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Some great comments/ideas everyone. Just to be clear, the Mac Tac stuff isn't actually tape and has zero residue. I can see how tape might be a problem. I always wondered what the sound post under my bridge looked like. I thought about Dougs plugs. Probably something I would eventually do when I'm sure I'll keep the guitar long term. Actually the flip flop idea is pretty good if I can find a band saw. Just make sure the flip flops are new right!
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08-23-2016 09:18 AM
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nice job vinlander.
if you have a band saw you can just buy some high density foam, unless you dig the pimple texture.
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Through the f-hole! I positioned it with a bent metal rod and some big kitchen tweezers. I experimented with different lengths and found out that I needed about a milimeter shorter without the strings on it. The string-tension lowered the top enough to fit it snugly.
Originally Posted by careyhofer
Last edited by Little Jay; 08-23-2016 at 10:40 AM. Reason: spelling error
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Likely already known by most, but amp positioning helps immensely. I always place my amp to my left behind me so my body is in between my guitar back and the amp is nearer the neck of the guitar.
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Most of it can be cured by the way one positions themselves to their amplifier.
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I don't stand where my pickups have a clear line-of-sight to the amp speakers
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Not much of a problem these days, with my smaller-body box.
When there was a problem removable foam rubber F-hole plugs were recommended. Also, once Eddie Diehl put a sound post made from a drumstick in a guitar. That helped a little.
Standing or sitting flush with or in back of the amp is also better than in front...
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you can shield your guitar from your amp as beaumont suggests but that only works in some situations.
I mostly play in Hammond B-3 combos w/an L-5CES through a Twin Reverb @ high volume so it's pretty hard to control.
I went through yrs of palm muting etc, to control it.
bought a pair of Doug's Plugs a dozen yrs ago and no issues since, best $50 I ever spent.
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Bring the right tool for the job. The loudest gigs require a solidbody or semi hollow. Going a little quieter, a laminated electric archtop (like a 175) will do the job. Quieter still are carved archtops with built in pups. Carved archtops with a floater are only useful for the quietest jobs, though the very quietest jobs are the ones where you play without any amplification at all.
Stuffing the F holes, Plugging the F holes or moving to the right position in regards to the amp can all help, if you have the wrong tool for the job, but IMO, the problem can be avoided altogether with proper guitar selection.
Playing jazz guitar is a pretty hard task (to do it well). Why make it harder by worrying about feedback?
Frankly, IMO, if your archtop is feeding back, the band is probably too loud in any case.
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SS, don't know if you've ever played in B-3 combos but feedback kinda goes w/the territory.
and I'm not talking about a lot of these modern organists that play it like a piano and never really use a B-3's full capabilty of sounds, let alone crank that Leslie. why bother?
but if you play w/old school organists not only is your guitar prone to feedback but the vibrations from the Leslie won't help things.
I've never used a solidbody in my life and I had a 335 for about a week--not for me.
many players like Kenny Burrell etc., that regularly play in B-3 combos have been taping their F-holes, stuffing their guitars, using plugs etc, forever.
plugs are an easy solution and you can keep your big thick hollowbody sound w/out compromise.
but ymmv....
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I have played in Organ combos in loud rooms. A Les Paul or 335 is my tool of choice for that situation. I can turn up as needed and have no worries. I do have a set of Doug's plugs for my 97 175. Sometimes one finds oneself on a gig with a loud drummer and needs to play in feedback territory. The plugs make things work, but, IMO, they also alter the tone. Originally Posted by wintermoon
I have been caught with my L-5 on gigs where the volume level was way higher that I expected and I had to be careful how I sat and had to avoid certain sixth string notes. I do not like that kind of anxiety on a gig. I suppose that if your tastes do not allow a solid body or semi hollow into the equation, plugs are probably the first place to start.
Then you can try balloons, t-shirts etc.
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Organ players are loud...I've done a lot of Chicago style gospel...I'd never use a jazzbox for that!
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I have a Sebring arch top. A guitarist friend of mine showed me that with a laminate top guitar, you can use Scotch Magic Tape without ruining the finish. On my Heritage Sweet 16 I also use Doug's Plugs.
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For loud gigs I use Mac Tac sheets. Just cut a chunk off the sheet thats big enuf to cover the f hole and stick it on. Its cheap, clear, reuseable and invisible.
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I just "discovered" a simple yet inexpensive solution to the feedback problem. I purchased a product that sticks to the back of the guitar to protect against belt buckle scratches. It cost about $20.00 and won't harm the guitar finish. After seeing the price of Doug's Plugs and the long wait to get his product, I realized the solution was right in front of me.
I traced the shape of the f-hole on to a sheet pf computer paper (as Doug's Plugs recommends) laid the material onto a magazine,this keeps the material rigid while the pattern is being cut out. Add 3/8" to a 1/2" to the pattern when cutting it out.
The beauty of this solution is it can removed instantly from the f-holes and attacked to the back of the guitar when not in use. I'm now able to play my Ibanez AF71F as load as I want thru my Roland Cube, I haven't tried it with my tube amp, but I expect the same results.
It took me 30 min to trace and cut the pattern. Because the material has a black felt like finish, it looks very natural over the f-holes.
See attachment:
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You can plug the "F" holes with sponge rubber and fill the body with the polythene/styrene balls that are used to fill bean bags. Works extremely well. Use a vacuum cleaner to remove it!
Another way is to feed into the body a deflated hydrogen balloon and then fill it. Do this with great care, too much pressure can explode your guitar. The gas stays there forever and acts as a sound buffer without affecting your hollow-body guitar sound.
There is a third system which I do not recommend. I had an Emille Grimshaw guitar into which I pumped the contents of a can of polystyrene expanding filler. It continues to expand over a few days while absorbing moisture......This guitar actually blew up!
Deigh
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Use telecaster.
Why bring a knife to a gun fight?
Seriously, I rarely have trouble with archtop feedback. Dunno why. Even when I'm sitting in front of my amp. I do play a carved box from time to time and it's generally fine.
Are people just really cranked, or something? Or are they playing very softly.
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Not an archtop, but I have a Godin Multiac Nylon that fed back incredibly easily.
I tried covering the soundholes (a bunch of little ones), but that accomplished nothing.
I tried ways of shielding the guitar from my amp (usually with my body in between) but the guitar still fed back. And, it didn't have to howl to be annoying. At slightly lower than howl-level volume, the lower notes would be reinforced and spoil the overall tonality of the instrument.
Played acoustically, the thing was about as loud as the average full size nylon guitar. Well, maybe a little less, but not a huge difference.
My last idea was this. I went to an upholstery shop and bought of bunch of foam. I cut it into strips and filled the body with it. The acoustic sound became quite muffled. The electric sound was about the same, oddly enough. Except, no feedback.
BTW, I have a D'a Korean EXDC (335 type with internal block) which will sometimes feedback.
After this description you might guess that I usually play a solidbody.
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Try Googling f-itsfeedbackblockers. They're similar to Doug's Plugs.
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The only way I was able to stop feedback was stuffing the body of the guitar with foam, although that guitar, a Godin, didn't have F holes. It really muffled the acoustic sound of the instrument, but didn't change the amplified sound much.
I was never able to control it with amp placement or EQ. Obviously, others report better results. And, even if I could control it with amp placement, in the dives I gig in, I often don't have all that much flexibility about where to put the amp.
Last night, I played a jam where there was another guitarist. Fine jazz player. Had an older Eastman that he said was made as a Benedetto copy. Sounded great. He told me he only plays it at living room jams because it feeds back if he has to play louder. He gigs with a Gary Johnson model Stratocaster -- and gets a great sound on it.
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when I studied with Martino, he 'hipped' me to stuffing the guitar with upholstery cotton. this is what he did on some of the classic albums such as strings, east, etc.
Unfortunately, it adds several lbs of weight to the guitar. I have tried doug's plugs and they don't work very well when the stage volume gets really high. Packing tape works better and Benson and Bollenback (among others) use this technique. You can find a zillion youtube videos of benson where you can see the clear packing tape over his F Holes. with my '63 Kessel, I have used packing tape successfully and it has not marred the finish though I suppose if you left it long enough it could be an issue. Probably not an issue with modern lacquers and polyurethane...
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I used to have a Guild Artist Award that had a horrible howlingfeedback problem.
I would put a clear Mylar static cling over the f holes andit did help but not completely eliminateit.
When I tried using that method on a new Heritage Eagle it melted the finish of theguitar. What I do now
If I’m getting feedback is use the palm of my picking handto dampen the strings when it occurs.
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I did the flip flop method and it helped some. Use a closed back amp/cabinet. Also make sure your amp is behind you 6+ feet if you can. Also elevate on a stand or chair, not on the floor. My main gig axe now is an El Rey ER1 with no f-holes and no feedback issues. Originally Posted by vinlander
Doug plugs or 2.50$ flip flop foam
pattern can be done easily with using a piece of paper and lightly pencil over
Sent from my iPhone using Tapatalk
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I always carry a pack of black kids party balloons.
Dangle in upper F hole, inflate, tie off and move to required position. I usually find one balloon will do the trick and I've never needed to more than partially cover an F hole to beat feedback. You can untie to deflate and remove of grab the balloon and puncture it.
The other interesting feature of this solution is that you can not only eliminate feedback, but adjust the tone of the guitar. I find the more F hole covered the more 'thunk' in the tone. Completely cover the F hole and I find the guitar sounds a bit too dull.
Cheers
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Didn't Ted Nugent tame his Byrdland by filling it with goose down that he caught and plucked himself?
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Grant Green, What is This Thing
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