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How can people use hollow's with all the feedback? That would annoy me greatly.
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04-19-2007 12:54 AM
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They simply sound much more better...
Didn`t even Ted Nugent use a Byrdland?
But regarding just volume you are right!
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there's lot of different ways to supress feedback, but most cats just aren't playing THAT loud. my emperor regent can keep up with the average trio/quartet without approaching the feedback threshold...
but agreed, if there's going to be multiple horns or an organ player, i'm bringing a solid body...
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Mr. Beaumont, how do you like the Emperor Regent? Is it a good jazz guitar? I was thinking about getting one especially since they are on sale on Musiciansfriend.
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checked that sale out...$499 for the sunburst. that's a steal. i really like mine, but just to take a few things into account...
it's huge-- 17 inches across the lower bout, and about three inches deep.
it has a floating pickup, which means, the pickup is suspended to the neck and "floats" a few mm above the soundboard. so what you have here is essentially a big acoustic guitar that has a magnetic pickup attached...
it also has a movable wooden bridge, which essentially cannot be intonated perfectly (although i got mine darn close)
it's a jazz guitar. i can't really think of anything else you'd play on it. distortion is completely out of the picture (it'll feed back instantaneously)
so in other words, t's a one-trick pony, but it does that trick as well as many guitars twice and three times it's price...at the sub 500 mark, you can make that 4 times...
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I don't agree that hollow bodies sound better than solid bodies. They just sound different. Furthermore, I can take a solid guitar to volumes that an arch top can't easily attain without a lot of posturing, modifying, etc. And you may think jazz guys play at lower volumes than rock guys, but I have never had to play so loud as I have had to play with a big band. It is just brutal sometimes.
Originally Posted by thomas
ES-175s have plywood (laminated) tops and most guys I've seen (Pat Metheny included) put "tune o matic" bridges on them. When you go with plywood, replace the wooden bridge with a tune o matic, and then start stuffing the f holes or putting tape over them you are forcing that guitar closer and closer to the solid body realm.
One of the most difficult aspects to playing guitar is establishing a unique tone. It is harder to do this if I plug an arch with a floating bridge into a low wattage fender. Twiddle the knobs all you want, but you are still starting at the same place as so many others.
Yes - a lot of tone is in your hands and in your pick (I've always thought of a pick as a guitar reed<g>), but why not start out with something of quality that is different?
It is much easier to change things around on a solid body and it gets even easier when you are playing through a different type of amp.
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In the process of making my first purchase of an electric guitar I looked at quite alot of semi-hollowbody and full-hollowbody guitars. I really like the Artcore line that Ibanez offers, and I recommend it to others for good quality jazz guitars at reasonable prices.
But, when it came time to make the purchase I chose a solid body electric, the Ibanez AR305AV (see my avatar), which is similar to the Les Paul guitars by Gibson and Epiphone. When I compared the clean jazzy sounds I could get from this solid body guitar with the sounds from the semi- and full-hollowbodies, I did notice some differences, but to me it still had a nice sound for jazz. And I liked the fact that it had a double-cut body for easier access to the upper fretboard, that it was less susceptible to undesired feedback, and that if I wanted to I could push it on distortion more than I could with a semi- or full-hollowbody guitar. Because I also want to play classic rock I thought that this solid body would suit me better.
So, semi- and full-hollowbodies definitely have their place as "jazz boxes", but they are not the only guitar styles suitable for jazz. Just ask Les Paul!
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Steve Howe plays REALLY loud in concert with a 175.
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I wonder how he controls feedback--I would imagine he has full access to all luthier tricks and electronic enhancers known to man. Originally Posted by GNAPPI
Scotty Moore and Elvis controlled feedback on theirs (Scotty's 295) with a sponge place under the tailpiece.
Laminated guitars, especially the smaller, thinner ones and the ones with lots of bracing feed back less. I had very little feedback with my Epi JP when I had it. Virtually no feedback with my Peerless Sunset (fully hollow thinline).
My Gibson ES135 does not feed back--laminate, small body, thin, balsa block. It also has a very full electric sound that I find hard to distinguish from the Peerless.
I have also played the Godin Premiere, which has an unusual arched block that also sounds very similar to a full hollow.
In my opinion these thinlines are more than suitable for jazz when amplified. I prefer the ergonomics and practical aspects of a thinline to a full body at this point.
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I've heard of guys putting a post in their hollows. Under the bridge, IIRC.
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Yes, I did that in both my ES-125 and my Furch G1 and that eliminates feedback very effectively and did not alter the amplified sound (at least not to my ears). Originally Posted by Boston Joe
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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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Interesting. I have thought about getting some clear sheet plastic that adheres through static cling to the top of the guitar and cutting F hole covers from that. Nice to hear that the concept works. One can buy the material uses for protecting classical guitar tops.
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I think the sound post is the best solution with the least hassle (and it doesn't alter the look of your guitar).
Here's the one in my Furch:
And here in my ES-125:
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Very nice solution. I made some plugs out of flip flops that work ok, but they are a hassle to take out. I may try your method. Is it unobtrusive, in the sense that you don't notice it while playing? Originally Posted by skipp
I have an old belt buckle protector of the type you used lying around somewhere. I used it on a natural finish Heritage Johnny smith and freaked out when I peeled it back and saw that the color behind the protector was different from the rest of the back. It must have been a moisture thing because a few months after taking it off, the back had returned to its original, uniform color.
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Steve was doing that before the tricks were available. I can wind my es 125 up all the way and control the feedback with right hand muting. The bridge floater gives a nice distortion sound. There is no doubt though that a solid handles the loud stuff easier. Originally Posted by Doctor Jeff
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All this talk about belt buckle protection makes me wonder why players don't just remove their belts, use a vel-cro one or use suspenders? Failing that slide the buckle off to the side before playing.
When I go to tryout a git sales people are surprised when I take my watch off (it's on my right wrist) and take off my belt.
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But doesn't than in effect turn it into a semi? With the resulting tone of a semi? Originally Posted by Little Jay
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Don't violins, the quintessential acoustic instrument, use sound posts?!
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There was a fad in the 60's and 70's, when the buckles were HUGE, to wear the buckle way off to the side. Originally Posted by GNAPPI
Interesting nostalgic discussion here: Why the Monkees Wore Their Belt Buckle Off Center | Steve Hoffman Music Forums
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Imho semihollows just sound like solid bodies. They look different, but sound the same. A real hollow body has a very different attack envelope and feel and you can only get close to that sound on a solid body if you have a very light touch.
if you put a block under the bridge it's effectvely a solid body, and if you play at high volume you probably have to do that.
i made a series of hollow teles with spruce tops and no sound holes. Looks just like a tele, but no center block and the bridge is anchored into the top. I get a good bit of the attack envelope of an arch top. I haven't tested it at high volume yet
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The easiest solution to feedback is putting the amp behind and to your left, so it's playing into the neck and headstock. I never put my amp on my right side. I've never had a feedback problem while playing, but I admit I don't play all that loudly. Feedback can be a problem when the guitar is on the stand or elsewhere alone, but rolling the volume control all the way off before placing it down prevents that.
A soundpost doesn't completely turn an archtop into a solid-body, but it does deaden the acoustic sound by coupling the back and top. Bowed instruments use them because coupling the back and top improves the sound noticeably when the strings are bowed, but violins sound really soft and dead when plucked.
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Originally Posted by sgosnell
but upright basses don't
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WAY different instument and function. The soundpost in a violin helps the top and back vibrate together. It doesn't keep the top from vibrating. Originally Posted by goldenwave77
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lol, I thought I was the only one this anal. I take off my watch, and make sure to wear a shirt long enough to cover the buckle. Originally Posted by GNAPPI
If it ain't mine, I gotta do at least that much, right?
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