ShortScale.org

The current fam.



Crafter SA-ARW
Gibson Les Paul Studio '60s Tribute with Lindy Fralin Hum Cancelling P90s
Harley Benton TE-80 H.S. Anderson Madcat copy



Fender Excelsior
and a Harley Benton (Joyo) Overdrive pedal.

WaldoJeffers wrote:

Altar wrote:That jag... Do you have any pics of just the jag?

Yeah. I'll post some more up. It's a 1966 with a LH 1972 neck.

Thanks! Can't wait.

New addition...

dezb1 wrote:New addition...

Nice!

pumpkin wrote:

dezb1 wrote:New addition...

Nice!

Cheers, been playing it all night and now my fingers are sore. has some tones that my other guitars don't have - nice round hollow body sound from the mini humbucker and a rattley clangy sound from the peizo (my description of this sound looks bad written down but it's a good sound) and ofcource the metallic acoustic sound.

I should really just fuck off to gibsonscale.org:

dub wrote:I should really just fuck off to gibsonscale.org:

Then again, if it works for you I can't see the problem of heading off to teh gibsonscalez with the toanz you got there.

dub wrote:I should really just fuck off to gibsonscale.org:

Can I come too?

Introducing the Filtertron Family at rest.



Although a good 7 months or so with the Duo Jet on I think I'd prefer another Duo Jet a Penguin with those punchy DeArmonds, the timbre contrast I'm hearing so clearly between the above G6128 and the G6122-1962 from both structural as well simply pickup/bridge spacing clearly sets it in a very different category.


My "A-ha, this is it!!!" moment came while arranging the parts for Dal, Malhada (Moon, Talk) on FROMM's album this past summer with the Country Gent. With a little compression and slapback echo from the Zoom G.3 going into the SPL Channel1 I think was able to squeeze just enough George Harrison into the mix, or so I deceived myself having done so. Played in mid-position, w/tone switch on bypass, tried to pull off some J.Marr vibe from 3:02 to the end, and did a plucky little solo @ 1:31-1:54. Shame on the two kids who uploaded this download purchase only to youtube, but then again, that's how things go these days

[youtube][/youtube]

I like the guitar sounds and playing on this.

Cur that double cut is so sweet

jcyphe wrote:I like the guitar sounds and playing on this.

Many thanks for the words, J.

And now that the cat seems to be out of the bag, I'll probably be posting a few more FROMM tracks to the Whore House sometime this week. Although the whole experience left a very bad taste in my mouth, I'm proud of how most of the tracks came out and I don't think I feel all that icky about posting them.


As for the G6122-1962 itself, here are a few glamour pics I took on the roof of our office with the Sony NX300. It's a 2010 model, but the dude before me never wiped off the hardware after fingerpicking (very obvious, from close inspection), and his sweaty hands coupled with most certainly too much exposure to Korea's summertime humidity blues both wore the gold plating off of half of the bridge and a good corner bridge pickup, and prematurely oxidized everything else. Thankfully the guitar is in really nice shape, and it SOUNDS SO GOOD...Makes me want to play nonstop Glow-era Innocence Mission and Jonny Buckland arpeggios.

I'll probably be ordering a Compton Brass bridge, but even without it the high-density bar bridge does well, albeit with too much string contact resulting in a tad less sustain. Zero fret is also an oddly new thing for me, but things do sound a tad more consistent between open and barred chords.



Hi-res for the people:

Gorgeous guitar Reminds me of John Squier's. What about those F-holes, they look like they are just painted on the body?

sunshiner wrote:Gorgeous guitar Reminds me of John Squier's. What about those F-holes, they look like they are just painted on the body?

Yeah, John had a vintage G6122-1962 with the painted f-holes, mine being a reissue of the same model. It's still very acoustically lively and the bridge pickup being a tad farther away from the bridge than in that of a G6119 or G6120 gives it a really unique, somewhat more "mellow" tone of its own.

ultratwin wrote:Zero fret is also an oddly new thing for me, but things do sound a tad more consistent between open and barred chords.

I've had a few zero fret guitars, and don't know why all guitars don't have it - just sounds better to me.

Nice guitar and playing on the fromm track.

Ultra posts the guitar that ends the thread

Absolutely beautiful instrument. One of my friends had one, I was almost scared to play it it looked that good and the sounds were incredible. I've always had a fascination with imperial machine heads too, one day I will fit some onto something, just for the sake of it.

I'm starting to agree with you, Debz. It's a no-nonsense setup that is so consistent across the strings, and something even tells me that maybe even Tal Farlow almost never comped chords with open strings because the Gibsons he had in hand never had zero fret. Just a thought.

Fran wrote:Ultra posts the guitar that ends the thread

Absolutely beautiful instrument. One of my friends had one, I was almost scared to play it it looked that good and the sounds were incredible. I've always had a fascination with imperial machine heads too, one day I will fit some onto something, just for the sake of it.

Nice to hear you've been around one of these guys, Fran! Other than the Art Deco flair, the Imperials are quite nice in that they're both thin and wide, making for an easy grab-and-turn.

It's Pedalworx McSqueeze and Digitech RV-7 (Modulated setting) all day for me somedays, the warmth and body makes it an infectious guy to pick up and play.

dub wrote:I should really just fuck off to gibsonscale.org:

is that an SG300 in the middle? saw one for sale this week but the guy wants £450, which is a bit optimistic, i reckon.

From left to right:
Unbranded 70s SG Copy with BKP Mississippi Queens.
Yamaha SG2000 and one beat to shit Gibson Sonex Custom. both 1980 I think.

i want a double cut now