The Silver Surfer
Published on 05/04/04 at 04:57
Guitar amricaine.
20 frets.
Two vintage single coil pickups.
One volume knob and a button Tone micro.
A micro-slecteur 3 positions.
Al a handle with a round head 3 / 3.
A large body (deep-body Gretsch type) single cutaway with two splints type violin.
A protective plate "Quail Turtle" screwed-surleve.
UTILIZATION
The original handle is far too big as it could be done in the 50's, I did planing and refine (and paint colors sunburst original).
CHAC is to ease the sharp cutaway guitar but it's a 4 / 4 (deep body) is not its greatest asset.
on the other hand, if you like heavy guitars Gretsch type trs trs it is enjoyable to play (the concerns of radical neck rglage erased because its easy, it does not "move" not in agreement trs trs and is well balance. We play both sitting and standing fawn jazz since the head does not fall when lche the handle.
The power of sound leaves a little DSIR as vintage microphones are low. This fast srement the Feedback we meet again with the deep-body but it takes a little "push" the amp to get the full energy return.
However, the texture and quality of its well-sr "vintage"-also are excellent. I am a sr in the hands of a less clown guitarist than me, should not be far from the performance of a big Gretsch.
SOUNDS
As I play music now more forward-express (work on noise, feedback, the atmosphere, the pure "exprimental "...), each guitar I use for my collection it can give.
I mainly use the microphone most acute, rarely serious and sometimes only the two partners. Rglages but still up (and treble volumes background) playing on my perfect little rgalges Elk FS-22 to fine-tune the thing.
The Harmony H68 gives me beautiful Feedback was hot and the possibility of sounds in jazz arrangements enriched when I need to kick his plays are full rle.
It is still somewhat limited: its crystal clear sound is not his "fat" has no agressivit. If the latter is compensated with an amplifier, the first will never be perfect.
OVERALL OPINION
I have since 1988, I believe, and I use it rgulirement but not limited to (a '64 Telecaster, a '74 Les Paul Junior and a few others also take up space in my life).
I love the warm sound and the reverb natural that the H68 can give me.
The icing on the gteau: it looks great and it carrment class to get on with this guitar scne original. The picture gives a too small print.
For the report qualitprix, say anything since I bought it on occasion about 1300 francs (200 euros) in 1988 and once the handle affine became a guitar under my rgulire fingers.
I'm not all that sr harmony guitars are as good bill (they are often especially dsuettes-solid body-) but my H68 is really good. And what a look!
20 frets.
Two vintage single coil pickups.
One volume knob and a button Tone micro.
A micro-slecteur 3 positions.
Al a handle with a round head 3 / 3.
A large body (deep-body Gretsch type) single cutaway with two splints type violin.
A protective plate "Quail Turtle" screwed-surleve.
UTILIZATION
The original handle is far too big as it could be done in the 50's, I did planing and refine (and paint colors sunburst original).
CHAC is to ease the sharp cutaway guitar but it's a 4 / 4 (deep body) is not its greatest asset.
on the other hand, if you like heavy guitars Gretsch type trs trs it is enjoyable to play (the concerns of radical neck rglage erased because its easy, it does not "move" not in agreement trs trs and is well balance. We play both sitting and standing fawn jazz since the head does not fall when lche the handle.
The power of sound leaves a little DSIR as vintage microphones are low. This fast srement the Feedback we meet again with the deep-body but it takes a little "push" the amp to get the full energy return.
However, the texture and quality of its well-sr "vintage"-also are excellent. I am a sr in the hands of a less clown guitarist than me, should not be far from the performance of a big Gretsch.
SOUNDS
As I play music now more forward-express (work on noise, feedback, the atmosphere, the pure "exprimental "...), each guitar I use for my collection it can give.
I mainly use the microphone most acute, rarely serious and sometimes only the two partners. Rglages but still up (and treble volumes background) playing on my perfect little rgalges Elk FS-22 to fine-tune the thing.
The Harmony H68 gives me beautiful Feedback was hot and the possibility of sounds in jazz arrangements enriched when I need to kick his plays are full rle.
It is still somewhat limited: its crystal clear sound is not his "fat" has no agressivit. If the latter is compensated with an amplifier, the first will never be perfect.
OVERALL OPINION
I have since 1988, I believe, and I use it rgulirement but not limited to (a '64 Telecaster, a '74 Les Paul Junior and a few others also take up space in my life).
I love the warm sound and the reverb natural that the H68 can give me.
The icing on the gteau: it looks great and it carrment class to get on with this guitar scne original. The picture gives a too small print.
For the report qualitprix, say anything since I bought it on occasion about 1300 francs (200 euros) in 1988 and once the handle affine became a guitar under my rgulire fingers.
I'm not all that sr harmony guitars are as good bill (they are often especially dsuettes-solid body-) but my H68 is really good. And what a look!