Take which strings off a 12-string to reduce its jangliness somewhat?

Discussion in 'Acoustic Heaven' started by RoscoeElegante, Apr 4, 2019.

  1. Mid Life Crisis

    Mid Life Crisis Friend of Leo's

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    I've got TI flats on my electric 12. They do all of the above plus have low tension. They've been on that guitar for four years now although I don't play it as often as you.
     
  2. rangercaster

    rangercaster Friend of Leo's

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    I agree with the poster above who suggested experimentation ... Try different approaches til you find the sound you are looking for ... Thomas Edison was a great inventor because he would try 100 different solutions ... And one would work ...
     
  3. muudcat

    muudcat Tele-Holic Silver Supporter

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    the Martin Roger McGuinn model 7 string had a doubled G so like others have said, maybe remove the high G
     
  4. Sparky2

    Sparky2 Friend of Leo's

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    Play all twelve, just soften the overall guitar volume by one Volume Knob number and one PA channel tic.

    And EQ the mids and the highs down two notches.

    That's as technical as it gets from these parts, Clem.

    :/

    whisky.jpg
     
  5. EsquireOK

    EsquireOK Friend of Leo's

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    Change your e.q. and/or picking position and technique, or even your pick thickness and/or material.

    Another, more permanent, thing that I have done with every 12 string I have owned: Get a new nut made that flips the wound string and its octave string. That way your pick strikes the "regular" (i.e. lower pitched) string first, and then the octave string.
     
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  6. Henry Mars

    Henry Mars Tele-Afflicted

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    I watched him do that one night at Grendel's Lair many many years ago. He had all twelve on though and all of them were tuned in unison if my memory serves me. Ridiculously heavy string for a 12 BTW ...should have asked him about the gauges. I have an ES335 Electric 12 string ... I use heavier higher tension strings that seem to get rid of a lot the so called jangle. You won't eliminate it all unless you do away with octave strings.
     
  7. Henry Mars

    Henry Mars Tele-Afflicted

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    I have used them on my ES335 12 string no issues other than a truss rod adjustment. That said exercise caution.
     
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  8. jrblue

    jrblue Tele-Afflicted

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    My initial comment was a smarty-pants suggestion that you remove one string of each pair. Honestly, I think you're working against type trying to rejigger the guitar via stringing. Why play a 12 string to get the effect you describe? A 6 with light chorus or any number of straightforward approaches would be terrific. Yes, ground or flatwounds will reduce high harmonics, which is why they sound so awful. You could also stuff a T-shirt in the soundhole. There are all kinds of ways to make a 12-string sound less good.
     
  9. RoscoeElegante

    RoscoeElegante Friend of Leo's

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    Thanks to all for your replies. Even, sorta, the snarky one that no one will notice or care. Well, I do, and that counts most in such situations. Plus, it's an audience full of tone-mongering musicians, so there's that.

    Anyway, part of my thinking here is that the song has a cello that comes in for the last chorus and stays for the slow outro. So I was thinking of kinda going all Leo here and scooping the middle. Chimey guitar, plus deep cello. Highs and lows, like a Silverface Deluxe, etc. Made room for my "singing," too. (No EQing on the 12-string possible, other than pick choices, where to strum, etc., as the guitar has no onboard electronics, and the gig is all unmic'd acoustic stuff in an old, small, rehabbed church with nice acoustics to it itself.)

    But what I've gone to instead, of all things, is a classical guitar. I've even got the thing tuned down a half step. So it's deep/mid-rich guitar, plus VERY deep cello, and it works really well. What few highs I get from the guitar--I play no higher than the 5th fret on this particular song--really stand out against all that deep/low background that the cello and lower guitar chords create. The depths of the classical guitar are all tongue-and-groove with the cello. Brass on bronze. Whereas the 12-string, even when played/finagled to sound as deep as possible, seemed almost superficial against the cello. Like tinsel on the ocean. And the classical's relatively brief sustain is answered by the cello's vibrato-ing resonance and that amazing sustain of steady bowing. Works really well, strophe and anti-strophe style.

    Gawd, the cello is an awesome thing. Such heart-grabbing purity.
     
  10. kbold

    kbold Tele-Meister Silver Supporter

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    12 strings are jangley guitars.
    If you don't want jangle, play a 6 string.
     
  11. RoscoeElegante

    RoscoeElegante Friend of Leo's

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    FWIW, I went w/ a 6-string and a thin pick, played near the bridge. Got me a good chorusy effect, but not over-spiked with more jangle than the song needed.

    One of these years, I'll re-string the 12 w/ thicker gauge, as the lights on it are just too light. I like some beef with the jangle. A bassist or baritone guitar playing along balance it out nicely. (The song actually needs a cello, but our cello player was out of town). But by itself...yeah, thicker strings are in the 12's future.
     
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