Wife here. Thinking about getting a short scale either a Fender squire mustang or fender mini jazzmaster . I see lot of folks even after modifying still buzz and intonation issues. I am very small and my hands are and arthritis. So short scale is a must . Saw your posts had to listen. I think I heard you play Jessica Allman Brothers riff . Nice.
*I bought that very model Ibanez Gio Micro a few years ago for a friend's son, and the FIRST thing I did to it was install a set of 11-48 Power Slinkys, and then used the proper sized nut files on the nut to get the action just a hair taller than the first fret, adjusted the truss rod, and then set the action and intonation of the bridge saddles. Not only did it stay in tune perfectly, but the individual notes, and especially the chords, sounded strong and tough and solid. Instead of every note or chord playing slightly sharp on the attack, and then steadily flattening as it decays, you hit the strings and the note or chord is just solidly in tune, from the initial attack to the last sustained vibration.* *To be honest..., I think that the use of two guitars, one with fairly light strings, and the second with incredibly heavy strings, was one of the ways that **_AC/DC_** got their uniquely signature sound... For example, if both Angus and his brother Malcom were to hit a big open E chord, Angus' chord, with his Gibson SG strung with lighter strings, would initially sound out a few cents sharp and then slightly flatten back in to tune as his E chord sustained out. Meanwhile, Malcom's chord, with his Gretsch Jet strung with very heavy strings, would sound out in tune from the very attack and all throughout its decay. When you add both guitars together in a mix, when they both initially hit the big E chord, it's a bit like a chorus pedal, in the sense that Malcom is pretty much in tune, but Angus is very slightly sharp. But as the two chords sustain as they decay away, Angus' chord flattens as it decays, ending up perfectly in tune with Malcom by the end of the full decay. To use the chorus pedal analogy, it's like having your chorus "depth" knob half way up when you first hit a chord, but then you slowly turn the "depth" knob down all the way as the chord sustains out as it's decaying.*
Thank you for the assistance
Thank you Joe for sharing this with us.
So informative
Wife here. Thinking about getting a short scale either a Fender squire mustang or fender mini jazzmaster . I see lot of folks even after modifying still buzz and intonation issues. I am very small and my hands are and arthritis. So short scale is a must . Saw your posts had to listen. I think I heard you play Jessica Allman Brothers riff . Nice.
You guys make it evident that you need a little heavier strings with a short scale guitar
I just put 48 10s on mine and it stays in tune fine
I put 11s on my Dinky minion and it stays in tune.
*I bought that very model Ibanez Gio Micro a few years ago for a friend's son, and the FIRST thing I did to it was install a set of 11-48 Power Slinkys, and then used the proper sized nut files on the nut to get the action just a hair taller than the first fret, adjusted the truss rod, and then set the action and intonation of the bridge saddles. Not only did it stay in tune perfectly, but the individual notes, and especially the chords, sounded strong and tough and solid. Instead of every note or chord playing slightly sharp on the attack, and then steadily flattening as it decays, you hit the strings and the note or chord is just solidly in tune, from the initial attack to the last sustained vibration.*
*To be honest..., I think that the use of two guitars, one with fairly light strings, and the second with incredibly heavy strings, was one of the ways that **_AC/DC_** got their uniquely signature sound... For example, if both Angus and his brother Malcom were to hit a big open E chord, Angus' chord, with his Gibson SG strung with lighter strings, would initially sound out a few cents sharp and then slightly flatten back in to tune as his E chord sustained out. Meanwhile, Malcom's chord, with his Gretsch Jet strung with very heavy strings, would sound out in tune from the very attack and all throughout its decay. When you add both guitars together in a mix, when they both initially hit the big E chord, it's a bit like a chorus pedal, in the sense that Malcom is pretty much in tune, but Angus is very slightly sharp. But as the two chords sustain as they decay away, Angus' chord flattens as it decays, ending up perfectly in tune with Malcom by the end of the full decay. To use the chorus pedal analogy, it's like having your chorus "depth" knob half way up when you first hit a chord, but then you slowly turn the "depth" knob down all the way as the chord sustains out as it's decaying.*