Sonny Boy Havidson « Refined instrument »
Published on 07/08/14 at 02:56Like all Simon & Patrick who respects himself, this copy was made in 1996 in La Patrie Quebec. In the high-end brand at the time, equivalent to showcase current range, this model has the following characteristics:
- Solid Maple Table
- Mahogany body against three layers plywood mahogany - cherry - mahogany. It seems that there were copies in solid mahogany.
- Mahogany neck with rosewood fingerboard short pitch. 46 mm width at nut.
- Rosewood bridge
- Nuts head and easel micarta he seems. Simon & Patrick had not yet passed TUSQ.
- Varnished and polished natural end (not the thick layer of plastic found elsewhere).
- Nets brown box in mind Martin D-18.
- Gold hardware including lift oil bath pearly buttons.
So simple and pretty good origin. To provide for my needs amplification, I did install an active I-Beam-LR Baggs transducer (rented or Antoine Payen, the gentleman guitars Apee for his craftsmanship).
UTILIZATION
My previous guitar was a Simon & Patrick SP6 Cedar CW, I found almost the same profile handle a wider than normal hair and can pass the flat picking and finger picking pretty well. The finish is good against further and we no longer have the feeling of rusticity MS 6 cedar. The varnish is brilliant but does not stick in the hand, rosewood key is the highest level.
I had the instrument second hand and I found the low action and nice as I do not play slide. I do not think the nut to the bridge was lowered.
SOUNDS
From the SP6 CW, I was expecting a very close to that of a Martin D-18 in terms of timbre and its power but it is actually something else. The sound is still typically that of a dreadnought but his identity rather reminds me of a Gibson J-45. I guess the short tune to play in this regard.
This is ultimately a rather refined and balanced sound very typical mahogany. There was indeed not the dark tone of rosewood (I do not know why but rosewood always reminds me the intensity of black chocolate). The guitar goes well in all registers except maybe the slide where I prefer an instrument in its driest.
Reserve volume is limited against me who used a large power reserve on the SP6 cedar. In the context of an acoustic duo with a nag to the rhythmic singer, I had to play very strong on solos or climbing ropes as medium to respect me.
OVERALL OPINION
I bought this guitar used it a year ago. I previously had a Samick (fingers) in solid crate, a Simon & Patrick Cedar cutaway, an Ovation Ballader and twelve string. My Simon & Patrick at the time accused the wear and I was looking for a less rustic sound and this opportunity presented itself.
This is an unusual and excellent stringed guitar. Without amplification, it is unfortunately somewhat limited to an intimate context (at least for me who do not just beat the agreements) without amplification if we do not like playing on the drawing medium (note that on a short scale guitar , it goes pretty well).
- Solid Maple Table
- Mahogany body against three layers plywood mahogany - cherry - mahogany. It seems that there were copies in solid mahogany.
- Mahogany neck with rosewood fingerboard short pitch. 46 mm width at nut.
- Rosewood bridge
- Nuts head and easel micarta he seems. Simon & Patrick had not yet passed TUSQ.
- Varnished and polished natural end (not the thick layer of plastic found elsewhere).
- Nets brown box in mind Martin D-18.
- Gold hardware including lift oil bath pearly buttons.
So simple and pretty good origin. To provide for my needs amplification, I did install an active I-Beam-LR Baggs transducer (rented or Antoine Payen, the gentleman guitars Apee for his craftsmanship).
UTILIZATION
My previous guitar was a Simon & Patrick SP6 Cedar CW, I found almost the same profile handle a wider than normal hair and can pass the flat picking and finger picking pretty well. The finish is good against further and we no longer have the feeling of rusticity MS 6 cedar. The varnish is brilliant but does not stick in the hand, rosewood key is the highest level.
I had the instrument second hand and I found the low action and nice as I do not play slide. I do not think the nut to the bridge was lowered.
SOUNDS
From the SP6 CW, I was expecting a very close to that of a Martin D-18 in terms of timbre and its power but it is actually something else. The sound is still typically that of a dreadnought but his identity rather reminds me of a Gibson J-45. I guess the short tune to play in this regard.
This is ultimately a rather refined and balanced sound very typical mahogany. There was indeed not the dark tone of rosewood (I do not know why but rosewood always reminds me the intensity of black chocolate). The guitar goes well in all registers except maybe the slide where I prefer an instrument in its driest.
Reserve volume is limited against me who used a large power reserve on the SP6 cedar. In the context of an acoustic duo with a nag to the rhythmic singer, I had to play very strong on solos or climbing ropes as medium to respect me.
OVERALL OPINION
I bought this guitar used it a year ago. I previously had a Samick (fingers) in solid crate, a Simon & Patrick Cedar cutaway, an Ovation Ballader and twelve string. My Simon & Patrick at the time accused the wear and I was looking for a less rustic sound and this opportunity presented itself.
This is an unusual and excellent stringed guitar. Without amplification, it is unfortunately somewhat limited to an intimate context (at least for me who do not just beat the agreements) without amplification if we do not like playing on the drawing medium (note that on a short scale guitar , it goes pretty well).