View Single Post
  #16  
Old 12-22-2018, 01:56 PM
mountainmaster mountainmaster is offline
Registered User
 
Join Date: Aug 2018
Location: Netherlands
Posts: 111
Default

Quote:
Originally Posted by CFW View Post
Hmm. I never paid much attention the the back of the headstock on mine...

There’s definitely a joint/overlap of fibers, mine does not have the clear line that yours does.

Curious why you chose a 12 fret? I think mine was the first 12 fret nylon emerald made, and the bass overpowers the trebles by a long shot. Alistair confirmed this.
The change of the bridge placement is not advisable in my opinion. Unless there’s been some changes to the bracing to compensate.

My hope was two things- classical guitars are supposed to be 12 fret and I wanted to stay with that tradition. Somewhat irrational, since I have a radiused fretboard and a 1 3/4 nut.
I was also hoping that the nylon trebles would be more pronounced on a carbon guitar, which it appears to be, but the benefits that may have been gained were lost due to the overwhelming bass.

Did I mention the bass was overwhelming? Yes, that much.
My guitar is well balanced. The X7 is a 12-fret by default which seems to work fine for a small body guitar.
I merely specified a longer scale and in this case Alistair chose to stick with the 12-fret design. So the neck was extended but the bridge was moved by an equal amount towards the edge, pushing it out of the sweet spot at the far end, which is rather unusual.
__________________
Emerald X7 Nylon
Rainsong Smokey SMH
Taylor 522e 12-fret
Gitane DG-560 nylon
Alhambra 3C CW
Eastman AR910CE
Recording King RK-G25 6-string banjo
Yamaha Guitalele
Reply With Quote