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Izzy11 « The great violin! »
Published on 07/09/11 at 01:12This Les Paul comes from Japan, made by the division of luthiers Bacchus currency. Side features is typical of a Les Paul:
- 1 piece mahogany body,
- 1 piece mahogany neck tenon long,
- Key magnificent rosewood
- O matic bridge a ...
In short, you know all that. But Bacchus raises his paw (intelligently) and appropriated the concept of Les Paul on several points:
- 2 humbuckers "homemade" (I will return it),
- A kind of Treble Bleed, with a capacity bonded resistance soous 2 volume knobs (useful for piercing the mix),
(So much for the electricity) and for the violin:
- An open book head modernized
- A fine oil finish which, if it is confusing at first, quickly becomes very soft and pleasant like satin.
When empty, this guitar sounds like never before. I have another Bacchus Les Paul, a RI'56, sounding even more, but the Duke has even more sustain.
The shrinking and assembly of wood, the junction body / neck are of a quality never seen by my luthier (Gibson even in the high-end).
For the rest of the electronics (wiring, jack, microphone switch ...), it's very solid and well made welds.
UTILIZATION
The handle is thick enough to be given. Let me tell you that I feared this, but in fact his report thickness / width is very nice, and it allows no problem to go on solo treble. Not at all like a typical 50's Gibson neck.
It weighs 4.2 kilograms in: I like when it weighs an LP, I know it's not rational, but I like it.
The poatrds are very reactive and very sensitive, allowing all the nuances of the game
SOUNDS
Then these microphones, just do it. The microphones are very good, very well defined and very versatile, allowing almost any style. But with an output level above the average ...
And that's where it does not suit me (but it is personal). I prefer the vintage microphones oriented without particular emphasis on a particular frequency. I prefer to leave that job to the amp, like the distortion. [and that way, I'm pretty well served with my RAT Plexi 10W.]
After hesitating with Seymour Duncan APH-2 Slash, or Antiquity, I went to the Bare Knuckle Stormy Monday. I already had the Slash and I have also Antiquity P90-wonderful-so I wanted a little chnger.
Needless to say that with this config, you can bring out the subtleties that the violin can. A beast of competition.
9 / 10 only for the choice of microphones, but it seems that the Japanese love to the microphones of the type SH4.
OVERALL OPINION
I play for 1 month.
I stop to say I found the guitar in my life, I'm definitely not true to my guitars!
I had the Korean Epiphone, Epiphone of the Chinese "high end" of the Japanese Epiphone (good Q / P). I also have a Les Paul Bacchus RI'56 also equally good in his field.
The ratio Q / P is just incomparable with a Gibson Studio, which is the same price. I will not get on the ground in comparison with the CS Gibson.
This Les Paul is great to try at least once in a lifetime for any fan of Les Paul.
- 1 piece mahogany body,
- 1 piece mahogany neck tenon long,
- Key magnificent rosewood
- O matic bridge a ...
In short, you know all that. But Bacchus raises his paw (intelligently) and appropriated the concept of Les Paul on several points:
- 2 humbuckers "homemade" (I will return it),
- A kind of Treble Bleed, with a capacity bonded resistance soous 2 volume knobs (useful for piercing the mix),
(So much for the electricity) and for the violin:
- An open book head modernized
- A fine oil finish which, if it is confusing at first, quickly becomes very soft and pleasant like satin.
When empty, this guitar sounds like never before. I have another Bacchus Les Paul, a RI'56, sounding even more, but the Duke has even more sustain.
The shrinking and assembly of wood, the junction body / neck are of a quality never seen by my luthier (Gibson even in the high-end).
For the rest of the electronics (wiring, jack, microphone switch ...), it's very solid and well made welds.
UTILIZATION
The handle is thick enough to be given. Let me tell you that I feared this, but in fact his report thickness / width is very nice, and it allows no problem to go on solo treble. Not at all like a typical 50's Gibson neck.
It weighs 4.2 kilograms in: I like when it weighs an LP, I know it's not rational, but I like it.
The poatrds are very reactive and very sensitive, allowing all the nuances of the game
SOUNDS
Then these microphones, just do it. The microphones are very good, very well defined and very versatile, allowing almost any style. But with an output level above the average ...
And that's where it does not suit me (but it is personal). I prefer the vintage microphones oriented without particular emphasis on a particular frequency. I prefer to leave that job to the amp, like the distortion. [and that way, I'm pretty well served with my RAT Plexi 10W.]
After hesitating with Seymour Duncan APH-2 Slash, or Antiquity, I went to the Bare Knuckle Stormy Monday. I already had the Slash and I have also Antiquity P90-wonderful-so I wanted a little chnger.
Needless to say that with this config, you can bring out the subtleties that the violin can. A beast of competition.
9 / 10 only for the choice of microphones, but it seems that the Japanese love to the microphones of the type SH4.
OVERALL OPINION
I play for 1 month.
I stop to say I found the guitar in my life, I'm definitely not true to my guitars!
I had the Korean Epiphone, Epiphone of the Chinese "high end" of the Japanese Epiphone (good Q / P). I also have a Les Paul Bacchus RI'56 also equally good in his field.
The ratio Q / P is just incomparable with a Gibson Studio, which is the same price. I will not get on the ground in comparison with the CS Gibson.
This Les Paul is great to try at least once in a lifetime for any fan of Les Paul.
