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  1. That's the one I got! It has a lot of mojo!
  2. Indeed. In the end I bought an Eastman T64 and kept the 335. The Eastman has a VOS type finish which is lovely. And so resonant!
  3. Update - I just logged on their website again and the P94 has sod out.... Bummer
  4. Yes, I was surprised too. I have my finger hovering over the proverbial "Buy' button. The only thing stopping me is the installation headache. I am not really experienced in this field and would need to bring it to a tech but with the current Covid situation, it might be ages before I can get this done.
  5. Thank you. I am in the UK. Can't find stock here but a German retailer stocks the neck (and only the neck) for the equivalent of $125. Might try it
  6. Aside from the 335, I am fortunate to also own a Les Paul a couple of custom shop Strats, a Gretsch 6120 RHH and a Tele Baja. The 335 is my latest acquisition. Before I bought it I did some extensive research and decided to pull the trigger on a 2015 ES-335 63 RI VOS with factory Bigsy. I was very particular about the aesthetics, especially a really dark rosewood fretboard and block inlays. It has the "dog' ears (as opposed to mouse), and a gorgeous cherry paint job with the VOS treatment. The "Custom Made" plaque adds a nice element of authenticity. It even smells amazing. I didn't (and still don't) like light brown rosewood for the fretboard and dot inlays. I love everything about the aesthetics of the guitar - it just oozes tons of vintage mojo. However, I have now come to terms with the fact that I prefer the tone and feel of the ES-330 (the standard, short neck). Having played one, that hollow honky percussive snappiness has just stayed in my head and I miss that on the 335. What mods can I do the the 335 to make it sound more like a 330? I am fully conscious of the differences is construction (hollow vs. semi hollow) and neck joint position and I realise these are fundamental differences, but would changing the nylon saddles for example bring a bit more grunt to the tone. How about pickups? Are there any P90 style pickups that are humbucker-shaped and can be dropped in instead of the MHS pickups? What other mods can I do to make the tone 330-esque?
  7. So far I've tried the following (all in 12 gauge): - D'Addario standard PB - can't remember the code - D'Addario NYXL - nothing spectacular, just normal - DR Sunbeams (round core) - probably the best of the lot and yes, I was aware of the need to kink at the post and waiting to snip - Currently strung with Martin 80/20 - sounded great when I put them on but very quickly lost their clarity It would seem that we have the same taste of strings as I also liked the roundcore the most. I am also considering putting a hybrid gauge on with light unwound strings and medium wound ones.
  8. Wonderful sound. Yours definitely sounds warmer and more present than mine. What strings (brand, type and gauge) do you use? Here is mine. It is difficult to gauge the presence / tone and loudness as it was recorded with the pickup, but the lack of oomph is evident on parts like Jolene and Big Love....
  9. Thank you for the sound advice (pun intended)
  10. Thanks everyone for your replies... A lot of your suggest that I should persevere with my SJ-200. A friend of mine (and fellow owner of an SJ-200) also advised the same. He also theorised that there might me something not quite right with my set up though I can't see any obvious technical culprits. Furthermore his saddle, nut and pins are all bone (he has a custom J-200 with the imperial tuners) and mine are all tusq - possibly because of the LR Baggs Anthem I have on mine as stock. Unfortunately due to the lockdown we have not been able to compare instruments in the flesh, but in his opinion the materials of those three components play a big role. My SJ-200 is relatively unplayed. My friend advised that I accelerate the break-in in with a ToneRite. Going back to the rosewood vs. mahogany comparison - yes, I did watch the Policastro video and also the comparison, shown on Anderton's YouTube channel. I have to say I prefer the tone of mahogany on the Acoustic Letter video but prefer rosewood on Anderton's video. I was originally attracted to the RW model, because it looks prettier (to my eyes) and has a black (albeit re****e) fingerboard. One thing I am sure about is that I really dislike the light brown hue seen on most of the J-45 hog fingerboards (and other Gibson models, including electric - for that matter). But ultimately it is also about different specimen from the the same model. Following your advice, I think I have now come to the conclusion that I will not be buying unseen and unplayed. It's just too big a risk. Someone asked me about what's the tone in my head is. For strumming it's what I hear in Lyin' Eyes, Peaceful Easy Feeling, etc. by The Eagles. I know they mainly played Takamine and Martins - but there it is. For finger picking it's Blackbird (ironically again a Martin). I am not sure how many of you use your SJ-200 for finger picking but I just find it too quiet and uninspiring - possibly because of the big body, possibly because of maple. Speaking of Martin I have tried several - OM and Dreds - and they are just too focused and bassy for me. I'm also yet to find a Martin neck which I find comfortable, whereas the SJ-200 is just perfect.
  11. Resurrecting an old thread I just stumbled upon... Anyone tried a ToneRite on an SJ-200?
  12. That is very true. The question was - will I find a rosewood J-45 considerably different than the SJ-200. The idea being that if I buy (and like the J-45) I would sell the SJ-200...
  13. Thanks for your input. For the record I do not own a Taylor. I was considering the new all Koa K26CE with the sound port. I have actually changed three set of strings on the SJ-200. First I tried D'Addario NYXL PB, then DR Sunbeams and currently it is strung with John Pearse 80/20. I like the way it sounds when strummed with the pick in the lower registers but I don't get a sense of lushness when I play songs like Drive (Incubus) for example, which is played up the neck. For guitar this big, I was expecting a bit more ring. It is also very quiet compared to other acoustics I have (including a Martin J-40, a Martin 000-42 and a Yamaha Trans Acoustic) As for the pick, I do use heavier picks. Whilst they add warmth, they do not add ring and lushness.
  14. When you say "dry" tone, are you able to elaborate on that? I am looking for a response with is resonant and lush, with overtones
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