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Gibson Songwriter Deluxe Studio EC


lucille64

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Ok there may be another thread on this but so far I haven't been very good at finding it here yet.

 

I have a Songwriter Deluxe Studio EC built September 15th 2014. I maybe wish Gibson had used the new Torrefied wood on mine because at my age I may not have enough years left to wait for the top to age in to that "Vintage" tone and aged top look :-) Even though it looks and sounds beautiful to me right now.

 

I own too many higher end acoustic guitars of many brands to list here but this particular Songwriter amazed me from the first notes I played on it. It's balance, articulation, dynamics, resonance and feel are second to none of any of my others.

 

It has become my personal favorite of all my acoustic guitars.

 

Now keeping in mind that all of the others are very nice instruments and each has it's own "flavor" and use for different purposes. I also understand that every player has a different conception of what is perfect to them.

 

I am interested in what all the other Songwriter owners feel about there particular one. Good or bad. Including the Songbird model and the original model the CL

This is my songwriter.......

 

20150315_123234_zps6fbohe5j.jpg

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I also owned a Songwriter EC just like yours.

 

I bought it with the purpose of being my main gigging guitar and liked the barndoor electronics for that purpose.

 

I quite liked it as a stage guitar but I never really bonded with it just acoustically.

 

Personally I found the guitar had too much overtone, especially when strummed, and I thought the tone was sort of a blend of Gibson / Taylor.

 

I do also recall it was a real heavey guitar.

 

Over time I started gigging with my other mahogany guitars and the J-150 and finished up selling the Songwriter as I found I just didnt really bond with it for the above mentioned reasons.

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Why do you wish it had a torrified top?

 

It sounds exquisite ?

 

Doesn't need torrified then :)

 

 

I thought I explained that. [smile] I am 76 years old and I may not have enough years left for it to age on it's own so I could enjoy how it may sound 40 years from now let's say.

 

I was half joking when I said I MAYBE wished it had a torrefied top. [biggrin] I also said it was beautiful to me right now I believe.

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I also owned a Songwriter EC just like yours.

 

I bought it with the purpose of being my main gigging guitar and liked the barndoor electronics for that purpose.

 

I quite liked it as a stage guitar but I never really bonded with it just acoustically.

 

Personally I found the guitar had too much overtone, especially when strummed, and I thought the tone was sort of a blend of Gibson / Taylor.

 

I do also recall it was a real heavey guitar.

 

Over time I started gigging with my other mahogany guitars and the J-150 and finished up selling the Songwriter as I found I just didnt really bond with it for the above mentioned reasons.

 

 

Thanks for your honest review.

 

As everyone knows, no two exact same model guitars sound exactly the same. Gibson claims this themselves. As for my Songwriter, to me, it sounds rich and lush with very few overtones. I agree that as a stage instrument it serves very well. Just acoustically mine delivers exactly what I want in an acoustic guitar. I bonded with mine on the very first few notes I played on it.

 

I have many mahogany guitars and they have their own character. I enjoy them as well. It's just that for me, this particular Songwriter gives me everything I expect from a quality instrument.

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Picked up a used SWD non-cutaway, non-barn-door, that I like a lot. It's my first Gibson, though it doesn't sound like the majority of Gibsons I've played. My high end bluegrass dread has awesome punch, volume, is super articulate - great in a live band or jam situations. The SWD is a good backup/festival bluegrass guitar, also has good volume, sustain and balanced tone, but I think is better for vocal accompaniment and small ensembles. Like EA, mine is a heavy axe also. I don't really understand how such a beast is as resonant as it is.

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Picked up a used SWD non-cutaway, non-barn-door, that I like a lot. It's my first Gibson, though it doesn't sound like the majority of Gibsons I've played. My high end bluegrass dread has awesome punch, volume, is super articulate - great in a live band or jam situations. The SWD is a good backup/festival bluegrass guitar, also has good volume, sustain and balanced tone, but I think is better for vocal accompaniment and small ensembles. Like EA, mine is a heavy axe also. I don't really understand how such a beast is as resonant as it is.

 

 

BFD, thanks for your reply and honest review.

 

One of the reasons the SWD resonates so well I think is the wider X bracing.

 

When I hold my Martin D45 in one hand and the SWD in the other I can't seem to perceive any major weight differences. They seem about exactly the same. The Collings D2H seems a bit lighter to me though.

 

Maybe the preamp loaded with the battery add a little extra weight verses a non electric dread?

 

 

Since the SWD EC has a cutaway that would mean a tiny bit less wood in it's construction so it should seem lighter or equal in weight ? This is an interesting concept.

 

Now if I hold a 000 or an OM like my 000-42 or my OMC1E obviously there is a noticeable difference. Smaller guitars though.

 

One could think that possibly a well braced instrument MIGHT be a very tiny bit heavier than one maybe not as well braced. Maybe Rosewood is a tiny bit heavier or denser a wood than mahogany or Koa or some other type of wood. Of that I'm not sure.

 

I'm curious as to what make or type of guitar you are comparing in weight to the SWD.

 

I agree that the SWD is a very good accompaniment instrument.

 

I have found it serves well playing solo which is almost all I do now at my age. I use it to write most of my original compositions

on.

 

It's good to hear you like your SWD.

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