NGD - Meet Gumby (7 string)

[Jim Soloway]

Yes. I had two 7 string archtops with the 24.75 scale and found that the intonation on the loa A was far from perfect.

That was why I developed a 7-string with a 27" scale length. It probably could have gotten a close enough result around 26 3/16.

[Jimmy blue note]

Do 7-stringer guitars typical use a normal scale length [in the range 24.75" -- 25.5"]? Not counting fan-fretted guitars, of course.

I use Low B.
It's customary on 95+% of guitars out of the factory to have action at the nut be proud of optimum. This allows for all types of strummers and all kinds of strings. It also allows for less than perfect fret plane to pass beneath the limbo bar unnoticed. On a low string (especially low A) 7 string guitar, this is unnegotiably deadly. The tiniest high proud string clearance at the nut will put that string out of tune.
First thing I do after an instrument is strung up is optimize the nut string grooves for the strings I use, and then take the action down to the height of the second fret when the first fret is depressed (zero fret clearance). For a 7 string, I'll cut V groove even a bit wider than actual width, and I teflon all my grooves. Don't try this at home. Have a good luthier do it. It makes a world of difference.
For me anyway.

[nevershouldhavesoldit]

Yes. I had two 7 string archtops with the 24.75 scale and found that the intonation on the loa A was far from perfect.

The shorter the scale, the thicker the string has to be for good intonation. And, as JBN says, the nut has to be slotted properly and as close to the board as possible without buzzing whether open or fretted, for best intonation on the first few frets. I used to start on guitars new to me with a 65 (the 7th string in a set of Chrome 7s) and work up a few thou at a time to the smallest gauge that gives proper intonation. Once intonation is fine from the 5th fret up and the nut is cradling the bottom half of the string with no drag, I deepen the slot until the string clears the first fret by 0.018" to 0.020" for a round core RW and a few thou less for stiffer strings (hex core and flatwound). And finally, I reduce the height of the nut so that the top half of the string is again out of the slot.

My AF207 has a 24 3/4" scale but intonation was actually quite good even with a 0.065" Chrome. When I went to TI JS112s, I opened it up for a 76 and it sounds a bit richer and fuller. The hole in the larger 7th tuner that came on it will take an 80, but I haven't felt a need to go that heavy. My 25" Eastman 810CE needs a 76, and I had to drill the peg to fit that - so I'll have to get a custom Sperzel to go any bigger (which I'd like to do). My Forshage-designed Raines Tele 7 has a 25 1/2" scale and also has fine intonation with a 72. But I wanted a bigger sound from the 7th string, so I set it up for a 76 through a custom Sperzel tuner with an 0.085" hole.

My Epi FrankenPaul 7 (also a 24 3/4" scale) has a much narrower nut. So I didn't want to stuff a huge 7th on it and stuck with Chromes (0.065 7th) for years. But when I first got a bunch of Pearse RWs from 72 to 86, I decided to try a larger 7th string and thought I'd done a good nut job fitting a 72. A few weeks later, I noticed that the top half of the nut had broken off between the 7th string and the end, so I either didn't leave enough clearance or I cracked it while working on it and the string finished the job. It cracked high enough to leave a small rim, so the string stayed in place and I never noticed a thing while playing. But I fitted a new Tusq nut and it's been fine ever since.

And my first 7, an ESP hardtail that I got in the early 90's, is set up with Chromes for the lowest possible action. Intonation is excellent, even with the little 65 - so I haven't changed anything except the strings in over 25 years.

[Zigracer]

I run a small guitar repair shop, so setting up the guitar is the easy part for me. I was just surprised that they had an .051 installed for the 7th string. I found that odd.

[nevershouldhavesoldit]

I run a small guitar repair shop, so setting up the guitar is the easy part for me. I was just surprised that they had an .051 installed for the 7th string. I found that odd.

I’ve known Lou for years and guitars have gone both ways between us. I’ve never had the slightest concern over ordering anything from him sight unseen, so I was very surprised to read that. Mistakes do happen, but that’s an odd oversight if the guitar was set up there before delivery.

[Zigracer]

I’ve known Lou for years and guitars have gone both ways between us. I’ve never had the slightest concern over ordering anything from him sight unseen, so I was very surprised to read that. Mistakes do happen, but that’s an odd oversight if the guitar was set up there before delivery.

My guess is that the guitar came that way from Eastman, as the nut was cut for the .051. The other Jazz Elites I played felt the same, so they probably came that way too. I'm not complaining. I'd go back to Guitars 'N Jazz tomorrow if I was looking for something.

[nevershouldhavesoldit]

I'd go back to Guitars 'N Jazz tomorrow if I was looking for something.

Lou’s the first one I call when looking for a guitar or an amp. I trust him completely.

[Jimmy blue note]

Lou’s the first one I call when looking for a guitar or an amp. I trust him completely.

AND you just walk through the door and you can buy drugs. Win win

[ronjazz]

As far as playing the 7-string goes: because the guitar functions in the real bass range, overtones are generated that eliminate the need for chord voicing of more them 4 notes, generally. There are two ways to really learn to get around with a low A-tuned 7: bossa nova, which is perfect for learning your root-fifth voicing, followed by walking bass lines with chord stabs. When I first picked up the 7, at Bucky Pizzarelli's urging, he showed me just a few things to get started. First was a ii-V-1 progression with the root on 7 (2nd finger), 3rd on 4 (1st finger) 7th on 3 (3rd finger) and another 3rd on 2 (4th finger). This m7 voicing with very small adjustments becomes m9, ma7, 9th, 6/9, etc., using the same string set. For two-beat or bossa style, just alternated the bass notes from 7 to 6 with the attendant rhythms played on 2-3-4. Add a standard ma7 chord but with low note on 7 instead of 5. Build on that by playing (for instance) Dm7 as above, repeat it with A in bass, finger a standard G7 with bass G on 6th, then G7/D, then resolve top Cma7 or c 6/9. Chromatic motion in the bass will get you to many destinations as far as walking goes. Also, just a suggestion, practice in the dark. Learning 7-string is confusing enough without your eyes adding to it: learn by feel.