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I have 3 guitars with piezo/magnetic combos that run out in stereo. One of them is now a fretless guitar that also has a 13-pin jack on it and is mainly used to do fretless synth stuff. The piezo sounded horrible on this guitar. One is a Godin A6 Ultra that I found really cheap. It plays amazing. I've tried several different piezo setups on this and the best sounding was a Schatten Soundboard transducer. This one was fun to play in a two amp setup with one being an acoustic amp. The EQ on the acoustic side was pretty good at making the piezo usable as an acoustic sound. I've actually pulled the active electronics out of this guitar and replaced the magnetic pickup with a Supro goldfoil type. The goldfoil pickup actually gives a better acoustic tone than the piezo in my view. The third guitar is a Warmoth that I built for this purpose. The piezo on it is a Graphtech Ghost bridge that I run out completely passive on the ring of a TRS jack. I then run it into a splitter and into the interface or a pair of amps. This is the best sounding piezo that I've found. It is really fun to play with. You still have to EQ the piezo heavily to get it to sound good, but it does work. (This is what the "Acoustic Guitar" factory preset on the EQ I make is actually for.) Because it is passive out of the guitar it can only have a short cable run before it needs to be buffered. It does work well though.
If you can try out the PRS in person, do. Some piezos sound better than others. Hard part here is getting it into an acoustic amp at a typical guitar store.
It's pretty easy to retrofit a Graphtech piezo bridge onto a guitar if you want to try that path. The Ghost stuff is expensive, but I found the bridge I have on a really good sale at Sweetwater.
Look into the Godin piezo equipped guitars. They have a pretty good range of them with a bunch of different capabilities. Some of them include Roland 13-pin output too if you are interested in that.
@Telefunky and @NeonSilicon thanks both of you. Well the best I have to do is to find one and try it before buy it. I know that my reseller has one in stock but it is the version without the piezo. I would assume that the feel on the fretboard would be the same and the humbuckers too. But I won’t be able to hear the sound coming from the piezo...Well, I will see how my feelings will be and maybe take a little risk to order it without having tried it completely
After all it‘s an electric guitar with all it‘s playability and reaction - the piezo just adds an additional color to the palette. The video was clear about the fact that the latter isn‘t intended to magically turn it into some Martin or whatever acoustic guitar.
Your strategy to try the available model and then order the full package makes sense.
I didn‘t watch the full video, but imho there‘s some potential to improve the acoustic sound by tweaking that channel with a bit of small room reverb (or short delay with moderately strong regeneration) to fake the aspect of a resonating body. FX to be applied sparsely of course...
PRS has been consistent in their feel and playability to me for every model I've tried out. I'd guess that if you like how the one in the shop plays you'll like the one you order too. I hope it works out well for you. It is really fun to be able to layer the different sounds together. I really like being able to mix a dry magnetic pickup through a distorted amp with the piezos clean with chorus and reverb.
Here it is... I was in love before seeing it for real and it is even better than expected. Some will say that a Chinese guitar is a kind of no go but I can tell you that this babe is absolutely phenomenal and the gap between Asian and American (and European) guitars is now anecdotal...
She’s a beauty.
Nice! Happy to hear that the purchase has worked out well for you. There are great guitars being made everywhere now. I have an Indonesian made acoustic that is pretty much perfect. It's a great time to be a guitar buyer.
Very nice PRS Piezo! Like the color!
Forgot that I posted this 3 years ago. My how time flies!
I've since added:
D'Angelico Excel Mini DC - Same Seymour Duncan 59 pickups, but the tones are different because of the smaller body design, full center block instead partial, push-pull pots for coil-splitting instead of 6-way switch, etc. The body is so light that the neck tends to fall if I don't rest my picking arm on the body. OTOH, I love the tones and responsiveness. Bought on scratch-and-dent discount.
Fender Eric Johnson Strat Thinline - Took a while to get used to the baseball bat like thickness of the neck. The lacquer on the neck was so thick and sticky that playing it on summer days was a challenge, since I don't like using air conditioner. Over time, enough has worn off for better playability, but on 80 degree days, it can get sticky again. It has recognizable Strat tones but used to be a bit darker and bassier, until i removed 2 of the 5 springs that were installed on the tremolo. With 5 springs, it sounded more like what EJ wanted - a hybrid of 335 and Strat. With 3, it's closer to Strat, but with still with a semi-hollow flavor. I hardly use the trem anyway, as it was decked by the factory. Bought used from a store.
Fender American Professional II Jazzmaster - Found on display model sale at a local shop. There was a time I turned up my nose at "hipster guitars" (eg. offset) but I gradually realized Jazzmasters and Jaguars were key ingredients of the sound of certain artists hat I admire - Sonic Youth, MBV, Nels Cline, etc. Purists dislike the maple fingerboard and V-Mod II pickups. I think rosewood would have been a better look but at the shop offered such a deep discount, on top of the already discounted, publicly advertised price, that the fingerboard was not a factor. I do find I have the bridge pot on the "vintage" setting instead of full V-Mod II output most of the time, but I do like the option of switching between the two. At first I was puzzled by the Panorama tremolo allowing only a tiny amount of upward pull, then I learned about the trem lock. Once I disengaged that, then I got the iconic Jazzmaster warble. Picking behind the bridge is fun on this guitar. The shop changed the strings and did a setup for free - too bad I didn't ask for a switch to .011 strings right away, as .009s feel a little too slinky. Another mod I may have done is to change the rhythm circuit from a parallel-series switch to a in-out phase switch.
I’m waiting for this weirdo to turn up, I’ve been after an offset for ages, ideally with a trem, and a nice of pickups so I hope this bargain is everything I’m expecting...
https://www.ebay.co.uk/itm/Woody-Electric-Guitar-Jaguar-Candy-Apple-Red-Metallic-Vintage-1990s-2000-Japan-/144087695322?mkcid=16&mkevt=1&_trksid=p2349624.m46890.l6249&mkrid=710-127635-2958-0
I suppose it looks ok.
As long as it stays in tune, I’ll be happy 🥴
Here’s mine. DIY, built from parts, body sprayed with nitro at the local car body shop, neck gun-oiled and waxed. Never ever goes out of tune, plays great, sounds killer. 😍
That looks nice. Classic
That does look like a classy piece @mistercharlie
My strange one arrived today, needs new strings but holds tune and has some nice sounds in it already, I’m definitely pleased for the price and hope I stay happy for long time
Today I came into possession of this glorious beast — a present to myself for getting a new job. It’s a Squier J Mascis Signature Jazzmaster (apparently aka “the best Squier ever made”) and it’s everything I hoped it would be: glassy, droney and huge.
To put things in perspective: my only other guitar has been a 1967 Harmony H77 hollowbody that I bought at a garage sale for $75 when I was 16. After a brief phase in the ‘80s recording a few demos on a 4-track, I’ve spent a huge part of my life without an amp and not doing much musically, basically using the H77 as a bedroom ukulele. I love my Harmony to death — it’s so characterful — and noodling on it randomly over the years while unplugged taught me that one’s fingers are a huge part of guitar tone
My recent foray into iPad music was really just to get some damn electrification going on, so I got an iRig and began with the GarageBand amp sims, but one thing led to another, and I had a hankering to do something that was outside the Harmony’s core sonic competencies — hence the new Jazzmaster. It’s not a classic JM — it has P-90s instead of Jazzmaster pickups, and IMHO a much nicer bridge — but I think it’s a wonder. Its beautiful long neck makes my Harmony really feel like a ukulele, and particularly because this whole ‘lectric thing is still such a shock to me, the sustain is ridiculous. I really feel like fucking Nigel Tufnel, making people listen for it even when it’s unplugged.
Anyway: ah, love. I spent a good few hours today droning away in DADGAD with a heap of chorus and reverb, and… you get the picture.
😍
A question about strings for my Jazzmaster, coming from a total amateur: I’d like some heavier gauge strings than the 10s it came with, but last time I had a wound G I found it hard to deal with. I’m a bit of a lightweight. 😩
So as a compromise, I’m thinking of getting a set of 11 flats, and just getting a lighter G, from a set of 10s. Does this make sense? Will it sound dumb?
You can get plain G strings that are heavy enough to match with 11's. I find them a bit stiff though and they don't sound quite right to me--a bit clunky. If you haven't played with flats before, they are usually a bit stiffer feeling than non-flats for a given gauge. I say usually because the Thomastik-Infeld flats don't feel stiff to me. It might be worth it to try these if you are going to a heavier gauge and want to keep the balance of a wound G but have easier to play strings. They are a bit expensive to experiment with though.
What flats did you have in mind?
@NeonSilicon Was just thinking of some D’Addario Chrome Jazz Lites I saw on special. Will keep the Thomastik in mind.
Oooh a guitar thread!
Here's my Gibson Les Paul Custom Wine Red
HDR to show the wood grain
This belonged to my best friend and bandmate of over 25 years. He left it for me in his will before passing away at the young age of 40 in 2006. He was a rocker, and had these EMG "Zakk Wylde Signature" (EMG 81 & 85) pickups installed before I ever got it. I tossed the idea of replacing them with some original Gibson pickups, but ultimately decided to keep it just the way he had it. I would have never picked these pickups, but I will say they've grown on me!
I have the Chromes on a couple of my guitars and I like them. I actually kinda prefer the La Bella Jazz Flats, but they don't work on guitars that don't have the right kind of tail piece. (You have to make sure they fit so that the silk is on the tuning post.) But, the Chromes are really nice. To me, they have a pretty strong tonal difference from the wrapped to the plain strings. That's not a bad thing, it depends on what you want, but it could be something to think about when considering changing the G to a plain string. D'Addario has a string tension calculator that lets you start with a given set of strings and then change things like tuning or string type to match the string tension with the starting set, http://web.daddario.com/StringTensionPro/Home
The string tension of the Chromes on the wrapped strings is significantly higher than the corresponding string from the T-I set. You can get the tensions from Just Strings descriptions of the string sets, for example, you can compare the Chromes 11's to the TI 11's and see the difference in the tensions of the wrapped strings,
https://www.juststrings.com/toi-js111.html
https://www.juststrings.com/dad-ecg24.html
They are also a good source of individual strings of all sorts in the US.
And that's a real Madagascar Ebony fingerboard, pre Federal ban/raid. Not sure what ever became of all that
If I remember it correctly, Gibson lost the case on the ebony that was sourced illegally. But, they did get back the rosewood that was sourced legally. They paid a pretty hefty fine for the wood that was in violation. When the got the rosewood back, they put out a special run of "Government Series" guitars. I've got to admit that I liked the marketing even though Gibson was in the wrong about the wood.
Then Gibson became the new Gibson and the new people are more sensible about many things including how they get their wood and not destroying all the resources that they need.
@NeonSilicon So much string nerdery! Food for thought — thanks.
Nice! I think I'd have to keep the pickups in there too.
Why do you want heavier strings? For feel or sound? Heavier strings don't necessarily sound better.
@espiegel123 I don’t think it’s an either/or — feel is definitely a huge part of it, I think.
These things are incredibly subjective, and I just shrugged when I first saw Beato’s video. And does anyone think that doing a bunch of ‘70s overdriven rock riffs on a Les Paul seems to be a frankly ridiculous way to test a general theory that “lighter strings are better”? Surely it’s a complicated matter than involves how you (want to) play, what kinds of sounds you like, etc.?
I’m definitely not interested in some macho traditionalist Stevie Ray Vaughan dick waving contest about “bigger is better”. I mean, I’m simply not strong enough to bend very heavy strings.
B.B. King apparently used light top strings because he was the bendmaster and not a masochist, but I also heard he wouldn’t go below a certain gauge for the fat ones.
I got a Jazzmaster partly to indulge in that surf guitar experience, and want to see if slightly heavier strings would contribute to the whole playing experience. The last time I got a set of 11s, that G string was just too much, but now that I’m using 9s and 10s, I want to go back — but to a G string that’s easier to bend! This is why I’m swapping it out for a lighter one.
@Edward_Alexander I wouldn’t change those pickups either, even if I preferred something else!
@Edward_Alexander that's a beautiful guitar - which came first, the guitar or the carpet?
@jebni don't forget to adjust the intonation when changing string gauge - here's a good article on the jazzmaster.