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Any opinions on these?
I’ve had a set on my rarely played Sadowsky JH. They’ve been on there for eons. Still feel and sound great.
I’ve been thinking about putting them on my 175 too.
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12-07-2018 05:43 PM
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My limited experience with them is that some sets are great, and some have intonation problems. But when they are good, they are very good.
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I'm not a fan. If you like the sound of dead strings, they're a great choice. But I don't, and they're not for me.
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I guess that’s me.
Originally Posted by sgosnell
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these nylon?
,,,hard to find info on except bass strings.... any audio examples?
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I just cannot stand them.
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I like them; my archtop is pretty "live" acoustically, so I have not noticed any sort of dead tone. I did get one string that intoned poorly out of perhaps a dozen sets; it was easy enough to replace that string and move on.
I was introduced to these while studying with Jackie King (RIP, old friend!), who used them on his Byrdland. You can get them at just strings dot com. It looks like they have changed the name and packaging since I last purchased several sets; they are now called "Jazz Tapes".
They do last a long time. I don't restring my archtop very often, as I don't bend strings on it (it's strictly a jazz box, strung with 014-067) and I am meticulous about wiping down the strings and the guitar after playing, even between sets at a gig.
HTH
SJ
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Originally Posted by jazzimprov
I'm pretty sure that the entire Moon Magic album is Jackie's Byrdland strung with La Bella Nylon Tape 014-067s. (I never asked about that, but I know that he did not get the Heritage Golden Eagle until years after Moon Magic was released, that he used these La Bella nylon tape flats exclusively on his jazz archtops, and that 99 per cent of the time he played his Byrdland on jazz gigs and recordings.)
There are other bootleg tracks from this disc posted, most of which have worse sound quality than this one. I'd encourage you to buy the disc if you like this. The compression of the uploaded version plays havoc with the dynamic range of the original disc.
Incidentally, if you find one that has this label, save it and don't open it. It is a collector's item. The later version has a blue cover with a photo of the moon on it.Last edited by starjasmine; 12-16-2018 at 06:19 PM.
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I LOVE TAPES. I used them exclusively on the Moll 7 string I had. The reason I loved them is that my guitar hero uses them, Bucky Pizzarelli. Also, they get rid of the nasty metallic sound on the wound strings and give a great "Fwap" when strummed. If you'd like to know how they sound then listen to any Bucky recording in the last several years.
You either love tapes or you dont.
The masters!
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I'm another fan. Used the 14-67 6 string set on a L-5. Mellow, for sure. Thumbing the bass E string was great for walking bass lines. Not for twangers.
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How are they for fret hand sliding compared to TI Swing flatwound strings?
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Back in the 70's I studied with Studio legends Milt Norman and Allen Hanlon who both used tapewound strings. They were made by D'Angelico strings at the time and even the B and High E were nylon wrapped. I used them myself (going back and forth between pure nickel flatwounds and the tape wounds) through the mid 80's before switching to flatwounds exclusively. I have never tried the La Bella's. Fender made these in the 70's and 80's as well and supplied both wrapped and unwrapped high E and B strings with their sets. I love the feel of the tapewounds, but, as much as I like a dark jazz guitar sound, these were too dark for me. I think they could be of use for a very bright guitar, particularly Benedetto clones with a floater, but I used them on a 175 (my favorite guitar then and now) and found that the tone with flatwounds was much better, particularly on block chords. I would be wary about the La Bellas not having wrapped High E and B strings as the tonal difference might be too distinct when moving from the third string to the second.
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To anyone who hasn't tried them before: why not give them a shot? It's not like you're sawing your headstock off!
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They are very smooth, so good for slipping and sliding, IMO. I’ve said this before on here, but they kind of feel like the plain strings on a classical/nylon set, to me. If you think you’ll like the tone, the only real downside to them is their physical size - they can make a narrow fretboard feel a bit cramped, and the low E can be hard to get through some bridges and tuning posts. They’re also quite low tension, so if you like the feel of the string fighting against the pick, you’ll be disappointed. Originally Posted by DanielleOM
If you spend any time on a classical guitar you will probably be very comfortable with the feel of these.
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Allen Hanlon! in the 70's.... he used to play with Sal Salvador when I was in college in CT ....7 string.... ha! nice!
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Allen and Sal shared a studio (for teaching) in NYC with Barry Gailbraith. I got to meet all of them during my days studying with Allen. Originally Posted by jazzimprov
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I gave them a try after reading an interview with Phil Upchurch.
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Originally Posted by jazzimprov
Al was in the Manhattan Guitar Club. Originally Posted by Stringswinger
Manhattan Guitar Club 1969 | wallyrichardson
One of the benefits was that the members got a key to unlock (and turn on) the Ampeg guitar combos that were parked in every studio in town. That meant not needing to cart an amp to a recording session. A friend of mine just got Allen Hanlon's key, which was recently for sale on ebay/reverb. It came with a lock taken from one of those old Ampegs by Dennis Kager.
A very cool little object:
1960's Ampeg Manhattan Guitar Club Amp Switch & | ReverbLast edited by Hammertone; 12-20-2018 at 08:51 PM.
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