Eastman El Rey 7 string

[Mark M.]

I’m borrowing this magnificent beast from a friend to see if I like it. I have never played a 7 string before, so it’s a new experience. This guitar sounds great plugged in, and I really like the tape wound strings. It’s a very warm and rich sound. Does anyone else here have experience with this model and/or have pointers for learning to play a 7 string?

[Rustic]

Hello Marc,

Yes, please let me know if your friend ever wants to sell it! ;-)

There are two main approaches for tuning a 7 string. Most jazz players seem to prefer the Van Eps tuning of a low A string so that all of the A string chord shapes can be rooted an octave lower with ease; great for chord melody.

I prefer a low B string, which is great for Bossa because you can easily play the fourth below on E string based chords. It is also easier for traditional walking bass lines - I play a lot of duo with a piano player (and also play bass) so it is a cinch to integrate the string. But, you have to learn new chord shapes with those low roots.

Integrating the 7th string is a matter of choosing how you most want to use it/tune it, then it is a chemistry set for figuring out the relationships you’ll be needing for how you play. I’ve found it well worth the effort as it is extremely satisfying to have the option of those low notes.

[Mark M.]

Thanks, Rustic. So far, I have the 7th string tuned to an A and, as you said, it’s really nice for chord melody, which is my primary interest for a 7 string. However, I will have to experiment with tuning to B and see all the possibilities and challenges there as well. I’m really enjoying it so far.

I think I’ll have this one on a sort of extended loan until I decide whether to buy it or not. I have a new Campellone coming that will be ready in about 3 weeks, so I’ll be “borrowing” this one for quite awhile. My friend has a beautiful Dale Unger 7 string that is his main instrument. So, I think he feels like he can spare this one for awhile.

[nevershouldhavesoldit]

Hello Marc,

Yes, please let me know if your friend ever wants to sell it! ;-)

There are two main approaches for tuning a 7 string. Most jazz players seem to prefer the Van Eps tuning of a low A string so that all of the A string chord shapes can be rooted an octave lower with ease; great for chord melody.

I prefer a low B string, which is great for Bossa because you can easily play the fourth below on E string based chords. It is also easier for traditional walking bass lines - I play a lot of duo with a piano player (and also play bass) so it is a cinch to integrate the string. But, you have to learn new chord shapes with those low roots.

Integrating the 7th string is a matter of choosing how you most want to use it/tune it, then it is a chemistry set for figuring out the relationships you’ll be needing for how you play. I’ve found it well worth the effort as it is extremely satisfying to have the option of those low notes.

Hmm - I’ve been trying to find an El Rey 7 for about a year now. I’m next in line!

The low B is in the province of heavy metal. Rockers use it to add a low 5th to “power chords”. Most of us use an A for jazz because it’s easy fingering for walking bass lines an octave below the 5th string. And when chording high on the fretboard, it gives you an extra 5 frets down for cool voicings and wide inversions.

Retuning to B for bossas is an interesting approach. If I’m in a tonic that puts the root below the 5th fret A on the 6th string (i.e. E through Ab), I alternate between the higher 5 on the 5th string and the lower one 2 frets up on the 7th for bass lines.

[Sam Sherry]

The ER1 has a reputation for being neck-heavy and the extra seventh tuner can't help. Consider swapping in a decent set of open-back tuners. That change and always playing with a strap will help a lot.

As you see the Eastman finish is prone to wear. I put a clear cellphone screen-saver down on my former ER1; it was better than nothing. I made a D'A-style pickguard for my ER-4. Search "guitar wooden head plate" on EBay to find a wide variety of attractive offerings for short money. A $15 piece of xircote was was big enough for two pickguards:




All the best with your quest!

[Mark M.]

The ER1 has a reputation for being neck-heavy and the extra seventh tuner can't help. Consider swapping in a decent set of open-back tuners. That change and always playing with a strap will help a lot.

As you see the Eastman finish is prone to wear. I put a clear cellphone screen-saver down on my former ER1; it was better than nothing. I made a D'A-style pickguard for my ER-4. Search "guitar wooden head plate" on EBay to find a wide variety of attractive offerings for short money. A $15 piece of xircote was was big enough for two pickguards:




All the best with your quest!

Thanks! Great suggestions!

[jads57]

Wow been solely tempted by that model 7 string as well as the Kiesel Alan Holdsworth HH7 which there are quite few of as well.

It could also be used like Lenny Breau did with the 7th string on top tuned to A. Definitely some fun possibilities,especially as Solo or Duo player!

[Mark M.]

Wow been solely tempted by that model 7 string as well as the Kiesel Alan Holdsworth HH7 which there are quite few of as well.

It could also be used like Lenny Breau did with the 7th string on top tuned to A. Definitely some fun possibilities,especially as Solo or Duo player!

That thought occurred to me too, JADS. If I buy it I might try the Lenny Breau tuning.

[ronjazz]

Having played 7-string for 40 years now, for jazz application I recommend the low A; it also makes things easier to learn, since you just have to transfer your 5th-string notes to the 7th. I highly recommend learning in the dark, looking at the fingerboard will only confuse you thoroughly. And with the overtones from the basses, you can use fewer notes in each chord, especially when accompanying. For instance, a minor 7th chord is effective and easy with 2nd finger on the root (7th string), 1st finger on the third (4th string), 3rd finger on the 7th (3rd string) and fourth finger on the 3rd (2nd string). by changing the 4th and 2nd string notes, you can get a Dom 7th or 9th. The 5th is available on the 6th string, alternating is easy for Bossa-nova styles.You don't even need the 2nd string notes, and playing only three notes in all makes for a clear and less muddy sound, as well as being easier to get around on the guitar.

[nevershouldhavesoldit]

I highly recommend learning in the dark, looking at the fingerboard will only confuse you tho roughly.

Yes indeed! After 65 years of avoiding the issue, I’ve been working hard this year on playing without looking at the fingerboard at all. I’m using charts regularly now because we started having a featured jazz vocalist every week for the first hour of our show. So I have to watch him / her while reading and cueing the other players, which turns out to be hard when I keep glancing down at the guitar. I’ve never been a leader on chart dates before, and I got away with my error for many years as a sideman.

Playing without peeking means using positions consistently and knowing the fretboard intimately. I can’t jump from low frets on low strings to high frets on high strings without looking - I have to navigate a path so I know where I am at all times (which I still do not do as well as I need to do). But as you say, the 7th string A is intuitive and I took to that immediately.

The other tip I got that was both very helpful and initially surprising was from Jimmy Bruno back in the ‘90s when I first got a 7. He told me that the only way to truly become a 7 string player was to sell all my 6 string guitars. I’d assumed that I could just ignore the 7th string until I learned to use it, but that wasn’t as easy as it sounded. I don’t know if he was saying this out of frustration with his own 7 string playing (which, as we know, he later gave up) or if he really believed it but couldn’t do with a full calendar and no time to shed. With his knowledge and skill, I’d be very surprised if he couldn’t have mastered the 7 in a week or two well enough to play it like Jimmy Bruno.

But I took that advice, and it worked for me. I haven’t played a standard 6 in 25 years and haven’t had a single gig a 7 couldn’t cover at least as well as a 6. I really have been trying to buy a good used smaller body 7 for over a year. A 15” would be ideal, but a shallower 16 or 17 would be great too. I love the El Reys, and I was most impressed with a 2 5/8” deep 17” Unger Dream I played recently. So the search continues for one that’s either excellent now or priced to let me have it refurbed to excellent condition.

[Mark M.]

Having played 7-string for 40 years now, for jazz application I recommend the low A; it also makes things easier to learn, since you just have to transfer your 5th-string notes to the 7th. I highly recommend learning in the dark, looking at the fingerboard will only confuse you thoroughly. And with the overtones from the basses, you can use fewer notes in each chord, especially when accompanying. For instance, a minor 7th chord is effective and easy with 2nd finger on the root (7th string), 1st finger on the third (4th string), 3rd finger on the 7th (3rd string) and fourth finger on the 3rd (2nd string). by changing the 4th and 2nd string notes, you can get a Dom 7th or 9th. The 5th is available on the 6th string, alternating is easy for Bossa-nova styles.You don't even need the 2nd string notes, and playing only three notes in all makes for a clear and less muddy sound, as well as being easier to get around on the guitar.

My first experience with a 7 was playing Howard Paul’s on a visit to the Benedetto shop in Savannah. When I asked for advice, he said “don’t look down.”

It feels like I am actually taking to the 7 string pretty well. I have definitely found that smaller chords are better, for the reasons you outlined. On Day 3 with this guitar I’m playing tunes like Body & Soul and finding some very nice bass movement and voicings. It’s been a blast so far.

[Mark M.]

Yes indeed! After 65 years of avoiding the issue, I’ve been working hard this year on playing without looking at the fingerboard at all. I’m using charts regularly now because we started having a featured jazz vocalist every week for the first hour of our show. So I have to watch him / her while reading and cueing the other players, which turns out to be hard when I keep glancing down at the guitar. I’ve never been a leader on chart dates before, and I got away with my error for many years as a sideman.

Playing without peeking means using positions consistently and knowing the fretboard intimately. I can’t jump from low frets on low strings to high frets on high strings without looking - I have to navigate a path so I know where I am at all times (which I still do not do as well as I need to do). But as you say, the 7th string A is intuitive and I took to that immediately.

The other tip I got that was both very helpful and initially surprising was from Jimmy Bruno back in the ‘90s when I first got a 7. He told me that the only way to truly become a 7 string player was to sell all my 6 string guitars. I’d assumed that I could just ignore the 7th string until I learned to use it, but that wasn’t as easy as it sounded. I don’t know if he was saying this out of frustration with his own 7 string playing (which, as we know, he later gave up) or if he really believed it but couldn’t do with a full calendar and no time to shed. With his knowledge and skill, I’d be very surprised if he couldn’t have mastered the 7 in a week or two well enough to play it like Jimmy Bruno.

But I took that advice, and it worked for me. I haven’t played a standard 6 in 25 years and haven’t had a single gig a 7 couldn’t cover at least as well as a 6. I really have been trying to buy a good used smaller body 7 for over a year. A 15” would be ideal, but a shallower 16 or 17 would be great too. I love the El Reys, and I was most impressed with a 2 5/8” deep 17” Unger Dream I played recently. So the search continues for one that’s either excellent now or priced to let me have it refurbed to excellent condition.

I am really enjoying the 7 string, but I’m only going to pursue it if I can still maintain my 6 string chops. I have some nice 6 string guitars (& one on the way) that I’ll never part with. And, I play a lot of classical and flamenco so I think 6 strings will always be my preference. But, I can’t put this 7 string down! It’s so fun to play!

[mikeSF]

I am really enjoying the 7 string, but I’m only going to pursue it if I can still maintain my 6 string chops. I have some nice 6 string guitars (& one on the way) that I’ll never part with. And, I play a lot of classical and flamenco so I think 6 strings will always be my preference. But, I can’t put this 7 string down! It’s so fun to play!

it sounds like it's already too late for you, lol.
I swore never to part with my holy grail 6-string archtop, and eventually I could not justify neglecting it after trying the 7.
It was the last to go...now, only 7's in the house.

[nevershouldhavesoldit]

it sounds like it's already too late for you, lol.
I swore never to part with my holy grail 6-string archtop, and eventually I could not justify neglecting it after trying the 7.
It was the last to go...now, only 7's in the house.

You don’t have to give up all 6s. But I think it’s the way to go for your main playing (which is jazz, commercial etc for me). Remember that the guy who gave me that advice essentially plays only one category of music.

I still have and love my National Tricone, my lap steel, my Kubicki Express etc. Specialty 6s don’t seem to cause me any problems. I haven’t bought a classical 7 because I don’t really need one, but I’d love to have both a real classical 7 and one of the 7 string Godin Multiacs.

I will admit to no longer feeling quite at home playing jazz on a 6. After decades with 7s, I don’t voice like I did on a 6.

[Fusionshred]

Something that I tell all players trying to move from 6 to 7 string: we tend to use the low E string as our visual reference point. If we want to play a Bb, we’re instinctively finding the low E string at the 6th fret first, and then fingering the rest or our chord from there.

This totally messes us up if our “home plate” becomes a low A string. Your brain is going to confuse that low A with the low E that’s * supposed * to be there.

Consciously shift your reference point from the low E to the high E string for a while. Make high E your home base. This takes the 7th string out of the equation.

Then add in the 7th slowly to incorporate into your muscle memory.

Reorienting your perspective like this will neutralize the extra string.

Also - be careful about ergonomics and your left wrist! That’s a bigger neck!