Emerald X7 (v3) review

[kramster]

I'm thinking version 3 of the 7s. I think I have V1 and V3...but then I could be right. But didn't have a V8 today (but that might be something different I guess)

Ethanay;

All of my Emeralds have been discussed from their conception to their completion--on one thread or another. I suppose a search would bring most of those to view.

I think I've bored a lot of forum members with my Emerald nylon addiction. Fortunately there have been some like my nephew Kramster who have contributed to my fascination with the history and development of the nylon string guitar.

[ethanay]

Originally Posted by kramster

I'm thinking version 3 of the 7s. I think I have V1 and V3...but then I could be right. But didn't have a V8 today (but that might be something different I guess)

I don't know enough about the history...maybe v1 had the center soundhole? I will change the title... regardless, I feel very hard pressed to find any further Innovations or changes with this guitar! The scale length even... I strongly dislike 24.5 inch scale length because it feels too floppy on Lights and too stiff on mediums. 24" IMO is the perfect short length for string tension, and not too short to feel cramped (how Chris Thile does that stuff on his mando is beyond me).

I'm still second guessing myself that I feel so strongly serious about making the X7 not only my travel guitar but my primary guitar, instead of my goodall.

EvanB I will try searching again, Maybe This Time specifically for threads that you started versus just commented on?

[kramster]

Originally Posted by ethanay

I don't know enough about the history...maybe v1 had the center soundhole? ?

Yes center hole...and different enough so not even the same guitar by a medium shot.

[casualmusic]

Originally Posted by ethanay

My X7 of course sounds different than my Goodall but I would not necessarily consider it a downgrade, more a sidegrade. Especially considering how well it fits my small 5'7"/170cm frame and fingers.

But I am overseas living out of a backpack and will need to do some A-B comparisons when I return. As much as I love my Goodall to be honest it feels a little big in body and scale. This might be an opportunity not only to downsize my instruments but also replace with designs that truly fit my body.

Hi Ethan

Congrats on the new X7.

It is interesting to hear that you are thinking of using X7 to replace a Grand Concert as your primary guitar.

Unplugged is the X7 as loud as the GC? Do you think it would play well in acoustic jams and singalongs?

I am looking for a compact CF that will tolerate being in hot vehicles during summer road trips.

Many thanks.

[ethanay]

Hey there casualmusic

Not sure about overall differences in SPL. I don't have the ability to measure that objectively. And I am not sure it matters. I think the X7 projects very well and can work with very strong singing voices.

As far as sitting in the mix (live, acoustic) that to me is a complex issue as there are many more factors than the output of the guitar to consider...my instinct tells me the guitar cuts pretty well and I don't hesitate to use it.

It does not sound "small." My Larrivee Parlor has a smaller more midrange voice that goes well with acoustic blues (and I think if I high-strung it). The X7 to me does not sound like a small guitar at all, and has what I would consider a larger dynamic range than my parlor. Not as much bass as my Grand Concert perhaps but well-balanced I think. It is hard to compare because of the different sound holes. The OS of the X7 IMHO imitates the optimal projection of an optimal classical guitar position and also gives the player more feedback from direct sound in a large/noisy room or outdoor environment, which I also appreciate.

I once "played deaf" acoustically at a friend's wedding outdoors because the wind swallowed up the projected sound. People said they heard me but I couldn't hear a thing I played! I don't suspect that happens as easily with the OS but could be wrong.

I also have yet to test how well the X7 records up, will be doing that soon I think

Hope this helps

[kramster]

Originally Posted by ethanay

Hey there casualmusic

Not sure about overall differences in SPL. I don't have the ability to measure that objectively. And I am not sure it matters. I think the X7 projects very well and can work with very strong singing voices.

As far as sitting in the mix (live, acoustic) that to me is a complex issue as there are many more factors than the output of the guitar to consider...my instinct tells me the guitar cuts pretty well and I don't hesitate to use it.

It does not sound "small." My Larrivee Parlor has a smaller more midrange voice that goes well with acoustic blues (and I think if I high-strung it). The X7 to me does not sound like a small guitar at all, and has what I would consider a larger dynamic range than my parlor. Not as much bass as my Grand Concert perhaps but well-balanced I think. It is hard to compare because of the different sound holes. The OS of the X7 IMHO imitates the optimal projection of an optimal classical guitar position and also gives the player more feedback from direct sound in a large/noisy room or outdoor environment, which I also appreciate.

I once "played deaf" acoustically at a friend's wedding outdoors because the wind swallowed up the projected sound. People said they heard me but I couldn't hear a thing I played! I don't suspect that happens as easily with the OS but could be wrong.

I also have yet to test how well the X7 records up, will be doing that soon I think

Hope this helps

Makes for a good read...thanks

[casualmusic]

Originally Posted by ethanay

Hey there casualmusic

Not sure about overall differences in SPL. I don't have the ability to measure that objectively. And I am not sure it matters. I think the X7 projects very well and can work with very strong singing voices.

As far as sitting in the mix (live, acoustic) that to me is a complex issue as there are many more factors than the output of the guitar to consider...my instinct tells me the guitar cuts pretty well and I don't hesitate to use it.

It does not sound "small." My Larrivee Parlor has a smaller more midrange voice that goes well with acoustic blues (and I think if I high-strung it). The X7 to me does not sound like a small guitar at all, and has what I would consider a larger dynamic range than my parlor. Not as much bass as my Grand Concert perhaps but well-balanced I think. It is hard to compare because of the different sound holes. The OS of the X7 IMHO imitates the optimal projection of an optimal classical guitar position and also gives the player more feedback from direct sound in a large/noisy room or outdoor environment, which I also appreciate.

I once "played deaf" acoustically at a friend's wedding outdoors because the wind swallowed up the projected sound. People said they heard me but I couldn't hear a thing I played! I don't suspect that happens as easily with the OS but could be wrong.

I also have yet to test how well the X7 records up, will be doing that soon I think

Hope this helps

Hi Ethan

Your answers help me a lot. Sure wish I could try the X7 myself.

It's encouraging to hear that that the X7's tone and dynamic range would likely blend well with singers and other instruments.

And great comment that the offset sound hole could be helpful when playing outdoors.


I've been interested in hearing from new owners whether the 2018+ X7 would be good for singalongs and jams with 6-10 instruments.


I've played guitar for 2+ years and find that GC and GA are good sizes for playing with others. Loud enough but not too big for comfort.

My 2014 Fender Concert Pro (hot-rod Guild F30 body with a Telecaster neck) is a grand concert.

It has a bright tone that is heard clearly in the mix and when leading. But it has no sonic headroom and might be the smallest practical size for playing ensemble.


Given its 15" width and 4" depth (no cutout) I'm guessing that the X10 at 14.75" wide and 4.75" deep is almost as big.

I worry that the X7 at 14.25" x 4.5" may be quieter and less suitable for playing in old-time and bluegrass jams.


So why the X7 instead of the X10, or Rainsong WS, etc?

The X7's 33.25" length (!!!) (a baritone ukulele is 30") would be great for travelling and the 24" scale means less stretching.


Many thanks.


.

[ethanay]

Originally Posted by casualmusic

Hi Ethan
I've been interested in hearing from new owners whether the 2018+ X7 would be good for singalongs and jams with 6-10 instruments.

I worry that the X7 at 14.25" x 4.5" may be quieter and less suitable for playing in old-time and bluegrass jams.

6-10 guitars? or 6-10 mixed instruments? Do you want to stand out or blend in? IMO an instrument that really stands out isn't necessarily going to sound great on its own (as per mixing principles, what we often consider a "full and rich acoustic tone" can really muddy up the mix! that's one reason why mandolins more easily play well with guitars, or why the Tacoma Papoose complements a normal guitar). There's only so much overlapping frequency spectrum and timbres before things start clashing.

Re: loudness. Don't go on dimensions alone. The way they design and manufacture the Emerald guitars sort of messes with all of that, in my opinion. They seem a lot louder for their size, with surprisingly full (and rich) sounds. Plus a cheap large wood guitar can still sound more quiet / muddy / less full and/or unbalanced than a well-made smaller guitar.

My Goodall GCV has a very strong bass, to the point where I sometimes find it annoying when strumming. I find the same of many dreadnoughts. Maybe that means it needs brighter strings. I don't know. But those are the frequencies that end up getting cut in amplification/recording to clean it up and make space for other stuff.

Remember, strings can make a huge difference in tone, example: https://www.acousticguitarforum.com/...d.php?t=490350

So nothing is written in stone even after you have the guitar. I am playing out my lights and putting mediums on straightaway. I tend to stick with D'Addario EXPs and admit that I don't experiment with strings that much, even though it is the single easiest and most dramatic way to change the how the guitar sounds.

As an extreme example, if you really want to sit well in the mix: do it up high-strung that will sit beautifully in the jam

[ethanay]

Hi folks,

Been playing my new X7 on my travels and enjoying it immensely. It stays in tune, sounds great (acoustic and amplified, K&K passive through a Red Eye preamp), and I don't have the psychic cost of having to worry about it at all as we have gone through extreme temperatures (45+ celsius) and swings in humidity. That means I can leave it out of the bag/case more during our stops and have it at the ready during downtime.

I vastly prefer its tone and playability to the Journey OF660, and also greatly prefer how it is "ready to play" as well as "ready to put away" which again makes picking it up for practice easier logistically and psychologically. And more rewarding. I greatly prefer the 24" scale to 24.5" which to me is a weird in-between scale in terms of string tension.

The gig bag case holds almost as much gear as the Journey case/bag. The strap stays on the guitar and I just use smaller bags as dividers to organize stuff in the storage pocket. Another smaller pocket would be nice but I don't miss it much. The bag overall seems very sturdy with very thick padding. The D-rings seem redundant to the built in backpack straps. The decorative mesh on one side of the front pocket is pulling out of the seam a bit at the piping but that is just cosmetic I believe. Sometimes the case seems almost a little too short for the guitar but that is mostly when it gets distorted out of shape from having a full storage pocket.

Nice to have a consistent in-tune sound out of the bag. Sometime I need to adjust tuning after taking the guitar out due to tuners getting bumped or after changing quickly between alternate tunings for a bit.

Everything seems very well put together. No issues with the guitar in terms of fit and finish that I can discern. I can't say the same for the Journey OF660, which had multiple issues with fit and finish and build quality.

In terms of design, the only area of improvement I can think of is with higher fret access, continue the design trend that carbon affords with the "double cutaway" but during some higher fret work around the 15-19 fret the tip of the horn of the cutaway can still get in the way. If it doesn't affect the sound too much or if there are ways to compensate I believe a more Venetian-style flat or even negative-slope (breedlove-style) cutaway vs a curved cutaway is more functional to allow exceptionally-high chord work at frets 17-20. As it stands the horn of the cutaway limits full chord work to bars at about fret 14 and four note voicings at fret 16 (still pretty cool). I think it is ironic to have the cutaway be the limiting factor. But single note access is fantastic.

Also not sure why but the internal serial # sticker is coming unglued. Like it doesn't have enough adhesive on part of it. That is the greatest flaw I have found after three months and countless hours with the guitar so far. Still love it and expect to for years to come. I would consider swapping it for an X7 that has the above-mentioned redesign of the cutaway to allow for chord work at the highest frets. Otherwise I consider this a small size guitar with superior design, sound and fit and finish.

Cool beans!

[raysachs]

Glad you’re still liking the X7. You’re review was one of several that convinced me to upgrade from the older X7 to a new one, which I bought not long after you initially started this thread. As much as I liked the older model, I LOVE the newer one. They play about identically but I think the larger body and the offset soundhole makes the new one sound way better to the players ear - not as much difference out front, but I don’t sit there when I’m playing it! After two months my only question is whether I’m going to keep the X20 that started me down this carbon fiber path. I had both together for a few weeks but then we left for our winter rental where I just bring one acoustic and one electric, so the new X7 is all I’ve had for about a month and a half. I haven’t missed the X20 at all. When I get home in March I’ll see how much I still reach for the X20, but there’s a good chance I’ll end up selling it. The new X7 is that good! I’m gonna send the old X7 out to live with my older daughter in Oregon so I’ll have something to play when we visit her area for extended stays. But the new one is now clearly my primary acoustic...

-Ray

[GuitarLuva]

Nice to see people enjoying their guitars! One thing I really noticed after 4 months of owning an Emerald is because it sits out on the stand when not played it gets played a helluva lot more as a result compared to wood guitars that sit in the case. I bet I logged more playing hours in the last 4 months than I did the last 4 years...not even kidding.

[Aspiring]

Hi, my first post on here as a new member. I have a recently acquired Rainsong CH parlor.

I like it alot however I would love to get more overtones and depth particularly for myself as the player.

I have seen some of the comparisons for the previous generation x7 vs the parlor but not the current.

It seems from the description that the new x7 may have more of what I'm looking for although my kids would never forgive me for getting rid of the sharks.

Any thoughts on how the new x7 would compare to the CH parlor Rainsong?

[J.R. Rogers]

Nice looking guitar! Congrats and thanks for the review.

JR

[jdinco]

Originally Posted by Aspiring

Any thoughts on how the new x7 would compare to the CH parlor Rainsong?

Welcome to the site ! There's a lot of love here for the CH Parlor, and the Emerald. Seems the best advice is to try and find someone near you that has an Emerald X7 and is willing to let you play it. That's the only way you will know if it's right for you or not....Good Luck.