ilovefuzz.com

So I haven't owned an acoustic for almost a year now and lately I've kind of been feeling like picking one up
I've never really had gassed for an acoustic before
But I just came across this
And just wow


I'm sure this has probably been asked before but anyone here play any acoustic or are you all just straight fuzzaholics?

[youtube]http://www.youtube.com/watch?v=LfQ-Xg_MS3k[/youtube]

Achtane wrote:[youtube]http://www.youtube.com/watch?v=LfQ-Xg_MS3k[/youtube]

As an acoustic it will most likely sound terrible. That bridge design doesn't work well with flat tops.
Essentially this is Gretsch doing a cooler version of the Gibson J160E.
It is an electric guitar that looks like an acoustic.

looks titty's to me. Likely Nelson is right, but I dig it based on looks and the awful things I could do to it. Here's my thing though. where is it fucking written in stone that acoustic bridges have to be non adjustable straight lines. what the fuck is up with that. so the laws of physics and intonation don't apply because it's not plugged in?

Yeah I have no doubt that acoustically this thing will sound like a turd but I'm with AxAxSxS, I could do terrible, feedback-y things with this. If I was to actually get an acoustic I'd probably go with a Recording King. I used to own a ROS-06, which is their cheap model and it was amazing. I regret selling it.

Well on a good acoustic (such as a Nelson) the bone saddle is compensated by slanting as well as carving to offer better intonation. Also placing the saddle in the correct location to beig with helps! Even electrics suffer from that! How many electrics have you seen where the saddles are at the end of their travel and you still can't get the intonation right?! Would it be that hard to put the damn bridge in the right place?!

Like Nelson said bridges on good acoustics are placed and cut right in the first place!

i have some straight up acoustics and i barley touch em. i do have a gibson j45 that i bought new in december, that is a straight up acoustic kinda, but the onboard electronics are practically invisible and are amazing. runs through my marshall dsl with all my pedals and no feedback/and no knob turning, unplug the strat and plug the gibson in and play. i find myself reaching for that more the older i get. esp with my looping solo thing. plus i love hitting the gain channel and getting sweet leads out of an acoustic hahaha. but yea. i fucking love electrics/pedalboards/weirdsounds so maybe im a bad one to give an opinion.

picked up an old Kay/Harmony yesterday. the serial # has an H and there is no branding on the guitar. it was in a dark closet for years according to seller. finish is kinda crappy in some places and i need to take it in for a set up, but the neck's pretty straight. High action, notes clank out in some spots. Just have to be picky with fretting

If there is an Hxx stamp inside that would be a harmony model number.
If the neck is straight, the action is high, and the saddle isn't too tall then it needs a neck reset. Old harmony and kay instruments always need neck resets because they used some really soft woods for necks and neck blocks and those woods (I'm thinkng poplar) don't do well with resisting compressive forces.

sorry, mr. november, but i think it's an identity crisis. and i think there's good reason why gretsch acoustics haven't been successful.

i play acoustic quite frequently, mostly unplugged at a local starbucks. you need a guitar with projection and a good range of tone to do that. this is my main box--it's a cannon:

My main acoustic is a Larrivee D-03 I bought 10 years ago. They are wonderful and usually can be found for good prices on the used market since it's not a Taylor or Martin. All solid wood.

for me: Tacoma, Seagull and Breedlove have the response I like. I used to have an Epiphone Masterbilt that was my jam, but my low-end Breedlove just killed it to my ears recorded or not. It sounded like an acoustic. Of course it makes me sound like a shitty guitarist, but the response it beyond amazing, especially being a low-end model. Been itching to get the comparitive classical model of it.

What I look for in an acoustic btw, is low-end body, response to harp-harmonics, easy fretting, and projection. I almost think that I lucked out of every acoustic I've bought, because every time I've purchased an acoustic it has out-performed intruments up to 5 times its price (when I bought the Epiphone Masterbilt, I did a single blind test and couldn't beat the sound, even with taylors and martins unplugged. It made me seriously angry. like....HARDCORE frustration)