gretch-Κιθαρες..details please...

[ZombieTone]

DEADENDMIND! DEADENDMIND! DEADENDMIND! DEADENDMIND! DEADENDMIND!

(με ρυθμο συνθηματος!)

Κοιτα να δεις φιλε μου, deadendminded... Οι Gretsch που ξερω εγω ΔΕΝ εχουν σκασιμο, ΔΕΝ εχουν Twang και ΔΕΝ εχουν picking. Για του λογου το αληθες...

<object width="425" height="355"><param name="movie" value="http://www.youtube.com/watch?v=LsVvajNut1o&rel=1"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/watch?v=LsVvajNut1o&rel=1" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object>

 

[Sakis_Gallo]

Aρα πως και γιατι αυτος ο ηχος χαρακτηριζεται ξερος;;;

ετσι το νιωθω ετσι το λεω!

εγω το θεωρω καλο αυτο ε!

 

[evris]

Πάνω στο θέμα του sustain το ξαναρώτησα πάλι σήμερα στον δάσκαλο μου και μου είπε αυτό που σας είπα στην αρχή.Το σύγκρινα και με την στρατοδιονυσίου που έχω και όντως το σκάφος κρατάει περισσότερη ώρα και σε νότα κ σε ακόρντο.

Αν έχετε κάποιο άρθρο ή κάτι να διαβάσω να δώ που παίζει το λάθος γιατί τα αυτιά μου μου λένε άλλα.

The Arch-tops The arch-top guitar, with its large curvaceous body, f-holes and superficial resemblance to classical stringed instruments was designed in the twenties by Gibson's Lloyd Loar. The design goal was volume. Dance bands of the day featured a rhythm guitarist, and to be heard without amplification they required a bright penetrating tone. The large resonant body and top produced this in plenty, especially when strung with heavy strings. But the laws of physics dictate that, in terms of energy, you can only get out what you put in. So if the note is going to be loud it will not last for long. Sustain, the holy grail of the contemporary guitarist, was not considered so important, and the stylistic developments which required it were decades away

...

So, to sum up, if you're looking for sustain don't buy an arch-top.

...

You can, however, get a good jazz tone without recourse to an expensive arch-top. Try the neck pick-up of a Telecaster with a fair amount of treble rolled-off. It's a warm thick tone used by Joe Pass on his early records, and also by the under-rated Canadian guitarist Ed Bickert. Don't forget also our own Jim Mullen, who got a superb tone from his Telecaster during his days in the Morrissey-Mullen band. One of the most individual contemporary guitar sounds is that of Mike Stern His guitar? A Telecaster, with neck-position humbucker fitted. The Gibson ES335 (Larry Carlton) and ES330 (Grant Green) produce an excellent bluesy jazz tone, but older models can be very expensive. Besides Gibson's Semis, look out for similar models by Aria, Epihone, Yamaha and Ibanez, the latter being popularised especially by top contemporary jazz guitarist, John Scofield.

...

κλπ ενδιαφεροντα απο το

http://www.jazzguitarfaq.com/FAQ00037.htm