Turns out one of the guys who lives in the apartment below me is a drummer- we've been meaning to get together and play for a while now, but finally got a chance last night. First off, it was just AWESOME- he's big into primus, so I was trying to do some funkier, more dissonant stuff, which, as it turns out, is a HELL of a lot of fun to do, especially when you break it up with some 7-string crunch, and then at one point, a 7/4 jam that fell apart into 8 basically deteriorated into god knows what when I started hitting some ompletely random accents, he tried to follow me and gave up, and we just started jamming out with absolutely no regards to time signature, accenting whatever we felt like while i was playing mid-register parallel 4ths... I couldn't even begin to explain to a third person in the room what we were playing in, but it sounded SICK, most free-associative jamming I've ever done. We each had big stupid grins on our faces... good times.
Anyway, he's got a rather cool Epi LP- i guess he worked for SoBe at one point- maybe he still does, didn't ask- so he''s got a special edition black LP with green flames and a silk-screened sobe logo on the pickguard and lizard on the body, tuned down to D. quite a cool looking guitar, and I'm not generally a huge fan of black guitars, guitars with flames, and even les pauls in general, for that matter. so after a few songs, I picked that up, threw it into drop-D (C, really), and broke into some tool.
I think any frequent reader of this board knows I'm not a big mahogany fan, but the old "les paul through marshall" recipe certainly works... I mean, the fact that this was the first time in months I'd been able to really turn up my TSL certainly helped (man, anyone who says those thigns don't have enough gain 1.) has never played one with a set of JJ's, and 2.) has never turned one up. With the gain on 4 and the volume on 6, the sounds i was getting were just devastating), but it was a great tone. The thing that suprised me, though, was just how little midrange there was. I mean, there's a number of factors in play, here- he has the pickups set closer to the strings than I do on my 7620, so the reasonably scooped tone I had dialed up (mids 4-ish) on the amp was probably playing a larger role with the LP than with my guitar, and the tone zone/air norton combo is quite mid-y anyway, but the LP sounded WAY more "scooped" than my 7620. The les paul also had a more agressive, crunchier treble range, while the 7620 was a little smoother and more refined in the high end- this is something I'd noticed back when I had my 2027, that it sounded like there was a presence control that had been turned up a couple notches when I switched between the two guitars.
Anyway, just wanted to post some musings on the ever-raging debate about tonewoods... I definately dug the sound, and while I wouldn't want to live with that exclusively, last night's jam has definately made me want to grab one of those SZ's even more (i can't stand the bridge and body shape of the Les Paul series, it digs into my arm and palm).
I might try to grab a pic or two of that guitar next time we play, it was a cool looking instrument.
PS- oh, as for the scale length? Sure, you lose definition, but given a proper setup, i could just FLY on that neck. Stretches that slow me down JUST enough to make playing at rapid speeds troublesomewere effortless. Cool.