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The Firebird Custom sound


E-minor7

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Was lucky enough to squeeze in a little sample during the end of a home-session yesterday nite. An engineer pal and good friend came by in connection with some other tasks and blessed me with a snip of his time. A very digital-sounding stripe it is, but it manages to catch the essence of this powerful guitar. The recording reveals a strong bass, which almost becomes overwhelming and under more serious circumstances this would be adjusted, either by eq'ing or another mic. The F-bird isn't that bass-heavy in reality, but still has a deep-end like no other acoustic I ever came across.

 

According to the previous owner, this is the factory Masterbuilts – that means 12's.

This guitar could easily afford to go down to 11's and it will be tried at some point.

 

Anyway – Ladies and gentlemen, , , her majesty The Firebird :

 

http://soundcloud.co...firebird-custom

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Wow, that is an impressive tone there Em7. First thing that came to my mind was that whiele I heard the maple clarity, i didnt hear the maple shrilly brightness that can be a bit annoying .... too much maple syryp. Very warm. I also noticed the very full tone, remember you said it had Martin qualities and I could hear that. Powerful.

 

Also made me think that there is a lot of similarity to the Brid, but less nectar and more maple, a bit more clarity, more power.

 

Overall a great sounding guitar, awesome power that manages to capture the clarity of maple but with a great dose of warmth, not an easy feat to achieve.

 

Im assuming this was recorded in dropped D ?

 

Great playing as per usual ... [thumbup]

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Thank you fellows, , , for your generous and uplifting comments.

 

It is an interesting guitar indeed and now that I had time to sink the mirror down the box, there is something to report :

 

The tone bars (the 2 behind the X) and the treble bars (small ones nearer the waist of the shape), don't stick into linings (side-'panels'). Unlike all other guitars I've checked, they stop just before the touch, and I can't help thinking this would play a part in the extraordinary responsive and loud sound, , , plus the tone and everything else of this instrument. It must mean a significantly freer top. Haven't looked inside the 1996 Dove, but I'm almost certain the same principle won't be seen there.

 

On a slightly different note something tells me that the same design might be used in the newly born rosewood Sparrow – I'm sure most of us remember that one. Well, I know nothing about the interior of the Sparrow, so it's only a guess.

 

Maybe the board-member who owns one should investigate his and post the result.

Call me Livingstone, but something tells me this is quite a discovery -

 

 

 

 

And I totally agree with the posters who praised duluths word Luscious. Never heard it before, but it's a vertical scoop.

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The tone bars (the 2 behind the X) and the treble bars (small ones nearer the waist of the shape), don't stick into linings (side-'panels') of the top. Unlike all other guitars I've checked, they stop just before the touch, and I can't help thinking this would play a part in the extraordinary responsive and loud sound, , , plus the tone and everything else of this instrument. It must mean a significantly freer top. Haven't looked inside the 1996 Dove, but I'm almost certain the same principle won't be seen there. [/size][/font]

 

 

That detail has varied a lot over the years, as I understand it. Sometimes the top bracing is tucked behind the kerfing, sometimes not. On my Gibson flat tops, the back bracing and top x-brace are tucked, but the "tone bars" are generally not tucked, or if tucked, they are shaved to nothing at that point.

 

It's an interesting point, and the next time I change strings I will do a more detailed analysis of each guitar.

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That detail has varied a lot over the years, as I understand it. Sometimes the top bracing is tucked behind the kerfing, sometimes not. On my Gibson flat tops, the back bracing and top x-brace are tucked, but the "tone bars" are generally not tucked, or if tucked, they are shaved to nothing at that point.

 

It's an interesting point, and the next time I change strings I will do a more detailed analysis of each guitar.

Yeeeh, , eeeh – some seem to stop accurate as they get contact, some glide under the kerfing. These ones stop about 5 millimeters before.

 

I'm sure somebody knows if this affects the vibration. Have the feeling this AAA spruce top is hyper-free/light. A white bicycle front-light sends rays through the wood like it was linen.

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Very nice. I just picked up a 2006 Custom Firebird. I had to sacrifice my beautiful J-200 and very little cash for the Firebird. I loved my J-200, but figured I could always get another J-200, but the Firebirds don't come along that often. Thanks for the recording.

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Very nice. I just picked up a 2006 Custom Firebird. I had to sacrifice my beautiful J-200 and very little cash for the Firebird. I loved my J-200, but figured I could always get another J-200, but the Firebirds don't come along that often. Thanks for the recording.

Sounds intriguing – is it possible for you to post a little sample of yours, , , and some pics.

Congrats with the purchase, it's a huge guitar – and welcome here.

 

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  • 4 months later...

Greg Lake used to play J-200s and the guy in the 1st clip nailed the tone with the Firebird (probably bacause of the maple back and sides). I've never played the Firebird to compare it to the J-200 - maybe E-minor7 can shed us a little light on that...

I have they impression that the Firebird might be a bit more versatile and a better fingerstyle guitar than the Super Jumbo, though.

 

Now as for the 2nd clip - it's an interesting choice JC... you've mentioned the Martin D-45 in the previous post - didn't Hank williams Sr. used to play one?

 

I should content myself with my Hummingbird but if I manage to sell my Les Paul I'll get my hands on one of those Firebirds for sure.

 

Cheers!

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