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What will????
Originally Posted by Hammertone
Do link!!
Please!!!
:-)
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03-06-2020 06:43 AM
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So I use the V3 not as a drive pedal per se, but a slightly hairy pre-amp. It's really good at getting a quite sharp Charlie Christian style attack with a bit of grit in the way that a tube screamer or something really isn't (I find TS style pedals smooth out the transients more?) Originally Posted by pingu
You can also use it as a general warmer upper with an AER or something, kind of like the American Sound, but less liable to pick up Magic FM. It's also pretty mid rangey, which suits me perfectly.
I use it with me ES175 when I want a more old school swing sound, but it also sounds very good with acoustics. I use it with my Gypsy Jazz guitar to add sustain to the piezo sound, and it gets a pretty good tone, I think. I really wish there was a high end version of this, but I think most people go down the Hi-Fi route with acoustic gear. No one seems to like warm and slightly lo-fi acoustic guitars, whereas I do.
This thing does need an EQ, at least for the stuff I'm using it for. It has a bunch of presets, none of which are quite satisfactory with my gear, but probably work fine for recording.
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I really enjoyed your playing.
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Ha! sometimes my pooter gets a bit hung up with attachments. Despite the names that H&K used on those devices, they are quite multi-purposeful and very well-built, IMO. They were discontinued many years ago but pop up here and there, for cheap. Probably more of them to be found in Europe than NA, given that they were made in Germany. Originally Posted by christianm77
Here:
Metal Master / Metal Shredder - Hughes and Kettner Micro Distortion Valve Amps
Blues Master / Crunch Master - Hughes and Kettner Micro Distortion Valve Amps
...and, yes, the ES-125 rewlz when it comes to bang/buck for a Gibson hollowbody electric. IMO, for vintage archtops in general, various old German-built guitars are the best bang/buck by a country mile.Last edited by Hammertone; 03-06-2020 at 06:36 PM.
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"Personally I think a lot of the tone is down to the player. I have handed my 175 to other good players a couple of times, and they sounded quite different to me on it." Grahambop
Hi, Graham,
There are some of us on this forum who are hybrid players: Jazz, Bossa, Classical. The difference among the three is that in Classical and Bossa, the instrument(acoustic) and the player's sound(technique) have a great pre-eminence to the final product. When playing a strictly acoustic instrument, the tonewoods, construction, bracing, projection and overall skill of the luthier are the major factors to potential sound whereas the technique/personality of the player ,in regards to sound, can awaken this animate instrument to its full potential. For example, it is my opinion that many professional Classical players have a weak, thin sound. This, for me, is a result of personality and ,obviously, not just technique since they perform some very challenging technical pieces. They are playing a potentially outstanding instrument but fail to achieve its sound potential since a timid(in my opinion) personality blocks the path. Their only salvation is when they go to the recording studio, the technicians have the ability to completely alter their natural sound. Ergo, the final recorded product is not really how they play but what the technicians have created with their black magic. This, in a similar way, is the case with many Jazz guitarists who play acoustic/electric instruments. I know that a quality electric/acoustic instrument will produce a better sound than one that is poorly made when played either without amplification or amplified with no tone controls. However, with the amazing technology available today to electric players as described in great detail by our respondents, a player with a poor tone/sound/technique(related to sound) has the potential to correct his/her personal insufficiencies and create a great sound from their instrument/electronic mix. We have seen this countless times, in another vein, in videos on this forum where players perform on a telecaster and get a very close, if not exact, acoustic sound from their instrument. So, if this is the case ,as I believe, we are placing too much value on an acoustic/electric instrument's sound and on how much we NEED to spend for a guitar for the average player when the inherent sound has the potential to be is so altered technically.
So, I would agree completely with Graham's above remarks and would add that if you play an acoustic/electric instrument, you must first discover its natural personality/potential through much time and experimentation and then, marry its natural sound with your personality and playing style. Then, and only then, will the personality of the instrument mesh with your animus and create a unique, personal sound that is untainted by "black magic." Good playing . . . Marinero
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I was trained in classical guitar by a good teacher from the age of 12, I did not touch an electric until about 5 years later. My teacher was very knowledgeable about getting a good sound, all the details of correct technique, keeping the nails the right shape etc. I think this probably helped me be more aware of tone production on any type of guitar.
Long story short, when I got my 175 I didn’t like the tone I was getting, so I analysed my picking technique (I had been playing rock for a few years by then), compared it to my RH classical fingerstyle technique (angle of attack etc) and made some changes to my picking technique (i.e. when using a pick). Essentially I learned to hold the pick so it strikes the strings at an angle (not ‘flat on’), this gave me a much bigger and better tone.
I do not think the gear makes as much difference as these kind of details. But that’s just based on my experience of course.
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Going back to OP, I've played some vintage Harmony ES 125 type guitars that were really good for the 3rd of the price of an ES 125. They were basically indistinguishable in construction and sound.
In the end when you buy a vintage guitar, you are not spending any money. You're converting money to semi-liquid asset. So paying a bit more to get an ES 125 is certainly not a bad move. But technically best bang for buck I've seen for Electric Spanish style were good Harmonies.
Harmony guitars database
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Some of those H- series look like "bad(good)" machines! Good playing . . . Marinero
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Don't see many of those in the states. They look pretty cool. What type of pickups are in them? Originally Posted by Tal_175
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They are P13 pickups. I don't know much about them. I think they were made by Gibson. Hot single coils like P90's. I'm sure someone who knows more about them will chime in and provide more information/corrections.
Last edited by Tal_175; 03-07-2020 at 07:27 AM.
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Every single time I hear an ES-125, I just love that tone
I need to get a similar guitar, maybe a Godin 5th avenue will be next.... great playing
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The P13 is Gibson’s predecessor of the P90, great pickups and the sound pretty similar iirc. Originally Posted by Tal_175
Harmony guitars are great (some models are pretty sought after and demand big bucks), and there are some models similar to the ES-125. I remember very substantial and a bit square-feeling necks though, much bigger than my 1950 ES-125 but it’s been a long time since I’ve played a Harmony (they are rare in the Netherlands).Last edited by Little Jay; 03-08-2020 at 06:09 AM.
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That H63 Espanada is one fine looking guitar! Originally Posted by Tal_175
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I’ve alwas loved the looks of the Harmony H62! And the sounds too, for that matter. Fellow guitarist in my town played one and sounded great but I never got the chance to play his....
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Beautiful !
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Who’s that guitarist?
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