-
I discovered a critical piece of the bass conflict issue when I got my Blu 6. I've always started dialing in most new amps by setting all EQ to flat and tweaking from there. But over the first 60+ years of playing, I always thought that more bass was better, so I tweaked up on the low EQ before anything else - and TBH I often skipped the flat part with many amps and began with at least a litle bass boost. I guess it was a combination of immaturity and wanting the biggest sound I could get. I'm ashamed to admit that I actually liked fat, flabby bass and never gave consideraion to the fact that the fat was almost entirely unnaturally boosted second and fourth harmonics. And most of my amps over those years were either bass amps or guitar amps with 12s or 15s for the same reason.
Originally Posted by Zigracer
When I got the Blu, the first thing I noticed was that the 7th string sounded just like the other wound strings except lower in pitch. I don't know what prompted the moment of clarity - old age? loss of innocence? - but I had never actually listened critically to the character of my lower strings in isolation. Hearing my lowest octave so clearly without the whoomp whoomp was a revelation, and I redialed all my amps in for that sound. The SBUS and the DV Mark EG250 only needed a litle bass attenuation (like 11 o'clock instead of noon or 1) through the TOOBs and another slight reduction through the RE. In the backline at the club, I now run the VIbrolux with bass almost all the way down (1 or 2), the Blues Deluxe with bass all the way down, and the CS Princeton with bass on 3. And I no longer put all my amps on the floor or close to a wall, since the boundary effect also gives a flabby bass boost that I now realize was somewhere between unnecessary and severely annoying most of the time.
Once I crossed this Rubicon, I discovered that the sound itself no longer clashes with a bass or another instrument in the same register (piano, organ etc). Thoughtless and inartful playing will clash, but the proper sound of a guitar's low end is distinctly different from that of a bass in the same register. So thoughtful playing is not a problem if it fits musically. If I hit a low D on the 7th and the bass is playing Bb 10 tones down, it's a lovely interval similar to a double stop on the bass but with even more clarity of notes.
I've used a 7 for everything from blues, pop & commercial dates to jazz. My first 7 was a solid hardtail ESP that I still have, along with a heavily worn Epi LP7 I bought new in the '90s and the Raines Tele 7 that I've been able to turn into a stellar player with the usual swaps (pickups, bridge / tailpiece, electronics, and a perfect setup by Marc Tappan at Guitars 'n Jazz). I've also used the Ibanez AF207 that I bought new about 25 years ago for some rock/pop dates. It has a coil split Benedetto B7 in it and covers a large variety of bases. So for me, a 7 can cover the range of musical styles as well as or better than any 6. I've never used my carved achtops for anything other than jazz, but that's for practical reasons and not because they couldn't do it (except for feedback problems in louder venues).
The reason the metal guys love 7s is the same reason they tune them to a low B. They add an extra low note to "power chords", which for them are just loud chords with as many notes as they can squeeze in.
-
11-11-2023 01:31 PM
-
I enjoyed having an L5CES but could never justify buying one again at today’s prices.
-
I'm up to 22 guitars, can't get rid of any of them, but if I had to, my Wesmo would be the last, right after my 175.
You are very unlikely to lose money on a good one. And, they are proven, much loved and part of history. Not much risk at all. But, a GB10 is awfully versatile, as well. I would find something else to sell first
-
No. Absolutely not. Under no circumstances should you consider buying a Gibson L5. Complete misappropriation of resources.
Treasury bonds are near 5%. They will bring you more joy.
-
I don't currently own an L5, I've owned two in the past and really wish I held on to the '68 or so L5CES that I had for quite a few years.
I have two other jazz guitars now, both smaller builders, and don't really feel a strong need for an L5, but they are iconic guitars, and I could see getting one again, along with an ES175. Just not my first need or desire right now.
What I can say for sure, for me anyway, is that it's always worth it to have fewer, better guitars. I only have 9 or so, but all have been chosen over my entire lifetime, and are the result of winnowing out the ones that I don't bond with or don't make the grade. If you have some that are on the bubble, yes, it's worth it to pare down and get to the ones that you can really play and express yourself with. IMHO, YMMV etc.
-
They just sound so flat and lifeless……. Originally Posted by Spook410
-
Okay, so I pulled the trigger on one of the ones I had my eye on. I appreciate the advice and perspective of everyone. Funny how the advice and perspective fell about 50% each into the two conflicting sides of myself in my internal debate over this. Great "problem" to have.
I bought a 2003 that appeared pristine, except for a little corrosion on the tailpiece. I had specifically asked the seller for video with simple playing and no virtuosity. IMHO, a great player can make a broomstick and a string sound good. I wanted to hear individual notes ringing out and the overall sound of chords played clean. The guitar was part of an estate of an elderly man who is/was a collector, but put most if not all of his collection on consignment. I'm told that almost of of his guitars are pristine as he was more of a collector than a player. I was able to negotiate and got a price that I can easily turn around if I don't want to sell the others, but don't bond with the L-5.
I figured that even though I am in love with the 7 string, I still do enjoy the 6 and they don't make many of the guitars that I like in a 7 string version. Who knows where I'll end up, but I'm going to have a great time on the journey. Thanks again to all of you!
-
Congratulations! Now, don’t leave us hangin! Photos please! Originally Posted by Zigracer
Reply With Quote
Jimmy Smith at Newport ('72) Kenny Burrell on guitar
Today, 03:31 PM in The Players