ShortScale.org

http://cgi.ebay.com/Epiphone-Les-Paul-7 ... 2eae5204d9

wtf + cool

Ultra has one I seem to recall.

It must have been from the late 90's or early 2000's when everyone was making 7 string guitars because korn and limp bizkit were shitting all over everyone's ear drums.

It was slightly later than that, the early 2000s. Epi were late to the 7-string party, a little too late... The ads for these ran in GP for ages though... for awhile during the Korn/Bizkit phase everyone was making a 7-string (there was even a 7-string Squier Stagemaster).


I remember in jr high ('97 or '98 ) my older brother was pretty territorial about music (if he liked a band I couldn't, etc...) and he informed me "Don't talk about Korn. They're amazing. They use SEVEN STRING guitars. You only listen to heroin-addicted fags who never showered."

Quite true.

Billy3000 wrote:It must have been from the late 90's or early 2000's when everyone was making 7 string guitars because korn and limp bizkit were shitting all over everyone's ear drums.

+1

I'm glad those days are over.

What could one do with a 7 string guitar that isn't nu or rap metal?

pumpkin wrote:What could one do with a 7 string guitar that isn't nu or rap metal?

A hell of a lot. It's not so different from a baritone.

pumpkin wrote: What could one do with a 7 string guitar that isn't nu or rap metal?

James wrote:

pumpkin wrote:What could one do with a 7 string guitar that isn't nu or rap metal?

A hell of a lot. It's not so different from a baritone.

What tunings could you put it in?

Besides this thread is making me think of shite music now.

James is spot-on. Although it won't Robert Smith in the timbre department up the neck like a Bass VI or proper long scale baritone, a 7-stringer otherwise can almost serve the same purpose.


Back around '98 I actually bought one of those Squier 7-stringers Paul posted through Musicians Fiend on a whim, but it came with the straplocks I had ordered all flying around in the box, finish bashed in here and there from the shipping squeeze. Talk about sloppy QC in the packing room! Immediately returned.

Fast forward to 2008, where I see this 2000 NOS highly chambered Epi LP was hanging in the the registered Gibson/Epiphone dealer shop my friend works at, just as buddy (and HCFX Forum regular) Seifukusha walked by. Owner elbows me and says, so "Andi, whaddaya think? W400,000 (about $330) and it's yours!" I shrugged and told him I've got little cash to work with, and he said "no worries". The next week I drop in and the first thing he says is "Andi, W250,000!" I say what the heck, and for a little over $200 I walk home a pretty much new instrument.

It gets used in the stuff I do all the time, though never on its own. I usually tune it AEADGBE or ADADGAD on a set of GHS Zack Wyldes, and almost exclusively use it for low-end power chords to add the extra oomph a mix can use when you want to maintain your bass guitar's integrity and don't want to use a bus to tap some distortion. Besides, the tone color of the 7-stringer on the lower register end allows it to sit in a mix without necessarily clashing with one's bass lines, and the harmonics you can get from a thundering power chord's tonic and dominant set the instrument in a class of its own for "coloring" a mix. Along the lines of what I had mentioned in a thread a few months back, it's one of the more unexpected lessons I learned from a rather uncomfortable listen to Hoobastank in my friend's car a number of years back.





If there's anything I could change, it would be the pickups. They've certainly got a superwound output made for meth-heads, lacking any sort of chimey vintage PAF tone in favor of a thumpy blast that needs taming when going into an amp, if you've got anything with less gain than a Messy Boobie Rectumfire to play through. Fortunately, a little tweaking of my trusty Tonelab's "US/UK" patch makes a good foundation for working of the thing for medium to high gain tones, and I doubt I could get a better close-mic'd sound in my present setup. 'Tis a keeper, at any rate.

H8 Epiphone. They feel like unfriendly toys. I shudder at the sight of them nowadays.

Cool idea none the less.

othomas2 wrote:H8 Epiphone. They feel like unfriendly toys. I shudder at the sight of them nowadays.

Yeah the newer made in China ones are quite gash. But the older Korean ones are pretty sweet. QC isn't great on them either though.

from 94 - 98 i owned an Ibanez universal, when Korn started to get stupid big i sold it at a local shop and picked up my Harmony Les Paul clone..
probably the best gear change i've ever made.

finboy wrote:http://cgi.ebay.com/Epiphone-Les-Paul-7 ... 2eae5204d9

wtf + cool

I like how the "near-mint" part of the ad generously includes the dulled headstock and healthy body chip.

Noirie. wrote:

othomas2 wrote:H8 Epiphone. They feel like unfriendly toys. I shudder at the sight of them nowadays.

Yeah the newer made in China ones are quite gash. But the older Korean ones are pretty sweet. QC isn't great on them either though.

I agree, this is gods ways of agreeing too.

Epiphone have never been able to do binding or finishes properly. I think they just use big les paul shaped stickers and white-out tape rather than paint and plastic.

I want a 7-string that isn't pointy and ridiculous looking so I can drop the low B to A and have SLIPKNOT MOTHER FUCKER tuning without having to sacrifice the high e and use insanely thick strings.