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Quote by SkyValley
Godin Redline II.

Seriously, just don't read anything else that is posted in this thread and order the Godin. Anything else in that price range is going to be made in Indonesia or Korea. The Godin is crafted in Canada and assembled in the USA. It's an all North American guitar. Plus it's got EMGs.

Why does it matter where it's made if it's a quality product?
Quote by Metander
Okay thank you very much, right now i feel like il definitely buy a seven string guitar. But i got one last question. When I mentioned about buying a seven stringer to my guitar teacher (who uses only 6 stringers since he doesnt need an extra one), he said that the extra string will confuse me in terms of music theory since the seventh string works somehow differently than the other six below it. Could anyone enlighten me on what he might have meant? I know my theory right now is pretty much zero, but im willing to learn it slowly.

Thanks

Theory-wise a seven-string guitar is identical.

All you're adding is a low B, so for scales you'll need to memorize larger shapes for your fingering or remember the intervals of the scale across the greater range provided.

There's nothing "different" about it when learning theory across a six-string guitar in standard E tuning, because you could just ignore the seventh string for the purposes of your lessons and gradually work it in once you get a better grasp of things.

For example, any scale or chord which has a B note in it? You can just play the seventh string open and it will be fine, because it's tuned to B. If your scale or chord has a D in it, you can play the seventh string at the 3rd fret. Provided you know your scales and chords in terms of notes and intervals, instead of simply patterns, there should be zero problem adjusting. It will likely improve your theory in the long run, in fact.

Using alternate tunings (such as your drop tunings) is going to give you far more "trouble" theory-wise than having a seven-string guitar will.

My guess about your teacher's warnings over it: either he's afraid it's a bit more complicated and thus will challenge you more early on in your playing (possible if you're still a newbie), or he doesn't actually know theory very well himself and is afraid he won't be able to teach you it effectively.
Building a guitar is not cheaper than buying one straight. It's bound to be more expensive and the results aren't going to be as good unless you're an experienced builder.
Quote by dspellman
Nope. Carvins are 25" scale unless it's a bolt neck or a Holdsworth. Attention to detail on them has really been good (you don't get birds and moons, however). I've got half a dozen guitars and one bass from them. All are 24-fret.

My bad, you're quite right. I have a DC700 and it's 25.5 however.
I think Carvins are 25.5 inch scale, not 25 inch.

The Carvin is better bang for your buck new (unbeatable in my opinion) but the used PRS, if in good condition, will probably be more what you want. I think Carvin are comparable to PRS most of the time, but PRS does have slightly better attention to detail and consistency.
Quote by crazysam23_Atax
I don't see how these are issues. Yeah, it'll take your hand a bit to get used to it. However, most guitar players are well used to playing (for instance) the go-to D chord (http://www.justinguitar.com/images/BCv2_images/111-D%20chord.gif), so I don't think muting strings would be hard. I also think it would be obvious that you'd have a low B string at the lowest position.

When you play fast riffs on the low E and learn them all without a string above, it's easy to get sloppy and hit the B string by mistake. Nothing a month or two of practice won't fix but muting strings perfectly isn't quite so easy in certain situations.

Quote by crazysam23_Atax
@TS:
I think this is a question of why, as in why are you buying a 7string? If you're just going to be chugging on the low B string, then don't bother; you can do that on a 6 string. If, however, you're going to actually use the extended range of a 7string; then buy a 7 string. Make sure you get one with decent pickups, hardware, wood quality, etc.

This. For me it's about the convenience of being able to play songs in B standard as well as regular E standard stuff, as well as not giving up extra range for playing solos. I do have some songs I play that are made for a seven-string but not exactly tons. If you just wanna play stuff tuned to B standard you really don't need a seven-string if you feel you won't miss the extra range or don't mind using multiple guitars.

Quote by Metander
Okay thank you guys for replying. Right now i have only two guitars in my sights, both LTD's since I dont really trust other companies other than Epi and LTD/ESP for some reason. Maybe its because a lot of the people I listen to use their guitars (of course they use ESP, but ive heard that LTD is pretty much the same in terms of sound etc)

So the seven stringer I have been looking at is LTD EC-407 (http://espguitars.com/guitars/ltd-guitar/ec-407.html) , and if i choose to go with a six stringer I have found EC-401 (http://espguitars.com/guitars/ltd-guitar/ec-401.html). So I'd like to ask what you guys think of these guitars? Are they worth it for their price range? Maybe there is something better from some other company that you guys could suggest? Is 25.5'' scale noticeably longer than 24.75''? Because right now my Epi LP has 25.5'' scale and even with that i struggle to get the clean notes and fit my finger past the 15 or so frets. Im sure its because I need to practice more, but when it comes down to the scale, is it just again a thing of personal preference or is it generally better to have a longer neck length?

Again, thanks

The LTD 400 series is excellent. Personally I feel that LTDs in the mid price range are fantastic and better than most other brands. The fact that they come with real aftermarket pickups instead of crappy stock ones (like most Ibanez etc.) is a big bonus.

Scale length is more about feel and intonation. Feel is how spaced out the strings are - if you have large hands, a longer scale length can be useful, but most guitars don't go past 25.5 inches. For a seven-string or eight-string guitar you need a longer scale to maintain good intonation if you are tuning very low - virtually all eight-strings are 27 inches for example. 25.5 inches for B standard is fine but if you are trying to go down to F# or whatever then it might be a problem.
Like anything, there is a learning curve. Playing six-string songs is easy on a seven string guitar, but it won't be quite as easy as on a sixer. The big deal is that you have to learn to mute the seventh string while you're playing six-string stuff, which requires an adjustment to your right hand technique. If you look down at the fretboard and expect to see a low E string there while playing to reference, then you'll also probably get screwed up for the first couple of weeks.

In my opinion, playing on a seven-string will make you a better guitarist because it'll force you out of the familiarity of a six-string and will require you to improve your technique to continue playing cleanly. There really aren't any downsides to it once you get used to it, though sometimes it is simply more comfortable to play a six-string. I know I'll always have both on hand depending on what I want.
Quote by AWACS
Carvin?

Carvin.

http://www.carvinguitars.com/customshop/solidbody.php

Take your pick. I'm thoroughly convinced that Carvins are by far the most economical high-end guitars out there. Not quite Suhrs or anything but definitely on the level of most other brands' best offerings and at much better prices.
Quote by FrauVfromPoB
You could just buy a normal six string set of heavy-ass strings. I personally run Ernie Ball Skinny Top Heavy Bottoms in B Standard, with plenty of tension.

You use a 52 for low B? Does it intonate correctly? I'd still imagine it flops around quite a bit... even the 60 "heavy core" I use is a bit floppy here and there.
Quote by samuraigoomba
Why do people keep saying this?

The "gibson is a giant scam/conspiracy theory" notion is completely false. People pay more for Gibsons because, on average, they are much better guitars in every way. I mean, imagine if somebody said "the only difference between the epiphone LP special 2 and the Epiphone LP Standard is extremely minor differences in finish and pickup quality." You'd be pissed, right? Because it isn't true.

Gibsons are better: better finishes, better tonewoods, better pickups, better hardware. I don't think they are 3x the price better, though, and hilariously enough the "low quality" Epiphone QC may actually be a step above Gibson's (or at least quite comparable). I've seen Gibsons with horrible problems: messed up neck angles, bad fretwork, poorly cut nut slots, bad electronics, terrible setups out of the factory, you name it. If you check the inspection sheet many guitars actually fail to pass certain checks yet are OK'd for sale anyway.
When people talk about "tone" they often conflate a lot of things. In my opinion, tone is: amp, cab, guitar, effects, settings, venue. Technique will highly shape a performance but it doesn't really contribute to tone itself. Of course, if you use "tone" to describe a performance as a whole, then yes, tone is very much in the fingers too.

In blind tests, people find it almost impossible to tell even radically different guitars apart, for example, Les Paul vs. Telecaster. I've seen people run such tests and the results basically all say: we hear with our eyes, not our ears.

I think it's more accurate to say that technique of a musician will radically alter the performance and tone may need to be adjusted to reflect that.
Oh, yeah, I'd take a G&L any day over a Fender Strat. But, they are more expensive and I'm not sure how the lower cost import series stack up.
Quote by Suikoren
Hello everyone one more time!

I'm going to buy new guitar tomorrow, a i want to ask: Gibson Faded are good guitars? What is better: SG faded or LP? 800 dollars for SG faded is a good price? And about 1000-1100 dollars for LP Studio Faded?

I'll have a chance to play on them both + EC-1000 + some Schecter guitars, but i don't know yet what i'm going to buy . EC-1000 is very comfortable for me, but i haven't yet played on Gibsons.

The Gibson Faded series is great. You are skimping on finish, which means no fancy paint jobs. But they still look pretty cool.

The biggest concern is that they have almost no protective finish, and the paint on them can wear down over time, exposing the wood underneath. Obviously any damage might also be more serious, too, because there's no real finish to protect the instrument. If that bothers you, stay away, but you are getting a very high quality instrument for a lot less money otherwise.

Comparing the EC-1000 to the Les Paul, well, the EC-1000 is basically the Les Paul's leaner, meaner younger brother. It is a much thinner and lighter guitar, with a smaller and faster neck profile. It also comes with EMG pickups, which while very good are not necessarily ones you'd love depending on your tastes. The Les Paul is chunkier, heavier and will give you a thicker, warmer and more "vintage" tone.

On the EC-400 vs the EC-1000, the big difference is quality control and finish. They are almost identical when it comes to features but the EC-1000 has much nicer finishes, binding, inlays, etc. The quality of wood and construction overall will be better, they will have better fretwork and more attention to detail. The EC-400 is still an awesome guitar for the money however.
Probably American Standard Strat, though Mexican Strats are also great if you upgrade the pickups.

I would also look into the Carvin Bolt if you want to spend a bit more for a semi-custom instrument that will be as good as or better than an American Strat in terms of build quality. For about $800 base price they are excellent value.
The big thing that's different about EMGs is "feel". They are generally a good deal tighter than most passive pickups and that means your playing actually has to be a bit cleaner - you can't get away with as many mistakes. On the other hand they can sometimes lack the dynamic response of passive pickups and also don't have the tone roll-off when you drop in volume like on passives.

EMGs are excellent pickups, but if you want versatility I would probably stay away from the EMG 81. It's best for two things: very, very clean stuff, and highly overdriven hard rock/metal. It's not really going to cut it for blues in my opinion - its lack of low end and "flat" characteristic is awesome for gain and for taking lots of effects but not at all what I'd call a vintage tone.

I would recommend an EMG 85 in the bridge instead, but to be honest you might just be better off with a nice set of well-rounded passive pickups if you don't care about sounding exactly like Metallica (and you won't, without a Mesa Dual Rec + Tube Screamer and years of practice).
That's a pretty good deal for an American Deluxe. If it was an American Standard I'd say "hell no."
The Epiphone Les Paul Standard is a great guitar for the money. The differences between them and Gibsons are extremely minor and mostly come down to finish details and quality of the pickups.

Stay away from the Line 6 Spider. Let us know what kind of music styles you play and we'll go from there in recommending an amp.
Better to buy a $400 Mexican Standard used than to spend $400 on a Classic Vibe.
A 7-string guitar is not some magical instrument where low tunings work better. It's just a guitar with 7 strings instead of 6. Therefore yes, your plan would work, just be aware that you'll want to tune to B standard rather than 7-string standard (E with a low B). The only thing to be aware of is that you *may* need to have your nut slot re-cut for those heavier strings (though I would say probably not unless you plan to go with drop F# and 74-80 gauge strings).

I highly recommend using Dunlop Heavy Core 10-60 strings, they are excellent in that they aren't quite telephone lines but they have as much tension on them as some significantly heavier strings. Perfect for B standard tuning. The usual 13-56 strings you find around just do not cut it for a low B in my opinion, you will run into intonation and tuning stability issues without at least a 60.
Based on what I've seen, Kirk is sloppy, doesn't know music theory, and plays nothing but minor pentatonic and blues scale licks. Meanwhile James is one of the most solid rhythm players out there. There isn't much comparison.
The JC120 is amazingly clean and pristine with excellent articulation and note separation, but it is also a bit on the cold side and in my opinion lacks some of the dynamics that the Fender might have. As the name implies it tends to be more suited to jazz.
Assuming standard tuning, you probably over-corrected. Common mistake.

The amount of string distance that you need to correct a note that is sharp or flat is extremely small. Even a quarter-turn of your screwdriver/etc. will be too much in many cases. I've adjusted intonation on instruments before yet never saw it improve. Turns out I was doing more harm than good.
JB and Jazz are standard and sure-fire upgrades. Some people do like the Distortions, however, they are very low-mid focused and can sound very muddy in some guitars, especially on cleans. If you want versatility I would take the JB and Jazz any day.
Grover Rotomatics are basically "industry standard" tuners and very good (and available for purchase in nearly every guitar store), but other big-name brands (Gotoh, etc.) are also excellent. You might consider grabbing some locking tuners from Schaller, Sperzel, or Planet Waves, as once you get some you'll never want to go back to regular tuners.
Pick up a new or used Carvin DC7xx if you can, as they are by far the best seven-strings available in their price range and easily comparable to many guitars twice their price.

If not, then look at the usual suspects - LTD, Ibanez, Jackson, etc. All those brands have strengths and weaknesses and may or may not appeal to you. Go to a guitar store and try stuff out if you can, use that experience to form an opinion of what brands and styles you like. You should be able to find good guitars used in the $700-900 price range fairly easily.
For drop C and similar you probably want to grab some 11-56 strings if you can find them. The relative tension will be very similar to 9s or 10s at E standard.

Your guitar has a tremolo, which means you might have difficulty setting it up properly if you are new to all this. You are going to need to adjust the truss rod, string action, intonation and the springs in the tremolo cavity to make sure that the bridge is level, neck relief correct, and string height and tuning are good. If you have never done a setup before I would recommend doing a lot of research on the subject, watching tutorial videos etc.

If you aren't confident in your ability to learn this or do it, take it to a guitar tech and specify what strings you want put on and in what tuning. This should get you what you want, but be aware that guitars with floating tremolos simply aren't equipped to switch tunings quickly and easily and if you want to switch tunings frequently you should probably have multiple guitars, or at least learn how to do setups yourself.

Also be aware that some techs out there are actually pretty terrible and some won't actually do what you want, yet will still take your money (i.e. "drop C is too low for that guitar, I put some 10s on it and tuned it to standard, play some blues kiddo"). I hate to say it but many guitar techs out there are scam artists or at least just older and will look at you funny if you start talking about low tunings, bring in your 8-string, etc.
Quote by JustRooster
Seems like a very expensive alternative to learning how wind strings and set up your tremolo properly.

You do realize Evertune isn't a tremolo right? It's a fixed bridge which keeps perfect tuning.

Advantages:

- strings will NEVER go out of tune because their tension is equalized by spring tension, even if the neck moves, you bash the headstock, humidity changes, you tug hard on the strings, etc.
- string changes are very fast because no string stretching is required and you can tune without requiring any sort of fine-tuning, as the springs will "lock" in place when you get to the general vicinity of required tension

Disadvantages:

- cost
- possibly looks
- maybe don't want to install it on an existing guitar

I agree with what some others are saying in that this is a bridge fully targeted at professional musicians whose gear gets tortured by the road and gigging conditions, not your average home player. A well-made guitar strung properly shouldn't be going out of tune anyway unless you do something stupid, and in that respect there's nothing wrong with existing options. But, in the studio, where you want tuning to be identical between tracks and songs, or when you don't want to have to set up your guitar after getting to every venue? Evertune is a pretty great solution.
Carvin DC700 for me. Maybe it's because I'm now used to it, but I find the neck heel, the contours for the belly cut and arm cut are perfect, and the feel of the standard FT6 bridge just make playing effortless - my wrist and palm just fit right to it. Everything about the guitar rests well in my hands, no sharp edges or awkward bits anywhere. Perfect weight and balance, too.

I have always hated Les Pauls. Way too chunky and heavy, and those fat rear ends always lead to me bumping them somewhere or other. Constantly like to slip off my leg/lap too, not fun.

That said I would love to have a Carvin HH2. Super-small and headless, lightweight, just looks ridiculously ergonomic.
GFS Greenie Classic, or Twin Overdrive if you want both an 808 and TS9 in one pedal. The Greenie Classic is $50 and is basically an exact clone of the 808, right down to using new old stock chips from the 70s; the only difference is that they have a few different modes (classic, fat, tight) and the tone knob has more range. Has true bypass too.
The answer is: we all get times where we are very fluid and successful with certain techniques, and other times where we just can't manage them well. Often this will change on a day to day basis, and I find that when practicing sometimes I'll have a bad day and sometimes I'll have a great day where I can play way better than normal. It happens, and it's as much mental as it is physical fatigue and confidence.

The fact is that if you can't sweep as well or do downstrokes as fast after a few days/week of not using them, to be honest, you probably were not very good to begin with, certainly not good enough to become fully entrenched into your muscle memory. When you stop having to really think about a technique and can do it even under the worst circumstances, then you can confidently say you know it well; otherwise you're still learning.

The difference between an amateur and a professional is that a professional can play all his/her material perfectly under any situation, whether that's on a different instrument, different venue, while sick or with a headache, etc. One you acknowledge you still have to work on your playing then you can focus on improving and becoming more consistent, instead of focusing on the negative.
Simply force yourself to use your pinky finger and you will get it eventually.

A great way to do this is to learn the major scale across the entire fretboard. In addition to helping you play correctly over almost any song in Western music and training your ear, it basically requires you to use your pinky to hit certain intervals and play certain shapes. Might as well kill 2-3 birds with one stone.
To be totally honest, there's a good chance it's either:

a) the mic
b) you aren't as good and consistent as you really think you are

It's probably a combination of both.
Pinch harmonics aren't that hard to get once you have the basic technique of just touching the string with the side of your thumb. As others have said, Jazz IIIs and other small picks make it easier because your thumb will be closer to the string. Nowadays I can play pinch harmonics almost anywhere, any time I want, and rarely miss. People sometimes think of it as two separate motions - pick and touch - but you will have more success at it by simply angling your picking hand slightly and twisting it as you pick, all as one fluid motion.

What really takes time is just getting the locations down. It's all muscle memory and "feel" - you'll simply learn over a long period of time where all the harmonics are, or at least how you'll have to move your picking hand relative to your fretting hand. It's kind of lame but it really is one of those things where you'll just gradually get better at it as you do it - there is no magic bullet and you won't just be able to do it one day.
Hmm.

Generally speaking singers project more than you would expect. It's very common to be able to sing quietly but when you start to get louder, your pitch and technique start to go down the drain. You'd be surprised how hard you have to sing to get a powerful and full sound much of the time - any flaws will be amplified 500% when you start recording or doing it live.
Quote by Offworld92
NS-2.

Two words: tone suck.
GFS pickups are... hm. They aren't bad by any means but they aren't amazing either. As usual it all boils down to personal preference. For more vintage-style tones I think they can keep pace with most Duncans and DiMarzios out there, but as has been said above, since their stuff is made in China for the most part the quality control can be on the inconsistent side.

When it comes to GFS I am less likely to trust their pickups, but I hear their Xaviere guitars are almost unbeatable in their price range ($200-300) and their pedals are very good.
You have to consider the source of the noise. Is it noisy pickups? Electronics? Cables? The preamp tubes? Any one of those is a source and it tends to be cumulative as well. Generally speaking with a high-gain amp, most noise won't come from the pickups (especially if you have actives) but from the amp itself. That's just how they are - if you are amplifying a signal to the point of clipping, you are going to amplify the miniscule amount of noise to audible levels as well.

You only need the G-String if you want to run your pedals and other stuff separately through the gate and reduce pedal noise. Some people also use it to "double up" by gating both the preamp and guitar at the same time but I don't have any experience with this. More realistically, you will want 2 separate noise gates to stop noise at the guitar and the amp.
Do you really need 120W of power? You may be better off saving your money and buying the toaster version of the Dual Rec, or a Roadster. The Roadster is a nicer amp in my opinion as it lacks a lot of the scooped mids that can make the Dual Rec sound flubby.
It could be action more than the strings themselves. I find 9-42s feel quite different on my LTD MH-1000 vs. my Strat.