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  • I'll post my answer here and also on your end of the spectrum. Sadly, since I'm now looking for a job and getting ready to start up school not as much or frequently as I'd like. This said. The neck is amazing and this is an understatement. It is fast, it is even and damn if the beastie doesn't feel perfect! There are a few cosmetic issues/requests I'd have really preferred to have been followed. The neck angle relative to the body would have been a little more helpful and comfortable for a rounder person like me. The body really sits well and stands well, too! The one time it was taken out, lots of folks thought that I was playing a Fodera bass through a Mesa Boogie Guitar amplifier. The MIDI end is working out fairly well, it isn't as good as piezo, but it gets the job done for middle and slower voices without warbling or cross talk from strings. Oh, for the nay-sayers, I'll be damned if I'm having any tuning issues with the Kahler trem system on this beastie; you do have to be subtle and not use as much force with it (vs. a Floyd or an Ibanez or Wilkinson).

    This weekend, I'll try to get a write-up done for the beastie.
    Ah well, I may yet get myself an 8-string. :D Roter's new new line of fanned fret instruments are very tempting. :yum:

    Yeah, I can't wait to post the second thread: the body order. :)

    Aw, that's unfortunate about your Roter. :( I just hope that it turns up soon; we await an epic NGD! :yum:
    Hey Lee, :wavey:

    Phase 1 on my custom RG7 is complete. :) The neck is here with me in Scotland!


    I just need the body now.

    What's the story with the Roter? :scratch:
    Thanx man!!! I am already a member of the MIDI group @ yahoo. I'll be sure to check out the other two. Thanx!!! shotgunn
    Roter, ONI and Sherman all seem to get great feedback on both this forum and (something of a sister site). it's good to hear that your Helms is capable of handling a wide variety of tones, as versatility is always nice. What's even better (for me) is that he is able to offer maple as a body wood, which I love. :) Prior to buying my Jazz bass, I was contemplating hunting down a MusicMan or similar. It appears that they only offer 34" as a scale length, which rules out a really well defined low B. :( I will check out the David King basses. Thanks!
    I've just checked out the JJ Helms site, and I think that it's safe to say that I'm floored. Some of those designs are godly, and come at very reasonable prices. The fact that there is a 35" scale option is great, as it seems to be the answer to really tightening up the bass' tone. I'm very much a fan of the "Jazz bass" tone, but, as we have seen, only when not dealing with the likes of a low B. If you're familiar with the work of Geddy Lee or Steve Harris, then I think that it's fair to say that their tones are a fair representation of what I'm looking for. JJ Helms might turn out to be my maker of choice, but so may Mike Sherman, Roter or ONI. We are spoilt for choice on this forum. :)
    As usual, your response is godly. My inquiry about the low F# was more of a curiosity more than anything else. I'm not an 8-string player (that may change), so I have never had to deal with the dilemna of how to play basslines in such a low register. I suppose that you simply don't have to follow the textbook, and that we as extended range musicans (pretence alert :lol:) should be able to work around this.

    I was particularly happy with your expnanation of why my low B does not sound satisfactory. I've hears a great deal about scale lengths and the impact that they have on the quality of super-low notes. I know that the Warmoth website highly recommends a 35" scale over a 34" one if tuning with a low B. The bass is really "nice" (and I hate that adjective), being made out of solid maple, but just doesn't quite cut it for such low frequency rumbling. When it comes to the time for my next bass, I believe that 35" scale will be at the top of my priority list. :)
    Hey Lee,

    What is your opinion with regards to low F# bass tuning? That is, when your 8-string Roter is finished, do you intend to tune a bass with an F# an octave below that of the guitar's? I'm having a hard time making the low B on my Jazz bass sound good, and I imagine that this effect is only magnified on even lower tunings.
    phaeded0ut, forgive my very late reply. Your comment was simply epic, and took a long time to digest. Thanks for putting so much thought into it. :)

    It is indeed sad that the major manfuacturers have failed to release an archtop hollow-body thus far. What's even sadder is the liklihood that it's probably not going to happen anytime soon.

    Thanks for your in-depth elaboration with regards to the seventh and eighth strings. Sadly, I've always learned guitar in a conventional way from books etc, which (understandably, I hope) has always lead to a steering away from the seventh string as a fully developed musical tool, and rendered it more of a rhythm string, which is a shame. :( I'm definitely enthusiastic about expanding my musical vocabulary, especially with regards to chords, so hopefully I can learn to the incorporate the extended range effectively.

    Oh, and my avatar girl is Faith Lightspeed (beware of NSFW search results :lol:)

    Thanks again, Lee


    I'd like to see more 7-string semi-acoustics. I'm not even gonna pretend that Gibson is going to release one, which is very sad. :( It seems to be a guitar that would have to be of Roter or Sherman origin. I suppose that when you start pushing boundaries (God, I hate that cliche), mass produced guitars become less and less suitable. Custom definitely seems to be the way to go.

    A 16 string guitar would be simply amazing. You'd need an incredibly strong neck to withstand all of that tension, but the results could be absolutely stunning. :agreed:

    I've found that there is a lot of "djent" players on this forum (and in general) who only use the low B and F# for low pitched rhythms. You seem like the sort of guy who would exploit these extra two strings in a different way. How exactly *do* you use them? My guitar playing is still very much in its embryonic stages, so I always want to learn. :)
    Hey man. :wavey: Thanks for your input on my TOM thread. You're always very informative with your responses, so hopefully you can elaborate on this question - what part do "standard" guitars (ie 6-strings) play in your music life now that you've embraced extended range? It's a question that I'm faced with, and find it hard to answer. Maybe it's worth starting a thread over.
    I've always wanted to try an extended scale guitar, so it the first feature that I decided upon. Hopefully I'll like it. I've heard from a lot of people that it really tightens up the low B. I also get an extra fret, which is nice. :)

    I'm not really a "djent" player in that sense of the word, but playing is definitely influenced by Testament, Metallica, Dream Theater, Anthrax, Meshuggah etc - all bands where tightness and clarity are highly important. I'm not much of a "colourful chord" player, in all seriousness. For any totally clean playing, I have my ES335, which is a lovely guitar.
    Thanks! I've always lusted after a purple guitar since seeing the PRS Paul Allender model. I'm not sure if the company (ETGuitars) is able to do headstock caps. I've always loved black headstocks. My first Epiphone has one, and I guess they've stuck. :)

    I've toyed with the idea of buying an 8 string before, but have always held back. The reason for this is that I find the low F# to be too far out of the guitar's "normal" range to be able to use it in a traditional manner (power chords etc). I don't like the sound of strings that are tuned higher than E either (I find them to sound unnaturally cold), so 7 seems to be the way to go. It has a 28" scale, so it should sound clear as a bell. :metal:
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