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Wildwood Guitars (studio)


Hairy Dave

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Was browsing the Wildwood Guitars site and noticed some Advanced Jumbo's that were studio models. Looking at the descriptions of both standard and studio AJ's I can't seem to see the difference (bar the price). It's 1am now so maybe it's just my eyes haha.

Studio has Sitka top and hog back n sides, Standard has Adirondack top and Rosewood back n sides. Apparently the difference is worth $850 retail.

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Thanks Guys - I was tired and had the memory span of a goldfish last night!! Pardon my ignorance but what difference does long and short scale make to the to sound/tone/playability? I haven't played that many guitars long enough to notice.

 

Personal preference thing, Dave, some prefer short scale, some prefer long, I have both types, while there is a small difference in overall feel, I couldn't say I had a definite preference for one or the other. Like everything guitar related, for some it's a really big deal, for others it's something that matters little to nothing. I'm definitely in the latter camp, I've probably had more long scale guitars than short over the duration that I've been playing, but currently in my acoustic herd I have more short scale than long scale ones. Clear as mud, eh?

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Typical long (25.5) is notably more of a stretch than standard Gibson short (24.75), especially if you have a 1.725 or 1.75 nut. Not necessarily requiring a massive change in playing style/technique, but usually requires some adjustment. Some here have big hands and have settled on long as their hands need the space (Jinder). Others have settled on short, because it's less of a stretch (Dan, I believe). I have a long beater and a short Gibson. (Insert snigger here.) I am reasonably comfortable playing both, but over longer periods, fingerpicking the Gibson is more comfortable, not least because of the shorter scale.

 

Long will produce more string tension with a given gauge of strings and given pitch. That affects playability to some extent (neither negatively or positively - all subjective), and usually leads to greater volume. All things being equal, shorter scale might make for a more mellow tone, but all things are never equal.

 

I thought that the Wildwood AJs were rosewood and long scale, the main difference being the cosmetics (SJ parallelograms instead of AJ arrows in the fretboard), and the inclusion of a pickup in the Wildwood. Evidently, if Dan is right about the hog back, then the differences will be quite noticeable. How far an adirondack top would affect the tone of an otherwise similar rosewood/spruce/long-scale instrument is dependent on how well your ears can tell spruce varieties apart. Personally, I find that I'm better at spotting the difference in back and side woods.

 

Ought not to sound or feel like your J45 though.

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Good to see that Dan knows of which model you speak. I was mixing it up with the Guitar Center AJ Pro (another exclusive one-shop tie-in). The idea of a long-scale mahogany slope is intriguing. I have a real problem appreciating the joys of rosewood in recordings. My experience of knowingly hearing rosewood guitars live is somewhat better (the occasional touring D35 that has pitched up here, for example). But I do find a lot of recordings of AJs to sound really good, and definitely more to my taste than the Martins. And despite a definite preference for the hog, I often find that I prefer recordings of rosewood Martins to those of mahogany D18s. So I'd take a rosewood AJ over a D18 if I were buying long distance and without playing first. But just recently I've found some samples of D18s that sound really rather good, and which have made me begin to think of long-scale mahogany guitars differently. I have a hunch that a mahogany AJ would sound even better. A louder and slightly tauter J45. Would love to have a go on one.

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