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Thread: Should I do it?

  1. #51
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    And then he woke up in a brand new world.

    Yes, things are different now, eh? Both Gibsons and Fenders have 6 strings, and not much else in common. Raising your stop tailpiece is not going to change the tension of your strings, you may be getting a placebo effect, but if your strings are still tuned to the same pitch, then the tension of each string will be the same. Raising and lowering the tailpiece affects the downforce on the bridge, which can affect sustain but not much else. If you take Keb's suggestion and tune down to Eb, then you will get noticeably softer action.

    And you might have to slightly adjust the truss rod when moving up to .011s. But the truss rod didn't move, the neck did, in response to the increased tension of thicker strings. The truss rod is just there to balance the dynamic between the neck and the strings. Perhaps that's just a bit of nomenclature, but that's how I see it.

    The Splat Effect. That is a good description of a big sounding guitar, like Gibson's ES models. They occupy a much larger space in the sonic realm, don't they? That is a large reason why I play mine less often than I would like to with my band. In a dense recording, the big humbuckers in a semi-hollow can easily end up masking a lot of other stuff that might be happening. A Fender Stratocaster, or one of its relatives takes up less room and is easier to mix. A Telecaster, as all of us know, cuts through about anything! In my situation, when we are using multiple keyboards, bass, and/or loops, things get dense real quick. Whenever I bring my ES-335 into those situations, I invariably get stern looks from my sound techs. Fenders are just easier animals to work with in those environments.

    I might suggest that you pan instruments that seem to overlap, or conflict, a bit to opposite sides, left or right. That can help to reduce the splat! Also, you might use some judicious equalizing to roll off some lower and lower-mid frequencies on your 336. Different mics, or positioning can also help, if you're not going direct.

    Your pickups on that model are not hot, at least as far as humbuckers go. They're just a lot louder than your typical Strat pickups! I started this electric quest with a Les Paul, so when I first tried Strats and Teles I couldn't figure out why anyone would want pickups that were that quiet, and noisy! Of course, I was younger and stupider then too.

    I think as you get into this thing more, you will begin to like the middle position more. There are many great tones available by subtly adjusting the volume and/or the tone controls. Of course, you can adjust things and use the neck pickup for rhythm, and switch to the bridge pickup for leads. But everyone does that! Sometimes I like to back off the tone and volume on the bridge pickup (using it for rhythm), and then switching to the louder neck pickup for a lead. YMMV, have fun with your new friend!
    Some contend that rock 'n roll is bad for the body & bad for the soul
    Bad for the heart, bad for the mind, bad for the deaf & bad for the blind.
    It makes some men crazy and they talk like fools.
    Makes some men crazy and they start to drool.

  2. The Following User Says Thank You to SAguitar For This Useful Post:

    Srini (07-29-2016)

  3. #52
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    Dang Stan that's good stuff! This is why it's
    good to be here.
    Last edited by mjaggisan; 07-29-2016 at 09:23 PM.

  4. #53
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    Thanks so much, Stan!

    First, at least for me, the tension does seem to change with the height of the tailpiece, as does the tuning. Of course, the tension change is not dramatic, and right now I think I'm in the general Fender ballpark. It feels really nice, though just a slight bit stiffer than the strats, but barely so. This is fine for me, and hopefully it will strengthen my fingers. The tone is better with the 11s, too. Also, the neck didn't budge with the 11s - still almost flat.

    Regarding the splat, you pretty much nailed it. I just need to experiment with various techniques, such as the ones you mentioned - panning, EQ. I use panning a lot for separation, and assiduously plan the placement of each instrument. It often works better than the fader to bring out an instrument (this, by the way, is especially good for Paul Jackson Jr style rhythm parts). I guess a lot of EQ experimentation is called for, because I'd like it to sit well in the mix, but not lose its Gibson-ness. A lot of fun to be had, for sure! About the pickups, two of my strats are HSH, so they do have the higher output, fatter tone; but the 336 takes that to a whole new level.

    For now, though, I'm just enjoying playing it so much. I'm slowly developing a sense of its voice, so this evening, I found it a lot easier to make it sing - even with completely clean tones - while playing along with that Larry & Lee clip I put up than I did yesterday. It looks like I'm going to have to learn a pick attack specific to the 336, and find that range that makes it sweet, then go outside it for effect, like harmonics and such.

    Its funny how I never had to make adjustments like this with each new USACG axe I got. Like you said, I woke up in a whole new world here.

    Thanks again, Stan - you sure are a wealth of information!

    Srini
    Last edited by Srini; 07-29-2016 at 11:07 PM.

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    SAguitar (07-29-2016)

 

 

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