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bernardbres « Instrument character »
Published on 09/06/13 at 03:15
Value For Money :
Excellent
- Mahogany body, color "cherry" (for mine) with acoustic chamber and net Pinstripe
- Mahogany glued
- 24 "body size
- Steel: 22mm the 1st fret ... The 12th fret 24mm
- 24 frets, zero fret.
- Ebony
- Width of the handle 45 mm and 57mm 0 fret the 24me fret.
- Mechanical locking Grover GH305
- Double truss rode
- Graphite Nut
- New bridge
- Brian May Custom Vibrato
- 3 microphones Burns Brian May Signature Tri-Sonic
- Chrome Hardware
- Buttons Master Volume, Tone Control
- 6 individual orders micro tri-sonic Brian May Signature IN / OUT phase and ON / OFF.
UTILIZATION
Subjectively (I did not measure the width of the handle or the radius) the handle seems flatter and wider than my strat (mexico model 2002). The adaptation is not obvious and my fingers seem "glued" to the key, especially in the notes from. Print probably due to the slight imbalance head side handle slightly itchy nose in the game sitting. This sensation disappears in the game up. The game sitting is not facilitated by the indentation of the body is not very strong at the thigh.
The pitch is short (600 mm), which makes the game for small hands and acrobatic extensions for large hands like mine.
Access to acute impeccable, 24 frets (non-22 as said in the previous review). The bars seem to me against some high compared to what I use.
The selection of sounds is the concept of "pawn shop" (we know that Brian May had tinkered with this instrument using his paternal) switches on-off and off-stage for each microphone, we can not simple, but suddenly combinations may be redundant (eg neck pickup phase middle pickup out of phase + = + neck pickup out of phase middle pickup in phase). In addition, the handling of switches is audible, which would indicate that use of the instrument rather than live studio. That said, finding her is pretty simple, the only single coil pickups, two or all three phase, provide clear sounds or combinations crunch biting enough while still warm (certainly with regard to the use of wood dense). The out of phase positions are less obvious, it quickly falls into the "dry" of "acute" and "thin" (though not uninteresting to the game "casserole" or some effects). In this case, the most interesting in my opinion is the position with three microphones out of phase pickup. Its clear, funky rhythms are excellent (even live dub), crunch, rock riffs see ACDC hard rock style, solo, American '70s rock (for the heavier it will be appreciated, it will badly hack between guitar and amp).
Rod free vibrato, very light and quickly accessible. Beware though, the risk of dropping the rod if you look too far ahead.
Despite the design in solid mahogany, the instrument is rather light (small size, thickness of the body and the lower neck), which allows a comfortable standing game, and makes it an ideal instrument for the trip.
The provision of lifts on the head seems optimal, and helps sustain with zero fret and use of mahogany (which compensates for the use of vibrato to "knife")
A chamfer on the body at the right forearm (right handed) would have been welcome, as for the game sitting and standing (but then moves away from the original model)
SOUNDS
For sounds, see section above.
The rather unlikely combination of single coil pickups and "hard" wood make an instrument to hand, which has no crystalline slamming a Fender (or another Burns), or the roundness and softness of a Gibson (to stay in the standard). This guitar has its own voice, she speaks a little "nose" (V. resonator guitars) and we can explore in different styles, particularly counterpoint in "moderate" styles (pop-rock variety) . It will not have any trouble out in a good mix to bring his own personality and his own breath.
OVERALL OPINION
I use this guitar for one day and I think that adaptation to handle and ergonomic asked a few weeks. It comes after several Fender, and Steinberger travel equipped with EMG active pickups. I also tried Burns (Marquee, Cobra ...) before making this choice.
The value for money is very good, even if you feel in any design the dough handyman (See point 2) switches "basic" buttons pots cheap, perfectly flat chest cut with a jigsaw in a board head not worked (but against an optimal view of the string tension) ... Notwithstanding this, no complaints about the finish.
I'm not a fan of Brian May, although I appreciate that as a guitarist, and I have not made this choice to sound like him (I play a Marshall), but to expand the palette of sounds I can put on my arrangement. I wanted a guitar that sounds particularly clear while having sustain. The objective is achieved and I repeat that choice, although I think that the production would benefit from moving away from the original model to make some improvements that Brian May and his father could not realize at the time in their garage (position selector and active phase ergonomics review for the game sitting bevels on the body, more standard vibrato).
- Mahogany glued
- 24 "body size
- Steel: 22mm the 1st fret ... The 12th fret 24mm
- 24 frets, zero fret.
- Ebony
- Width of the handle 45 mm and 57mm 0 fret the 24me fret.
- Mechanical locking Grover GH305
- Double truss rode
- Graphite Nut
- New bridge
- Brian May Custom Vibrato
- 3 microphones Burns Brian May Signature Tri-Sonic
- Chrome Hardware
- Buttons Master Volume, Tone Control
- 6 individual orders micro tri-sonic Brian May Signature IN / OUT phase and ON / OFF.
UTILIZATION
Subjectively (I did not measure the width of the handle or the radius) the handle seems flatter and wider than my strat (mexico model 2002). The adaptation is not obvious and my fingers seem "glued" to the key, especially in the notes from. Print probably due to the slight imbalance head side handle slightly itchy nose in the game sitting. This sensation disappears in the game up. The game sitting is not facilitated by the indentation of the body is not very strong at the thigh.
The pitch is short (600 mm), which makes the game for small hands and acrobatic extensions for large hands like mine.
Access to acute impeccable, 24 frets (non-22 as said in the previous review). The bars seem to me against some high compared to what I use.
The selection of sounds is the concept of "pawn shop" (we know that Brian May had tinkered with this instrument using his paternal) switches on-off and off-stage for each microphone, we can not simple, but suddenly combinations may be redundant (eg neck pickup phase middle pickup out of phase + = + neck pickup out of phase middle pickup in phase). In addition, the handling of switches is audible, which would indicate that use of the instrument rather than live studio. That said, finding her is pretty simple, the only single coil pickups, two or all three phase, provide clear sounds or combinations crunch biting enough while still warm (certainly with regard to the use of wood dense). The out of phase positions are less obvious, it quickly falls into the "dry" of "acute" and "thin" (though not uninteresting to the game "casserole" or some effects). In this case, the most interesting in my opinion is the position with three microphones out of phase pickup. Its clear, funky rhythms are excellent (even live dub), crunch, rock riffs see ACDC hard rock style, solo, American '70s rock (for the heavier it will be appreciated, it will badly hack between guitar and amp).
Rod free vibrato, very light and quickly accessible. Beware though, the risk of dropping the rod if you look too far ahead.
Despite the design in solid mahogany, the instrument is rather light (small size, thickness of the body and the lower neck), which allows a comfortable standing game, and makes it an ideal instrument for the trip.
The provision of lifts on the head seems optimal, and helps sustain with zero fret and use of mahogany (which compensates for the use of vibrato to "knife")
A chamfer on the body at the right forearm (right handed) would have been welcome, as for the game sitting and standing (but then moves away from the original model)
SOUNDS
For sounds, see section above.
The rather unlikely combination of single coil pickups and "hard" wood make an instrument to hand, which has no crystalline slamming a Fender (or another Burns), or the roundness and softness of a Gibson (to stay in the standard). This guitar has its own voice, she speaks a little "nose" (V. resonator guitars) and we can explore in different styles, particularly counterpoint in "moderate" styles (pop-rock variety) . It will not have any trouble out in a good mix to bring his own personality and his own breath.
OVERALL OPINION
I use this guitar for one day and I think that adaptation to handle and ergonomic asked a few weeks. It comes after several Fender, and Steinberger travel equipped with EMG active pickups. I also tried Burns (Marquee, Cobra ...) before making this choice.
The value for money is very good, even if you feel in any design the dough handyman (See point 2) switches "basic" buttons pots cheap, perfectly flat chest cut with a jigsaw in a board head not worked (but against an optimal view of the string tension) ... Notwithstanding this, no complaints about the finish.
I'm not a fan of Brian May, although I appreciate that as a guitarist, and I have not made this choice to sound like him (I play a Marshall), but to expand the palette of sounds I can put on my arrangement. I wanted a guitar that sounds particularly clear while having sustain. The objective is achieved and I repeat that choice, although I think that the production would benefit from moving away from the original model to make some improvements that Brian May and his father could not realize at the time in their garage (position selector and active phase ergonomics review for the game sitting bevels on the body, more standard vibrato).