Once sent him an email years ago (not expecting anything in reply to be honest), about some picking thing on his 'Slingshot' album, from the UK, and the next day received a HUGE email back, sent personally, going into really exact detail on how to play the part!! How many guys as super talented as this would even bother replying?? What a top guy, and top player too!!
There is a big difference between finishes and that's why we take the time and effort to make our finishes so damn thin.There are plenty of guitar companies out there that make gorgeous, shiny guitars with perfect finishes. We are just not one of them. I've found that at least here you can have perfect looking or perfect sounding. We just vote for sound over looks. It certainly isn't everyone's cup of tea but it is ours and we're sticking to it. We just prefer to vote with our ears and hands and not as much with our eyes.
...excellent logic.....sound should always trump looks ....and btw ..".looks " can be subjective....because when a guitar sounds good...it makes it look so much better ...
I saw Carl live and in a workshop... Man, i never saw someone play so good. Besides all his technique and virtuosity he is a living jukebox. Say a titel of any jazz, rock or blues standart, and he plays it immediately. He's a very nice and friendly person.
I bought a Framus Ruby Riot form Carl a few years ago. Monster player and he once played with one of my favorite bands growing up! Supertramp! Great guitar!
Didn't know he played with Supertramp. Heard of him before, but only as a good guitar player. I 'd love to see him play with Tony Emmanuel- What a combination. And both super kind personalities. We need more of them ! Thank you for sharing this...
I agree with lsl I had a poly finished 2008 strat it was OK took the poly off and done it with nitro cellulose ....the difference was night and day unbelieveble !!
This is a really nice strat! Great clean demo and fabulous tones. I live at 4 & 5 positions and these sound amazing. The middle is distinctly usable and love the quack. Nice guitar.
I am saving up for a fantastic guitar in the 3 pickup camp. This one is on my short list. I wish there was a demo of the Studio model so I could hear the difference in the pickups. I may have one custom built. I already have a name in mind...
love it- the choice of notes is gorgeous but there`s a secret weapon- Carl`s talking about the guitar and the set-up,but how much of his tonal range is due to his application of right hand/fingers/pick, and his string attack?
Sounds great - I am on the fence between getting an LSL Saticoy One ASH/MAPLE Matte Black or a Fender American Original 50's Any info would be appreciated- into blues!
One of the design flaws of early Fender Stratocaster guitars is the need for a string tree, so I'm suprised that this hasn't been addressed on LSL guitars. Another issue on Fender Strats are the bridges. When you press down on the vibrato bar, you will find that the bridge plate has lifted up on the opposite side, due to the space between the bridge plate and the mounting screws. And the bar can also have unwanted 'play' in it.
I would have to disagree, Sith. Leo Fender made many innovations that revolutionized the guitar (and amp) world. The use of a string tree instead of an angled headstock (think lap steel guitars) was just one of those. Necks were now able to be made from 1" thick lumber instead of a 3" thick piece or one that was glued up to accommodate the heel and headstock thicknesses. The Stratocaster also incorporated several new features and one of those which changed music forever was the tremolo bridge. Keep in mind that these were introduced in the early and mid 50's and remain largely unchanged since then. There are very few products out there that were designed in the 50's attributable to one person, which you can go into a store in 2017 and still purchase virtually unchanged. Telecasters, Stratocasters are just a few of these. I would have to say that if string trees were a truly bad idea we probably wouldn't be seeing so much of them these days. Wouldn't you agree? Yes, there's always room for improvement and many companies have addressed them quite well (including Fender). Credit where credit is due.
LsL Instruments Your answer doesn't really address the issues that I raised in my initial comments. First of all, I am not trying to criticise Leo Fender in general, since the Fender Stratocaster is one of the greatest designs of the 20th century. However, there is room for improvement within the original design, and Fender themselves have made concessions to this by now making some Stratocasters with staggered tuners; negating the need for a string tree, which DOES create unwanted friction, and can case tuning problems. The two post bridge that is now fitted to a number of modern Strats also solves the problems associated with the vintage six screw design. The new Professional Series Strats now even have a push in bar, preventing the unwanted movement associated with a screw in type. The purists will always want the original spec, but manufacturers such as yourself are missing out on the opportunity to correct some quirks in the original design. In spite of this, I am certainly very interested in trying out one of your beautiful instruments in the near future.
Sounds to me like we are in full agreement. We make all our guitars like our customers want them. Vintage or modern. But we don't do angled headstocks so unless there is a locking nut, staggered tuners or a retainer of some sort we use a string tree. Many of our Saticoys or XT models come with all the modern features you mention. And, even our vintage style Saticoys come with adjustable, push in trem bars. So, yes, it seems like we do agree. Thanks for your interest, Sith.
Interesting conversation! What do you two think of the innovations that Leo Fender introduced when he founded G&L Guitars? Clearly, Leo himself saw room for improvement on his original designs. LsL, do you incorporate those improvements into your current designs?
The keep tunning in the strings after a use of the tremolo itsn´t work of the hardware in the all of %, it´s the way you mount the strings in the strings that do the correct keep on tunning of the stings
The actual truth about LsL finishes is quite the opposite, Neil. One of the hallmarks of our guitars IS the finish. They are all nitrocellulose lacquer and are extremely thin. This takes a lot of work and care to pull off. It is a lot cheaper and easier to spray a thick poly finish and be done. You'll get a nice, shiny guitar that sounds like it has a moving blanket on it. Our finishes are one eighth the thickness of a typical poly finish. Here at our company our priorities are tone and playability. Cosmetics come in third. Perfect shiny is easy. Thin and resonant is tough. Cheap...no -- quite the opposite.
6,700 dollars. For a guitar. I got a Fender pro Strat for 1;400. And I don't hear a 5,000 dollar difference.in fact I think my Fender even sounds better.
I'll Tell you one thing(thats all i know) Carl is a bad man with a guitar in his hands.But you(Carl) gotta tell us measuring the pickup height..5/54 4/64??What are the precise measurements?? Mr Pinch Loaf.
It’s has been tested and the weight of the guitar has nothing to do with the sound. I saw a guy chop off pieces of a guitar and the sound didn’t change. You are a great player, but the weight thing is in your head. Light is good simply because it is easier to carry.
Justin L I used to believe what you are saying. I tested it and found the wood immediately attached to the pickups may have a little effect. I could only cut off so much. There are several other people who tested it on RU-vid. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-JzuAHhwGOkE.html There are several more videos.
Too many overlapping licks...not the blues, but blues techniques interspersed within the solo. I like my blues to have space so the notes can sing. Not just the climax "tones/notes". But that guitar sounds great.
