Gear WANT thread
Discussion
The suhrs are rather tasty, the modern frost colours look surprisingly good for matt, plus 'snowblind' is such a good name for white...
http://www.guitarguitar.co.uk/electric_guitars_det...
Really would be tempted to splash out if it had a black head stock.
Really been fancying a JEM recently, in pink. 777VSK to be precise.
http://www.guitarguitar.co.uk/electric_guitars_det...
Really would be tempted to splash out if it had a black head stock.
Really been fancying a JEM recently, in pink. 777VSK to be precise.
Sir Snaz said:
those fanned frets scare me 
Indeed. These kinds of innovations seem to me to be a bit of a solution in search of a problem. I've never really noticed (assuming a guitar's been set up properly) that intonation drift is much of an issue, certainly not at my crappy level of playing I'm so slow that if a note doesn't sound high to me I just bend it until it is. I can see that wouldn't be possible if I was shredding out a bazzillion notes a second, but then I ask myself would anyone really notice in the grand scheme of things.Wicked-looking Axe, mind...
Gaspode said:
Indeed. These kinds of innovations seem to me to be a bit of a solution in search of a problem. I've never really noticed (assuming a guitar's been set up properly) that intonation drift is much of an issue
They most definitely aren't a solution in search of a problem. Though fanned fret-espousing luthiers have definitely had to fight their corner, I think they've won their case now. They are especially useful in extended range instruments. I'll use a six string bass as an example because the forces at play on that instrument are more readily appreciable than on a guitar. So take your low B string, which for years was a bugbear for bassists. You'd have a 34" scale B string and a 34" scale C string. For many luthiers and builders, it was something of a struggle to get the balance right between the strings(1). Fodera went for a 36" scale on their flagship 6 strings, and unless you've got the stamina and dexterity of Anthony Jackso, that can be both a stretch and quite fatiguing for some players! With fanned frets, you get a longer, tighter bottom string and a shorter top string. The bottom remains tight and distinct due to an extended speaking length and the high string doesn't become shrill.
There is also a conformity of feel from the strings when each is extended to it's optimum scale length. You don't have to adjust your attack to get some bite from a floppy B string and you don't have to back off a stroke on the C string for fear of it ringing out, sharp and shrill. The fanned frets produce a very even sounding instrument, so you can EQ quite safely knowing that you won't have to make considerable compensation anywhere (ie: no boosting the treble to get the harmonics of the B string to cut through and consequently making your C string over bright).
In guitars, Rusty Cooley was an early user of a Conklin 8 string, where the fanned frets made a big difference. They are very easy to get used to quickly. I would say in no more than five minutes, you could go from picking a fanned fretter up for the first time, to playing it with your eyes closed (if you can play a normal guitar with your eyes closed).
(1) Many a luthier did find a way of balancing their instrument's tone without fanned frets, including innovative solutions like carbon fibre necks and good old fashioned superior construction. Some players can be quite anal about minute intonation issues (think Satch and his thoughts on first fret sharpness, or Frank Gambale and the Fretwave system on his Yamaha signature model).
Actually, today I want one of those!
Edited by Baryonyx on Friday 21st February 15:39
Gaspode said:
Sir Snaz said:
those fanned frets scare me
Indeed. These kinds of innovations seem to me to be a bit of a solution in search of a problem. I've never really noticed (assuming a guitar's been set up properly) that intonation drift is much of an issue, certainly not at my crappy level of playing I'm so slow that if a note doesn't sound high to me I just bend it until it is. I can see that wouldn't be possible if I was shredding out a bazzillion notes a second, but then I ask myself would anyone really notice in the grand scheme of things.Wicked-looking Axe, mind...
Intonation is fixed through true temperament fretting, which slots each fret at the ideal position on the fretboard for each string, which gives an unusual appearance but again is not difficult to play for anyone above beginner-level familiarity with a regular guitar. To a degree, TT frets are not necessary - if you have a TT guitar with poorly-set intonation at the saddles you'll sound just as bad as a regular guitar with poorly-set intonation, but many people like them because they stop the mis-match of intonations being so jarring, particularly when playing multiple strings above the 12th fret. Some guitarists I know don't really care about intonation, playing in tune or even having a guitar that is really in tune, but that is like nails on a chalkboard to me when I hear playing like that. I remember watching that Jools Holland program a while ago and someone had a guitar that was just hopelessly out of tune on one string, it stuck out like a sore thumb!
I've been thinking about a project guitar...
http://www.kramerguitars.com/Products/Baretta-Spec...
+
+
SSH+ Suhr
+ Purple paint - like this SoCal
Ultimate DIY 80's cliché!
http://www.kramerguitars.com/Products/Baretta-Spec...
+
+
SSH+ Suhr
+ Purple paint - like this SoCal
Ultimate DIY 80's cliché!
BorkFactor said:
Oh dear, I should not have looked in here! 
I really like my USA Telecaster, but I really fancy one of these:
Probably just as well a blackguard butterscotch one hasn't popped up in the UK!
Butterscotch teles really are the Dogs B's.I really like my USA Telecaster, but I really fancy one of these:
Probably just as well a blackguard butterscotch one hasn't popped up in the UK!
What make is the that one in the pic ?
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