#1
Hello all. Now I know it's sort of an unwritten rule that archtops are used for jazz and semi-hollow/solidbodys are used for anything that calls for some more drive. The problem of feedback is the dividing line. So I'm wondering if any of you have any thoughts/experience on the issue of overdriving a fully-hollow guitar, and whether, if you can get past the feedback, the resulting sound is even worth it. I'm talking FULLY hollow here, so none of those "hollow" Gretsches that have a sound post under the bridge...
#2
Quote by ShivaSage
Hello all. Now I know it's sort of an unwritten rule that archtops are used for jazz and semi-hollow/solidbodys are used for anything that calls for some more drive. The problem of feedback is the dividing line. So I'm wondering if any of you have any thoughts/experience on the issue of overdriving a fully-hollow guitar, and whether, if you can get past the feedback, the resulting sound is even worth it. I'm talking FULLY hollow here, so none of those "hollow" Gretsches that have a sound post under the bridge...

I'd be damned if it is
#3
Perhaps not an "unwritten rule," but at least a "norm" of sorts. It cannot be denied that there are more jazz guitarists playing archtops than there are playing solid bodies.
#4


He's a partisan nutjob, but frankly screw you and your unwritten rule.
THE FORUM UPDATE KILLED THE GRADIENT STAR

Baltimore Orioles: 2014 AL Eastern Division Champions, 2017: 75-87
Baltimore Ravens: 2012 World Champions, 2017: 4-5
2017 NFL Pick 'Em: 92-54
#6
Quote by ShivaSage
Anybody wanna post something of value?


I think I did. I posted an artist who overdrives a full hollowbody and gets a good tone. That's what you asked for, right?
THE FORUM UPDATE KILLED THE GRADIENT STAR

Baltimore Orioles: 2014 AL Eastern Division Champions, 2017: 75-87
Baltimore Ravens: 2012 World Champions, 2017: 4-5
2017 NFL Pick 'Em: 92-54
#7


Moments later Hetfield busted out distortion on an acoustic-electric guitar, for the Nothing Else Matters solo on S&M.
I'll be damned if that doesn't fit your definition of 'fully hollow'.
Damned like Dick Cheney.
Which is pretty damned.
7-String Legion
Quote by TheJem
Justice4AllOne pretty much mentioned all of my ideas so yeah...pointless pun post.

Quote by MightySumo
Thanks fer settin me straight on that Justice

Quote by oneblackened
I was thinking that too, Justice usually seems like a pretty knowledgeable guy.
#8
Check out Trey Anastasio of Phish, he only plays a custom hollowbody and when he goes full gain he'll work the feedback to his advantage. Sick tone, IMO.
#9
Quote by Poster_Nutbag
Check out Trey Anastasio of Phish, he only plays a custom hollowbody and when he goes full gain he'll work the feedback to his advantage. Sick tone, IMO.

A damned sick tone?
#11
Tom Delonge of Blink 182 plays punk with a hollow body (I think =/)
Izzy Stradlin uses/used one (I think =/)
Breaking stereotypes by playing indie on a metal guitar.

Current Gear
- Epiphone Les Paul Standard (Plus Top)
- Crappy Strat Copy (Redecorated, looks snazzy)
- Ibanez Acoustic/Electric Guitar
- Ibanez RG1570 Mirage Blue
- Peavey Vypyr 30 Watt
#12
I distorted my Ibanez Artcore on my ****ty Ibanez amp and got a damned beefy tone from hell on it. Haven't tried much on my Randall though.
Then there's this band called Slice The Cake...

Bunch of faggots putting random riffs together and calling it "progressive" deathcore.
Stupid name.
Probably picked "for teh lulz"

Mod in UG's Official Gain Whores
#13
You can get a pretty sweet tone out of it, but its not going to be in the vain or most death metal or metalcore if thats what you are asking.
#14
B.B. King used to stuff paper inside the F-holes of his Gibson ES-355 to cut down on feedback before Gibson made his "Lucille" without them for him.
#15
I played a Gretsch doublecut hollowbody through a Crate valve combo and nearly creamed my pants at the tone

It's great for really sludgy stuff like Stoner and Doom

It can get a decent thrash tone too but IMO it's distorted tone was Sludgeville
Quote by fleajr_1412
You have amazing taste in men.


Are You a PROG-HEAD? I am.
#16
Well I have a fully hollow Tokai FA70 and I play with distortion regularly without any feedback.. I would say you are pretty safe.





Gear

Tokai FA70 (My Korean ES-175)

Amplitube


Artisan 30 fund: £50/£1200
#17
I use a hollowbody for rock and it sounds great, I don't play huge volumes so feedback isn't that much of an issue for me but I've heard that stuffing socks or something can help. It will distort well but it wont do like death metal or anything. A few other people use one too.
Gibson SG Standard, Gibson SG 60s tribute, Edwards Les Paul, Fender Telecaster, Epiphone SG Custom
#18
Quote by necrosis1193
I think I did. I posted an artist who overdrives a full hollowbody and gets a good tone. That's what you asked for, right?


My apologies...I didn't really look twice at the picture but now I understand.

I guess my question is, when distorting a hollow-body, do you retain the benefits of using one? That is, for example, if you were playing clean, then the tone would be more overtone-laden than if you were playing with a solid-body. Do any of these benefits come through when distorted?
#20
It's not that you CAN'T use hollowbodies for driven stuff, it's just the fact that they have a tendency to feed back at high volumes.
I mean, look at Ted Nugent, he used a Gibson Byrdland for a lot of his stuff.
Current Gear:
LTD MH-400 with Gotoh GE1996T (EMG 85/60)
PRS SE Custom 24 (Suhr SSH+/SSV)
Ibanez RG3120 Prestige (Dimarzio Titans)
Squier Vintage Modified 70s Jazz V
Audient iD22 interface
Peavey Revalver 4, UAD Friedman BE100/DS40
Adam S3A monitors
Quote by Anonden
You CAN play anything with anything....but some guitars sound right for some things, and not for others. Single coils sound retarded for metal, though those who are apeshit about harpsichord probably beg to differ.
#21
Treys guitar tone is so bad ass and hes amazing hes a god
IMO i love phish..
(\__/)
(='.'=) This is Bunny. Copy and paste bunny into
(")_(") your signature to help him gain world domination.
#22
You can certainly use a hollow body archtop guitar with massive volume and/or gain. Ted Nugent is the best known proponent of this combination, but throughout the 1980s a lot of metal guitarists used archtops for certain songs and solos; among them C.C. DeVille of Poison *(he had a few Gretsch hollow body guitars that he liked). As you know, the problem is the huge amount of feedback you get when you do it. A good noise gate is a must, but even that probably won't kill all of the feedback. Make sure you don't turn and face your amplifier when you play your archtop with high volume or high gain, because it will probably cause it to feed back like a motherf%cker.
#25
Quote by FatalGear41
F-Sharp!

It was a shame they disbanded so quickly.


yup. I saw them live in '93 and was really convinced they we're going towards a bright future....
*stupid 09'er*

this space is for rent. PM me for rates
#26
Josh homme uses alot of hollow bodies (mostly matons I think), I don't know if they are full hollow but he uses them with a fair bit of distortion.



I think he uses hollow bodies near enough full time now.
#27
I'm using my hollowbody/archtop guitar for blues and garage rock with my big muff...feedback doesn't bother me....I LOVE feedback
Control your destiny.
#29
Colin Meloy of the Decemberists uses a Gretsch full hollow with huge amounts of distortion on the Hazards of Love record.
#30
Im not sure if it's fully hollow but Wes Borland's Yamaha is another example.
hoimhi0et0hm03oi