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Old 11-21-2020, 10:58 PM
Denandannie Denandannie is offline
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Join Date: Jan 2018
Location: California
Posts: 130

Originally Posted by Steve DeRosa View Post
My thoughts, in reverse order:
  • Most modern semi-hollows have the bridge permanently anchored into the top, either with studs (into which the height adjustment screws/wheels are mounted) or by pinning the base - shouldn't be a problem finding something that suits your needs;
  • I've been playing since 1962, taught in the public and private sector for 45 years, encountered countless fellow guitarists over my lifetime - and barring genuine medical issues, IME much of the professed need for ever-wider fingerboards among flattop=based steel-string players is rooted in poor left-hand technique (something those of us who were trained from the get-go on archtop don't generally have, BTW). I had the pleasure of meeting renowned violinist Itzhak Perlman, who has a pair of mitts worthy of an NFL linebacker and has no difficulty whatsoever handling the narrow neck/string spacing of a violin, and many of the same people clamoring for bigger necks double on fiddle/mandolin - often quite proficiently, which smacks as much of compartmentalization as the aforementioned technical deficiencies. My suggestion is to adopt an orchestral-string players' technique - get off the flats of your fingers and up on the very tips (also improves articulation. BTW) - and while Eastman makes a line of semis with 1-3/4" necks, you may just find you really don't need as wide a fingerboard as you originally thought...
Thank you. Thinking about your thoughts, my fingers might be lazy. They don't always stand up. Something for me to work on.
Gibson SJ200 & J35
Taylor Grand Pacific Builders Edition 717e
Breedlove Oregon Spruce/Myrtle wood
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