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Calling all 12 Fret Jumbo players......


onewilyfool

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There is something special about the tone of a 12 fret jumbo. I have had several and while I have but one now, I would always consider another. In my experience they sound bigger, deeper and richer. I wish I were more articulate but that will have to do. Are you considering one?

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There is something special about the tone of a 12 fret jumbo. I have had several and while I have but one now, I would always consider another. In my experience they sound bigger, deeper and richer. I wish I were more articulate but that will have to do. Are you considering one?

My frien has a '33 Roy Smeck, and a '68 Martin D-18S.....and they DO sound GOOD!....so I'm interested! BUT, new rule, one in, TWO out....so I'm constrained

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For years I played a 12 fret Oscar Schmidt-made jumbo (a 15" lower bout). I still play a Schmidt jumbo but this one is a rare 14 fret sweetie. I have heard all kinds of arguments about sound and variables such as the bridge placement of a 12 fret compared to a 14 fret guitar. Thinking back though, I never really equated anything particular about the sound with the number of frets. But a cooler looking guitar with more Mojo than that 12 fret you will not find.

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I've got a Masterbilt AJ-500RC, which has a rosewood body and cedar top. I think the location of the bridge smack in the middle of the fat part of the soundboard contributes a lot to its power and sensitivity, personally. I also have a couple of 15 fret guitars, and their bridge is even higher than normal on the soundboard, and you can clearly tell a difference in sustain, power, and tone from similar 14 fret models.

 

Anyway, I can't speak for every 12 fret ever built, but mine is especially good for fingerpicking (which I'm not particularly adept), as it's very responsive.

 

Red 333

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Almost impossible to describe sound in words but here goes:

 

2011 Jackson Browne impressions;

 

The guitar has a deep resonance. Not the same as sustain - but resonance. The sound is "Round".

 

Very full sounding when strummed, very elegant and mature when fingerpicked.

 

Not loud and brashy like my d-18, not as edgy as my J-45. Think of your Fuller's SJ probably but with a wee bit more resonant power - you have the wider Luthier's neck on the SJ right? I do on mine too - very close in sound, but the JB has a bit more depth and resonance - and, I will say, has a broader spectrum that can be manipulated out of it, especially with a pick - think of your SJ with the ability to manipulate just a little more out of it.

 

There. Now I'm tired. Time for ice cream and beer.

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I own a 1936 Gibson Roy Smeck Stage Deluxe (2003 Fullers Reissue)

 

I guess if I had to explain the sound of it, its a guitar that has a very strong mid-range voice. Its deep uniform body, red spruce top/hog back+sides, and 12-fret neck are the perfect pedigree for serious presence. You can feel the guitar vibrate against your body and hear the warm low end in the room. It really barks when when you dig in, strumming AND finger picking. I've contemplated putting some medium gauge strings on it (currently set up with lights) but fear it may be TOO bass-ey and choke the sound out. Im waiting on some PBE ivory bone pins and saddle to come in before making a video or recording of it.

 

TBH im quite addicted to 12-fret jumbos now - been looking at finding a Radio Grande or something along those lines.

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