View Poll Results: Which one?
- Voters
- 271. You may not vote on this poll
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Gibson
81 29.89% -
Sadowsky
36 13.28% -
Collings
45 16.61% -
Others (ibanez, yamaha, heritage, etc)
109 40.22%
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That's great citizenk74. I would love to have heard it. I did that once in a room with 2 amps and a stereo output Leslie simulator pedal. Slow speed was incredible as the sound spun around the room, but the fast speed was debilitating!!
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12-07-2019 09:03 PM
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...for me anyway, it's more 'what's the right instrument for my goals?'. I had the chance to buy several really nice Gibson ESX over the years and came very close to buying one, but it turned out to have some structural defects. I looked at a lot of similar guitars after that.
So after all my comparison shopping I found an Epiphone Sheraton II, mint condition, way heavier (it's the one with the internal block) but just right in every other way, and something I would not cry over if it were damaged or stolen. When I need a jazz, blues, or just plain acoustic/electric sound (classical is my default these days), this is what I play, and it sounds great through whatever I plug it into. $400USD on the used market got me one of the best overall values of all my instruments. Highly recommended. But it is a bit heavy.
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stereo guitar, while set up intensive, is one of the great sounds...a gibson 345 or 355..and/or stereo rics (like the 360)...split the signal so that neck pup goes to one amp..and bridge pup to another...which leaves great possibilities...a stereo neck pup sent to a dual showman with 2 15" speaker cabs and the bridge pup to a fender twin reverb!! insane massive tone!!!...huge!!..
there are also some stereo guitars, that rather than split the signal between the 2 pickups, actually split the pickups themselves..so that the low 3 strings go thru one amp and the high 3 to another..gretsch did this early on..also great
with the right amps and speaker cabs set up, can be a mindboggling sound
cheers
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I’ve never heard about splitting pickups between different amps this way before. It sounds really interesting. Do you have any videos where this technique is used?
Last edited by Bbmaj7#5#9; 12-08-2019 at 02:45 PM.
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I already have a great 1980 Ibanez AS200 with PAF-like Super 58 pickups which IMHO is better than many Gibsons I've played - the exception that stands out was an early 60's stoptail 335 in Cherry Red that was one of the best guitars I've ever played. If money were no object I'd try to track that down, but at 1,600€ the Ibanez clearly offers better value for money...
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If I wanted semi hollow, this 2 would be on my mind.
1.st one:
2.nd one:
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There's a good amount of general comment in this thread about semi hollows, so I thought I would use it to pick some brains as well.
I'm in the market for a light weight semi hollow. Less than seven pounds.
The Sad Semi is less than six! And the Collings I-35 LC is under seven.
I currently own a '97 AS200 and a '16 Heritage 555, both great players, but weigh 8lb 8oz apiece.
That said, I also own a Sad Jim Hall that weighs 5lb 15oz (equal to the Sad Semi, amazingly enough!).
So, for low weight, the Semi would seem to win. BUT - I don't just want a Jim Hall with a bridge PU, know what I mean?
I'll miss the real bite and spank of the AS200 if the Semi is as dark and soft as a JH. So maybe the I-35 should do it?
Comments from anyone with Sadowsky Semi-Hollow experience, using it specifically for Scofield-like tones, would be GREATLY appreciated! Thanks
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I haven't played the Sadowsky Semi and I'm no tone authority. However I wonder if the chambered spruce center block on that model might take away a bit of the bite and spank? I have an ES-275 with a chambered block, and a Collings I-35LC, and the Collings has a bit more bite to my ear.
Originally Posted by T100_guy
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Yes these are my concerns and that is why I'm asking for first hand experiences. I'd like to pick up a used Semi but with no returns, if it isn't right, it's still mine! Same for the I-35 LC. I have more confidence it would sound "correct", but it's an additional $500-$1k gamble to find out! Originally Posted by HighSnows
Light semi-hollow, where are you?!
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I’d be all over that $900 redwood topped Seventy Seven Albatross in the For Sale forum! Originally Posted by T100_guy
Yes these are my concerns and that is why I'm asking for first hand experiences. I'd like to pick up a used Semi but with no returns, if it isn't right, it's still mine! Same for the I-35 LC. I have more confidence it would sound "correct", but it's an additional $500-$1k gamble to find out!
Light semi-hollow, where are you?!
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I'm looking for light weight. I would guess the 77 is as heavy as any other with a maple center block. Anybody care to give weight info on this? Originally Posted by wzpgsr
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“Seventy Seven Albatross Jazz - This is the guitar I am using. It's super light weight (about 6.5lbs) and at that weight point, it's just a tad heavier than a headless guitar! It's well balanced and is extremely versatile in terms of being able to play jazz, rock, fusion, country, funk, etc. The pickups compliment the instrument extremely well and get beautiful mellow jazz tones, beautiful holdsworthian style leads as well as a really great middle pickup sound that works incredibly well for funk rhythm. The jazz version has the spruce top and it really lends a sweet, velvety wes-like jazz tone and a snarly lead tone for rock or fusion. It's got a block under the center of the guitar somewhat like a 335 but has much more hollow character than the 335. ***** 5 STARS!!!” Originally Posted by T100_guy
Semi-hollow Review Page — Jack Zucker / Sheets of Sound for Guitar
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Huh, that's the same guy that does the dozens of Sadowsky Semi-hollow demos as well! What do you know! Originally Posted by wzpgsr
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He’s a regular here. He has his own Seventy Seven signature model. Originally Posted by T100_guy
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I think you can buy a Collings with confidence as they are so well built. Assuming no seller misrepresentation and if you are OK with their slightly chunky standard neck profile (I had mine reshaped to a thinner modern jazz shape). Originally Posted by T100_guy
Yes these are my concerns and that is why I'm asking for first hand experiences. I'd like to pick up a used Semi but with no returns, if it isn't right, it's still mine! Same for the I-35 LC. I have more confidence it would sound "correct", but it's an additional $500-$1k gamble to find out!
Light semi-hollow, where are you?!
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bought the sadowsky jh in 2016, can't go wrong with it, most
notable for me is the warm tone. very comfortable.
and high quality craftmanship ...just my .02c
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I picked up a Singlecut 594 Semihollow in trade That's by far the best sounding and best most ergonomic semihollow I've played.
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I never played a Sadowsky or Collings. I had an Ibanez JSM10 (made in China) which worked fine in our organ trio. Stupidly I thought I had to get a Gibson ES 335 – some kind of VOS something that was offered to me in a trade. Sweet sound played at home – but it lasted only one gig and one rehearsal. It was a muddy mess played with the band, low notes were totally indistinguable (same amp, same rehearsal room). I wish I wouldn't have sold that Ibanez – it was a fine guitar and I was just dazzled by the G-brand. Lesson learned.
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It's funny, but it's not the first time that I have heard people say that the Collings sounds bright and thin. In fact it's probably the only negative statement I have heard. The construction, fit and finish on all their guitars is fantastic. If I were buying, it would be a Collings acoustic. Their semi hollows are nice, but I would still take a nice Gibson all day, every day over anything else...period.
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I like zombie posts, it gives me a chance to see if my opinions have changed, or I still agree / disagree with posts in it.
Way back I lauded the Heritage Prospect, to this day it still stands with my several Gibson semi's cutaway to cutaway :-)
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For less than $700, it’s hard to beat my Sire H7. I went to the store expecting to buy an Epiphone Dot, but came away with the Sire.
For $7000, I’d enjoy a lot of shopping.
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Collings? No thanks. Over priced. Everything I ever tried with that name on the headstock was pretty pitiful actually. And that would include some 5k+ acoustics. Maybe after 20 years of aging they would be alright but they were brand new on the wall, and total dogs.
Gibson? Nice, but way overpriced. Also, overrated. Sorry, the pressed laminate top hype about Gibson semi's is just a bunch of bullshit.
Edwards/ESP markets their semi as an actual carved top. Is it any better than the Gibson I had? The Edwards has better playability and a lower action without buzzes but also has a '59 size neck or thereabout vs the slim taper of the Gibson. There is no appreciable tone difference that would matter in a live setting.
I personally think overspending for a semi is pretty dumb especially since most guys will dial the gain up anyways, completely obliterating the small differences between them. Actually most guys will use so much gain you would never know it was a semi. So there is that.
I once set my Gibson down and broke out a Sheraton II Pro during a gig and the band never noticed I had switched. In a live band setting most of the differences cease to exist. Spending five grand on a Gibson semi doesn't really get you anything except a thinner wallet and some street cred I guess, lol.
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I've been looking less and less at the pricier options lately because the stuff coming out of Asia lately is really good. Comins, Eastman and D'Angelico come to mind. And of course there is Ibanez and Yamaha.
Originally Posted by DawgBone
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I have a nice Figured Gibson ES 335, ES 339, CS 356 ,A Heritage H535 ( their 335) as well as A Jaros Gatlinburg, and PRS Walnut LTs and Special semi's . I got to meet Roger Sadowsky at the Artisan show , his instruments are magnificent. Collings makes wonderful instruments . I love all of mine , each has a very unique tone and feel.
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I had a Collings CL Jazz, sold it..the neck bugged me..you could totally feel the fret ends when you moved your hand up and down the neck like they were sprouting.....they were not sticking out it was just the way cut and filed the fret ends i guess? but it was terrible and strange
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