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Byrdland - Short scale neck Better than I could have ever hoped for....

#21 User is offline   DC42 

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Posted 29 September 2016 - 04:32 PM

View Postronjazz, on 27 September 2016 - 05:12 PM, said:

Hello Dougstrummer,
My brand new Gibson Byrdland (VSB) arrived this afternoon and I am experiencing the same epiphany as you did. I've had it out of the case for only a few hours, but I can already see the difference between the Byrd and my three L5's, I love the L5's, but the Byrd's short scale makes my chording so much more efficient. Hopefully, this joyful experience will not be short-lived, and will survive the honeymoon period. I realize that the post that I have responded to is a tad ancient, but I decided to give it try anyway.


Nice! I just received mine as well. Total agreement it is a magical experience.

Dave

Attached Image: DMC_401.jpg
Attached Image: DMC_402.jpg
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#22 User is offline   Sleeko 

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Posted 30 September 2016 - 06:00 AM

Wow, very nice! [thumbup]
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#23 User is offline   ronjazz 

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Posted 30 September 2016 - 09:38 AM

View PostDC42, on 29 September 2016 - 04:32 PM, said:

Nice! I just received mine as well. Total agreement it is a magical experience.

Dave

Attachment DMC_401.jpg
Attachment DMC_402.jpg


Hi Dave,
Enjoy the new Byrdland.
Mine came strung with D'Addario .12 gauge chromes (at my request) that caused some ringing at the tailpiece. I removed them and replaced them with Ti JS112's that have a fabric covering at the ball ends ... problem solved, no more ringing. Although I own 3 L5's (2 CES versions and one Wes), I am really enjoying the short scale and thin body of the Byrd. Best of luck with yours.
Ron
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#24 User is offline   DC42 

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Posted 30 September 2016 - 03:57 PM

View Postronjazz, on 30 September 2016 - 09:38 AM, said:

Hi Dave,
Enjoy the new Byrdland.
Mine came strung with D'Addario .12 gauge chromes (at my request) that caused some ringing at the tailpiece. I removed them and replaced them with Ti JS112's that have a fabric covering at the ball ends ... problem solved, no more ringing. Although I own 3 L5's (2 CES versions and one Wes), I am really enjoying the short scale and thin body of the Byrd. Best of luck with yours.
Ron


Likewise! Glad the ringing issue was fixed. Chasing that down in an archtop - hollow body can be very frustrating.

Mine came with three very small divots in the neck. Did not effect the tone but my thumb would land on them when sliding up and down the neck. It was a tad annoying so the Custom Shop went above and beyond creating an RMA ultimately resolving the issue. As per my request they set up with 11's (unwound G) and put a strap button on the back. In my opinion they came really came through. I could not be happier and believe this will last well beyond the honeymoon phase.

Play in good health!

Dave
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#25 User is offline   ronjazz 

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Posted 02 October 2016 - 11:10 AM

View PostDC42, on 30 September 2016 - 03:57 PM, said:

Likewise! Glad the ringing issue was fixed. Chasing that down in an archtop - hollow body can be very frustrating.

Mine came with three very small divots in the neck. Did not effect the tone but my thumb would land on them when sliding up and down the neck. It was a tad annoying so the Custom Shop went above and beyond creating an RMA ultimately resolving the issue. As per my request they set up with 11's (unwound G) and put a strap button on the back. In my opinion they came really came through. I could not be happier and believe this will last well beyond the honeymoon phase.

Play in good health!

Dave


Glad to hear that Gibson stepped up to the plate and resolved your problem.

The only issue I am experiencing now is that I find the Byrdland so much easier to play that I am neglecting my L5's.

There was a heated discussion on another forum about the distance between frets being the same as an L5 with a capo on the first fret. I haven't made precise measurements but, if the distance is the same, how can one explain the difference in playability? Side by side, they are pretty close up to the 5th fret, but beyond I sense a difference. Ant thoughts?
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#26 User is offline   jdgm 

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Posted 02 October 2016 - 02:33 PM

View Postronjazz, on 02 October 2016 - 11:10 AM, said:

The only issue I am experiencing now is that I find the Byrdland so much easier to play that I am neglecting my L5's.

Tsk! [laugh]


View Postronjazz, on 02 October 2016 - 11:10 AM, said:

There was a heated discussion on another forum about the distance between frets being the same as an L5 with a capo on the first fret. I haven't made precise measurements but, if the distance is the same, how can one explain the difference in playability? Side by side, they are pretty close up to the 5th fret, but beyond I sense a difference. Ant thoughts?


Isn't that what Tal Farlow famously did at one point?
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#27 User is offline   ronjazz 

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Posted 03 October 2016 - 09:02 AM

View Postjdgm, on 02 October 2016 - 02:33 PM, said:

Tsk! [laugh]




Isn't that what Tal Farlow famously did at one point?


What are you alluding to, regarding Tal Farlow?

Please elucidate farther.
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#28 User is offline   jdgm 

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Posted 03 October 2016 - 09:20 AM

View Postronjazz, on 03 October 2016 - 09:02 AM, said:

What are you alluding to, regarding Tal Farlow?

Please elucidate farther.


The following is from "The History Of The Guitar In Jazz" by Norman Mongan. The Farlow quotes are from an April 1971 "Jazz Magazine" interview, cited in the book.

In 1950, Tal experimented with a short-scale neck on his guitar....
"It was around that time with (Red) Norvo that I transformed the scale of my guitar, shortening the distance between the bridge and the nut by approximately the length of the first fret - about two inches. This had the effect of raising the tuning of the instrument a half-tone, like putting a capo on the first fret. There were two reasons for this. Not only did the strings have less tension and feel softer, but it also permitted larger stretches with the left hand. Some friends felt it was like bringing coals to Newcastle as I already had big hands. I used this system for years after. It was only much later, when I played with Artie Shaw, that I reverted to the standard neck that I still use."

I've scratched my head over exactly what this one means for years actually!
Best wishes.
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#29 User is offline   ronjazz 

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Posted 03 October 2016 - 10:46 AM

View Postjdgm, on 03 October 2016 - 09:20 AM, said:

The following is from "The History Of The Guitar In Jazz" by Norman Mongan. The Farlow quotes are from an April 1971 "Jazz Magazine" interview, cited in the book.

In 1950, Tal experimented with a short-scale neck on his guitar....
"It was around that time with (Red) Norvo that I transformed the scale of my guitar, shortening the distance between the bridge and the nut by approximately the length of the first fret - about two inches. This had the effect of raising the tuning of the instrument a half-tone, like putting a capo on the first fret. There were two reasons for this. Not only did the strings have less tension and feel softer, but it also permitted larger stretches with the left hand. Some friends felt it was like bringing coals to Newcastle as I already had big hands. I used this system for years after. It was only much later, when I played with Artie Shaw, that I reverted to the standard neck that I still use."

I've scratched my head over exactly what this one means for years actually!
Best wishes.


Hi JDGM,

Thank you for the explanation,

I had not been aware of that article. But the shortened scale sure does make a difference in playability.
However, the capo on first fret statement is a tad confusing, since placing a capo over the first fret of my L5 does raise the tuning as expected, but it does not appear to provide the same ease of play beyond that point, as does the Byrd.
Actually, the only purpose a capo serves for me is to prevent the ball end of a string from dropping out of Gibson and similar tailpieces when restringing.
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#30 User is offline   Sleeko 

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Posted 03 October 2016 - 07:26 PM

[flapper] Shameless . . .


https://www.youtube....h?v=Bbe1f9-btBE
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