-
Just a quick survey of the strings you use and if they are any different than what you use on your other archtops.
Thanks!
-
10-24-2022 04:27 PM
-
I’m using GHS White Bronze right now. I’m not sure if I’ll stick with them. I’m using them only on acoustic archtops with floaters rather than bronze for their magnetic properties. I think they are pretty good as acoustic strings. I’m not sure I like them through an amp. I used to use TI Swings with the GJS, but I’ve moved away from them on acoustic archtops. I’m still using the TI Swings on fully electric archtops. On purely acoustic archtops I’m using Elixir Phosphor Bronze Nanoweb.
Sent from my iPhone using Tapatalk
-
Been using TI Jazz Swing 13s on my Johnny Smith for years, but planning to use the TI JS 12s for the next string change. In fact, thank you for the reminder!
-
On my Heritage JS I use 3 different sets just depends. I use the Daddario jazz nickel wound 12-52. I also use the pure nickel set 12-51. I generally do not use flatwounds because I play acoustic most of the time. Another option that at one time I hated the strings because I got a real bad set manufacturing error, are the half round Daddario. These really are warm but no finger noise. In some sense these have been a go to string for other guitars.
If your Smith is made that has the traditional sustaining highs that Johnny wanted in a guitar sometimes it best to tame this bit with not as bright of a set of strings. That is just my ears. I don't think of a Johnny Smith guitar as having a different set of strings requirements if it does not have that particular sound. Johnny himself played his guitar with flatwounds and use 13-56 or close to that. If he wanted the guitar louder, he turned up the amp
-
All very helpful and insightful, thank you. Very interesting that JS himself played flatwounds when I seem to recall him hating the sound of electrified guitars and wanted an acoustic sou d but louder.
-
I have Thomastik Infeld Jazz Swing 13’s on my Gibson Johnny Smith.
Keith
-
Gibson Johnny Smith. LaBella Roller Wounds. They bring out the crisp acoustical attack and they give me a nice sustain with good harmonics without the squeak.
Since LaBella stopped offering these though, I go with D'Addario half rounds. .O12
-
GHS makes Roller Wounds as well.
Originally Posted by Jimmy blue note
-
On my 76 GJS i use the low E, A, D, G from the Thomastik Swing Set .053 to .013 but exchange the B string with a .018 and the high E with a .014. This is my choice on most of my archtops. And .... in case someone wants to buy my non used .013 or .017 strings, i have plenty of them left ;-).
Last edited by JazzNote; 10-25-2022 at 06:18 AM.
-
Thank you Hammertone. Yes I tried them. REALLY bright. Their wrappings must be a harder steel. It took forever for them to get where I wanted, still bright after that. Originally Posted by Hammertone
-
That's a good question! I struggle with strings on the Smith for some reason. I used the TI for quite some time and was reasonably satisfied, but they seemed to go too dead too quickly. I didn't used to have this happen so could be the strings, could be my ears changing. The TI rounds seem too bright, but will last literally forever. I use Pyramid nickel classics on most of my guitars but they don't sound good on the Smith. Just ordered a set of Pyramid flats we will see how that goes. The guitar top seems to require the right amount of string tension (more is better) to really make it sing I've noticed FWIW.
-
I've owned and played several JS's, they all sounded a bit different. Keep that in mind. Find what you like. Never been a fan of real flatwounds. Just my preference.
Last edited by Woody Sound; 10-25-2022 at 02:01 PM.
-
I just slapped some D'addario half-rounds on them a half hour ago. Feel pretty good. Will hanging g with someone who actually knows what he's doing g and am curious to see his take.
-
I have tried them several times. I think I like them at first but grow tired of them in a big hurry. Lots of people love them though. I favor pure nickel strings with round core. The tone is more complex.
Originally Posted by DMgolf66
-
D, Originally Posted by DMgolf66
You got some really good advice here. I'm sorry, I didnt jump in because I dont have a Johnny Smith of any kind any more. All my Johnnies sounded great with TI Jazz Swing 12's. But if you have those low Norlin frets, you will get a thinner sound. Those frets teach you to be VERY precise with your fretting hand..
Please try something for me. If your Gibson Johnny Smith has the original grey 1/8" patch cord, please try that with the cord itself close to the body of the guitar. That cord is SOO thin and unshielded, you can actually hear acoustic sound of the guitar (faintly, buts there) through the Amp (or better yet, headphones). If you pull the cord away from the guitar, you will hear the sound of your fingers touching the cord itself and the acoustic sound of the guitar will go away. I use to keep a couple of inches of the cord near the treble side F-hole, because I loved the acoustic sound mixed in with the electric.
Maybe I'm nuts.. But I always thought that cheapo grey chord was supplied with the guitar for that reason.
JD
-
I have tried a few different sets and found round wounds just sound so much better.
Best I've used Thomastik Jazz BeBop 014-055 (using at the moment)
close second Newtone Archtop 014-058
I used flats on my Super 400
cheers
Mike
65 GJS
-
I don't have a Johnny Smith, but I do have a Le Grand. Gibson's version of the JS after Johnny switched to Heritage. I have the 12 Thomastik Jazz Swing flats on it. They sound great.
I recently picked up a Gibson Citation, which is kind of a super fancy take on the JS and it came with round wounds. The round wounds really sound fantastic on the Citation. I don't know what brand they are.
I fear the day I will need to replace them, LOL. In my experience the strings can make a huge difference in how a guitar sounds and it will be sad if I can't find another set that sounds as good as the ones on it now.
-
ICBW, but I *think* the two models have different scale lengths. Could make a slight difference in feel. Originally Posted by Bluedawg
-
1967 JS "CES" -- it got 2x humbuckers before my time
D'Addario EJ-21 nickel round "Jazz Lite" set -- .012 to 0.052, wound G
On every electric guitar I own
Affordable, available and durable
Obviously the tension varies from one instrument to the next but vive la difference.
The basic string-to-pickup balance stays the same.
-
I have a 2002 Legrand and really it does not sound like a Johnny Smith at least the way the JS guitar is supposed to sound. My Legrand actually sounds similar to my 2003 L5c Custom shop guitar. This L5c was carved specifically for acoustic sound. To the end this L5 to me ears has more sound than the Legrand but close. However, to me they do not sound at all like my Heritage Johnny Smith. The Heritage JS has much more pronounced highs up the neck. Is it better..........no just different depending on what you are doing. For the average listener we are splitting atoms in comparison to differences that are discernible. But to me the player, the differences are like night and day. In the end it is the guitar itself that inspires me to play that I want. In this case all these guitars inspire me to play and I need all the help I can get! Originally Posted by Bluedawg
Last edited by deacon Mark; 10-26-2022 at 03:16 PM.
-
Hello everyone, I’m new to this forum. My father was a jazz guitarist and best friends with Johnny Smith. I have his Gibson JS model from the 60’s that JS himself set up for my dad. Johnny also gave my dad his personal Heritage prototype, I have that one as well. I also have two different solid state amps that Johnny used and gave to my dad. One is an Emrad with the Johnny Smith nameplate and the other is a lunchbox type head that ‘I’d have to look at again to get the model/make. I thought I would share. Was thinking of heading to Gruhn’s to get them appraised.
-
Hi Bireland13,
Welcome to the forum.
You will find alot about your Dads best buddy here on this forum, from people who didnt know the man.
But, some of us, have a connection to Johnny (and Joe, and Tony for that matter) because we admire his extraordinary playing. I have personally tried to keep the memory of Johnny's greatness alive by recording videos of some of his own incredible arrangements.
Seeing an instrument that came directly from Johnny would be of extreme interest to many of us on this forum.
I feel a connection to Johnny whenever I play his stuff. I cant even imagine in my wildest dreams what it would be like playing one of Johnnys Guitars.
You are very fortunate.
Please post here. If you can, take pictures of your stuff and post that here as well.
Yes get your stuff appraised by George. And dont allow anyone to tell you there isn't significance in that kind of provenance. You have a much treasured piece of history there. Beware of the seaguls!
If you ever sell any of this stuff, I pray to my dear God that it goes to someone who will cherish it and keep it maintained so its significance is allowed to last another 60 years..
It would really be an honor to be able to see the guitars and the Amps.
Thanks for posting here.
JD
-
If it was in Europe Originally Posted by JazzNote
-
Wow! 1° of separation from greatness! Originally Posted by Bireland13
From what I have read, the "lunchbox" head is probably also an Emrad amplifier. He took one of those with him when he toured with Bing Crosby in Europe in the 70s, which was the last tour that Johnny Smith did as far as I know. The venues provided the speaker cabinet, and thus he only had tour carrying the guitar and amp head. There is a video on YouTube of JS playing with Bing at one of the European dates, so you can hear very possibly what that amp sounded like.
-
t\Those "cheapo" thin grey patch cords do pick up acoustic vibrations from the GJS - especially Joes'!
P.S. Joe, when Marc C finishes my 16" Cameo in November, I can bear to part with it.....
LMK
Reply With Quote
“Shearing style”
Today, 05:26 PM in Comping, Chords & Chord Progressions