments, when you want the extra energy from a little more tension/mass to drive a larger or heavier soundboard. Light tension for smaller instruments, or guitars that aren’t built to need alot of energy input. But that doesn’t mean you cant use light on big guitars, or medium on small ones. How YOUR guitar will respond will best be known when you try them. But do keep in mind – having your guitar well set-up and adjusted will be critical if you want to really feel and hear the difference.
So after psyching myself up to let this go, the shop has never called back –
Not sure how I feel about it –
What gauge are the Spectrums? And tuned down a whole step? Wow – I’ve been doing a half step and capoing, but I get seriously buzzy w/lights tuned down – does feel good though – maybe I need mediums?
I’ve been playing with my amp set-up, and also recently installed a UltraTonic pickup in a SC koa H whose pickup had gone bad. Well, the H sounds fantastic, pickup and amp both great, so it encouraged me to pull out a Cumpiano electric 12 string I picked up a while ago. Very odd guitar, but its nice as it has a short scale, and plays so easy even tuned up to pitch. But, its been a few years, and it needs fresh strings – I guess I’ll have to order some of these strings and set a few hours aside to make everything shiny –
I think many of us are in a kind of emotional limbo, waiting to see whats gonna happen in the next couple weeks, and possibly beyond –
I got together with my bandmates recently and it sure felt good to play some music for a couple hours – but other than that, I’m trying to stay busy, possibly a little too busy, so I don’t have to think much about everything I don’t want to think about. Being self-employed, theres always a back of the brain nag telling me I need to try and sell more, or build more, or organize more, and being married, theres a front of the brain, uh, encourager, reminding me that there are many projects around an old house that need attention too.
And now, we’re starting to think holidays – probably no Halloween, but what will Thanksgiving be like without lots of family? I mean, honestly, there have been a lot of years I wanted to avoid most of my family, but when seeing them isn’t really an option, do I want to see them even more? And no playing music and singing and drinking to excess in crowded bars while out (allegedly) Xmas shopping – and have we killed the mistletoe industry?
yeah – too much to avoid thinking about at the moment –
Made – I don’t know if “make” is accurate. They were essentially a whole lot of handwork for the maestro, and I think he’s got his hands full with everything else they’re doing these days – not sure if FJZs will ever be on the schedule again. Maybe, though –
That FJZ at Guitar Gallery is one I had a chance to play and buy some years ago, but couldn’t afford it then – Now I just figure I have to hold out until I find one he may have made with a wider neck – and I think thats a pretty safe way to not spend any money – but someone will get a very sweet and very rare guitar –
It sounds good, Daniel, but it does sound like the mic is about 5’ away – or should I say 1.5m?
Doesn’t that zoom have inputs for a mic? Could you try getting the mic in close to you for the vocals, and use the zooms stereo pair for the instrument and “ambiance” ? I am no sound engineer, so I’m just trying to think.
Can’t you send one of your kids off to audio engineering school or something? Could come in very handy in the years ahead! 😉
Well done Daniel! But you need to get a microphone in there – or stretch that string tighter – 😉
Yeah – I got to think a bit more about it, and I realized that while I love to support live music, I love a few things –
1 – original material. Not all, but if someone has a few originals in the mix, and if I find myself thinking, wow – I wouldn’t mind hearing that again, that’s a big plus –
2 – Talent. If someone is REALLY good, and it’s clear they are putting major energies into their playing, which is easy to hear when they hit most of their runs cleanly, and they’ve got voicings in the mix that add flavor, or play a piece that clearly requires much practice to even think about – that’s another big plus –
3 – Quality of sound – this one is hard, ’cause if they are playing through the venues equipment, then you just have to say to the venue manager that they need to up their game in what they are using in house – but if the performers have brought good stuff, and have it adjusted well, and the sound quality is great, well, I can generally listen to most anything for a good long while. And they deserve a little extra for buying it, maintaining it, and having to lug it in and out of wherever –
Its great when the artist also has a great personality, and can bring that to the performance, but not all do, and not all venues lend themselves to any real interaction with the audience, so thats less a factor to me, At least, those are kinda my thoughts at this point –
Well M. Shaver – we will not disappoint! We have those names on our list, and a few more that might knock your socks off. But we can’t do them all at once – patience is key – so we want to keep a little surprise in the mix –
And we’ll be looking forward to your review and pics of the new 00!
Just got a chance to sit down, relax, and listen to this latest podcast. Lisa was just a fantastic person to talk to – and I think we were able to get some of that across. I wish we had another chance to talk – and maybe we will. While we are just getting our feet wet with our musician interviews, its good to get feed-back from everyone who’s listening to them. I’d love to get feedback about what people think we should be emphasizing with these podcasts – so if you have ideas, send them to us! We have a couple really great artists lined up for more fun, so its a great time to tell us what you want to hear more of –
Santa Cruz and maple – super special! Thankfully this has one of those skinny necks, so I don’t even have to think about it. But when it’s gone, I know you’ll be! 😫
I noticed that comment too – as well as a baritone set. Last I heard, tbey had gotten some of their standard string sets, which sold out quickly and completely, and they were waiting on another, much larger shipment. Maybe they’ll have some initial qtys of these new sets in that order!
Honestly, if I could take pics as nice as the ones you have of yours, I’d be happy to post them, but other than yours having the rope purfling and mine having standard straight b/w/b string purfling, the only real difference is a very slight difference in the grain on the back – but if I can get a really good pic, I will post it –
Personally, I just can’t get all my fingers onto the fretboard when its 1-11/16 – which is kinda a problem, as the main reason I’m trying is because I want to get as many strings into play as I can, and frequently its just 2 or 3 that are needed – or even wanted –
But I discovered a long time ago that while I can live with 1-¾, I’d always rather have 1-13/16, and sometimes, 1-⅞ is truly luxurious. But when it gets to 1-⅞, neck shape and depth start to become much more important, and I’ve let a couple that wide go because of the shape, and it just plain hurt to play them for any extended period.
But that low-profile, slim “C” 1-13/16” SC neck – a true thing of joy –
I’m truly thrilled that Hank is as pleased with this FTC as he seems – the FTC is such a unique instrument, in many ways its almost a listeners guitar rather than a players. It projects out and away, to the benefit of the audience more than the player, and these few that they made with the granadillo and redwood have an amazing clarity and tone that is truly unique compared to most any other guitar I’ve played. Honestly, when I got mine, I played it quite a bit and started to feel more and more that maybe I had made a mistake with this combination of woods and model. But then, I took it to a friend who has quite an ear, and I played it for him, and he played it for me, and we both realized just how incredible an instrument it was, but not, necessarily, for the player. Once I had that awareness, I started to really appreciate this guitar for its incredible uniqueness – but now, both visually, and audibly. Which I should emphasize, it does not sound “bad” in any way to the player – but it isn’t the same as what you hear sitting 10 to 20’ in front of it. And I would not make it my “desert island” choice, but with the privilege of having a few great guitars, I am extremely happy to have this as one of them –
And not to rub it in, but I did get a little “extra” with mine – something I’d long lusted over for some years after I’d seen it on a couple of other SCGCs –