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phil77 « according to my expectations »
Published on 04/13/13 at 07:21Made in 2007 in USA, is no longer the standard SG in finishing the most common ...
498T pickups (bridge) and 490R (neck), as well as the latest SG (the microphones are also found on the Les Paul standard until they are replaced by burstbuckers sometime in the 2000s)
UTILIZATION
The highlight of this guitar, besides the fact that it was designed by Paul to meet a growing demand for guitar lighter than the Les Paul, is the accessibility of the handle over the entire key. Properly adjusted, the handle is a delight, profile suits me perfectly, neither too fine nor too coarse.
SOUNDS
This is a guitar that maintains a typed character and authentic, especially in saturation, where his aggressive side in the bridge position leads to a game muscled. One branch, and it plays immediately, the amp settings are easy to find because the guitar the tone from the outset. We also like the neck pickup, less round than a Les Paul fitted with the same microphones, but can be used in saturation where he reveals his character bluesy and clear sound for jazz if desired and appropriate settings, although it remains far from a guitar case which is the chosen field. So far nothing very versatile, but a unique sound with undeniable authenticity: we do not question. However, the clean sounds are not left out, especially in the intermediate position, where it will play the balance of the mixture of two microphones with independent volumes, one arrives so no problem playing funky rhythms (for my in this case from a compressor is required) or arpeggios that can be colored with a chorus. Personally I only use very little the tone, but it is not unique to this guitar with me, or just slightly darker then the neck pickup for a clear and jazzy muted or saturation shrill to Robert Fripp. The SG has a particular and recognizable sound already when you play it unplugged, a kind of nervous attack and sustain of a particular definition in the mid frequencies. Having tried several clones, some Epiphone high-end, there is far from Gibson that I have seen this feature that I think is the basis for the sound identity of this model.
OVERALL OPINION
I had a SG long ago, his nervous side, from its propensity to feedback, the thickness and sharpness saturation I missed, so I opted to buy a new model and I do not regret it, although I do not know what it is current productions, and constants in terms of quality, at a time when large companies like Gibson and Fender have become multinationals run by soulless financial ... Remains a guitar must be tried before buying, the ideal is to be able to try several examples to compare ... So today I'd probably be more suspicious because I ordered the SG on the internet at the time. But I would do this choice, of course, as the SG is a standard and essential part of rock history!
My first SG was equipped with a Bigsby vibrato, it is not excluded that I do fit my current SG in the future ...
498T pickups (bridge) and 490R (neck), as well as the latest SG (the microphones are also found on the Les Paul standard until they are replaced by burstbuckers sometime in the 2000s)
UTILIZATION
The highlight of this guitar, besides the fact that it was designed by Paul to meet a growing demand for guitar lighter than the Les Paul, is the accessibility of the handle over the entire key. Properly adjusted, the handle is a delight, profile suits me perfectly, neither too fine nor too coarse.
SOUNDS
This is a guitar that maintains a typed character and authentic, especially in saturation, where his aggressive side in the bridge position leads to a game muscled. One branch, and it plays immediately, the amp settings are easy to find because the guitar the tone from the outset. We also like the neck pickup, less round than a Les Paul fitted with the same microphones, but can be used in saturation where he reveals his character bluesy and clear sound for jazz if desired and appropriate settings, although it remains far from a guitar case which is the chosen field. So far nothing very versatile, but a unique sound with undeniable authenticity: we do not question. However, the clean sounds are not left out, especially in the intermediate position, where it will play the balance of the mixture of two microphones with independent volumes, one arrives so no problem playing funky rhythms (for my in this case from a compressor is required) or arpeggios that can be colored with a chorus. Personally I only use very little the tone, but it is not unique to this guitar with me, or just slightly darker then the neck pickup for a clear and jazzy muted or saturation shrill to Robert Fripp. The SG has a particular and recognizable sound already when you play it unplugged, a kind of nervous attack and sustain of a particular definition in the mid frequencies. Having tried several clones, some Epiphone high-end, there is far from Gibson that I have seen this feature that I think is the basis for the sound identity of this model.
OVERALL OPINION
I had a SG long ago, his nervous side, from its propensity to feedback, the thickness and sharpness saturation I missed, so I opted to buy a new model and I do not regret it, although I do not know what it is current productions, and constants in terms of quality, at a time when large companies like Gibson and Fender have become multinationals run by soulless financial ... Remains a guitar must be tried before buying, the ideal is to be able to try several examples to compare ... So today I'd probably be more suspicious because I ordered the SG on the internet at the time. But I would do this choice, of course, as the SG is a standard and essential part of rock history!
My first SG was equipped with a Bigsby vibrato, it is not excluded that I do fit my current SG in the future ...