by Benoît Meulle-Stef
(edited
by Gregg Miner)
Chapter 5. Conclusion
Today,
the harp guitars of The Gibson Company are not really that popular but are considered some
great wall hangers. Gibson
made more than 400 of them in nearly
thirty years of production. The fact is that it’s almost impossible to walk into a
vintage guitar store and take one of them and play it because they are
never properly tuned nor even have the proper
strings on! I
recommend having the sub-bass strings made by a string maker. I personally work
with Newtone Strings in England. He produces
round core metal strings with low tension for me, and with whatever sizes I
need. The only commonly available strings are from Labella and they are
absolutely not the right gauge, the right length, and the right ball ends (too
big). Depending on your model it is best to have strings hand made - wound long
enough for the scale, but with bare core for attaching them to the bass tuners.
I have been personally experimenting with nylon bass for mine and a color code
(sharps made of silver wound, naturals made of bronze). The 6-string neck can
hold almost any strings up to .013-.056 but I have found that .012-.054 half
wound from D’Addario are the best sounding strings
I have tried for them. The sound is in my opinion amazing and sweet, but powerful and punchy. The best
ones are definitively the first models with the glued-on bridge. The fantastic thing
about them is the reverb effect due to the harp strings and the availability of
an entire bass octave. The other peculiar thing about Gibson’s harp guitars
is the piano like frame inside the body that gives an amazing sustain (but makes
the instrument quite heavy!). Article by Benoît
Meulle-Stef with the help of: Mr Gruhn for original
catalogue material and help. Gregg Miner for help
with English, photos and formatting. |
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