Breaking in my new DG-300

keary18 · June 2011

thanks, I think I understand what you mean. I had the 250m as the first one of the GJ selmer type guitars and feel like i've been around the world with all of it. My Dupont is just fabulous all around, couldn't be happier with it actually. These seem to be such bargain guitars for travel and open jamming where no amps are needed....

thanks again for your insight, it's very helpful!
David

Ian Rossiter · June 2011

No problem.
Would you mind telling me about your Dupont?? I'm really courious about them??
Thanks.

keary18 · June 2011

I have had Collings and Park selmer type guitars, then saw the Dupont MDC-60 which had the d-hole. That is a great guitar but for me, and I can't describe it, just didn't work - the sound really resonated to the point of distraction - but those listening to it thought it was really great, and truthfully when I heard it I have to say it was excellent, but being behind it was another matter. So I traded up to the MD-50 Dupont and couldn't be happier. There are a lot of things about it that are really great; first the neck is so very comfortable, the craftsmanship is excellent through and through and the sound/projection to me is just so balanced that I didn't have any of the overtones that I got out of the MDC-60. But again, it's most likely just me...doesn't matter now!

) This is a no frills-thrills guitar, it's straight forward excellent and to me, well worth the money. I won't be letting go of it. The only thing I wish I had done is moved up to a higher bridge. The action is excellent if you like it low, and I generally do, but the playability on it is so good that raising the action wouldn't bother me and I have this feeling that the sound, projection, etc. will be even better. I'm not sure on this, Michael will know. I just say this b/c I read where a lot of players like a lower action; my playing partner likes his Lehman as low as possible...

I also have/play an Ellsberry Arch de Lutan archtop for more straight forward swing jazz/big band sound, made by Jim Ellsberry, it's a wonderful instrument and has an almost gypsy sound to it. In fact, when I first heard one I thought it had a selmer sound. He really archs the tops and uses a technique that the selmer (I think) were designed with. I've used it in a few of our gypsy gigs and love it - using 13-56s? gauge. Also have a Lowden F32cx for acoustic gigs. Maybe my fingers/hands are stronger now, but I'm seriously thinking of going up on the action. Hope this helps!
David

Ian Rossiter · July 2011

Hey everyone, just a 300-update;
The "break-in" process is definitely coming along. I've been putting in a lot of hours with it, and have been traveling with it, taking it on the road w/ me for my Country gigs. I've been using it as my warm-up guitar for these gigs ,and occasionally put it onstage in my rack just to soak up some vibrations and also to keep an eye on it.
It's playing a lot better now that it has some playing time on it, but it hasn't been easy; it's taken a lot of playing time to get it this far...many Argies/Daddarios died for the cause!! lol.
The notes sound a lot sweeter,and more alive now. Plus, I don't have to REEF on the strings to get em' to respond. At first, I had to play with about double the force just to get anything at all out of it. It felt/sounded stiff and frankly...terrible. Now, it's far more responsive and sweet. The tone has drastically improved, and only seems to get better, although, it is a very "wet" sounding guitar still. Chords have some depth to them now, whereas before, it was just harsh, and trashy. Not the nice kinda harsh...just...well...sh*tty. lol
Now that it's started to settle down a little, and for myself, I'm more used to the new guitar, it's becoming a really good playing instrument. I'm really enjoying picking it up now, and really enjoying what I'm getting out of it.
The finish is still kinda thick-feeling, it feels like the whole thing was dunked in a thick ploy goop. It's perfectly clear, and the wood grain looks great and all, but, I can't say it feels that great to the hands. Maybe this will "break-in" too over time, or I just might get more used to it.
I'm really glad I stuck with this guitar, and put the time in ( which I will continue to do of course), I can't WAIT to see how it is a year from now.
...to be continued!!!

Ian Rossiter · August 2011

Still having good and not-so-good days. Doing alot of playing with it, but I must admit, while the tone is getting a bit better.... it still sounds kinda ugly, and quiet. The neck/action has been very consistent over the summer; temps from +35 to + 2c, Albertian thunderstorms,then dryness and heat, then temp drops and dampness for a few days. It really wasn't effected too,too much, and stayed pretty consistent. But I do think a new bridge from Josh is in order. That's next, stay tuned!!

Bob Holo · August 2011

A lighter bridge will probably take you tonally toward more snap and highend... if it sounds thrashy now, that may not be what you want. Ask Josh. A couple of things might be at work. All GJ guitars are brighter than flat-tops and so if your right & left hand technique is still heavily flat-top influenced, you'll have a difficult time getting big warm tone from a more traditional sounding instrument. Also, every guitar has one or more sweet-spots and your new guitar's might be different than your old guitar's. Good GJ guitars tend to respond better when you pick back toward the bridge - so you should be looking for a spot somewhere between the back of the rosette and the bridge... Try picking/pomping half way between the bridge and the rosette and move back and forward a centimeter or so - you might find a sweet spot. The right hand technique is well-laid out in Michael's book. People get wrapped up in right hand technique but equally important is the left hand technique. Michael covers left hand technique, but when I hear people talk about gypsy picking technique they tend to gloss-over the left-hand and talk about how to hold the pick and what angle to hit the strings... etc... all important stuff, but the left hand is equally important. Look at vids of the top players and you'll see they're riding forward nearly on top of the frets and they have really good control over dampening strings they're not using and choking chords in a very controlled way. They make it look easy and natural, but if you slow down those videos you can see how much work they're doing with their left hands - a really phenomenal amount of coordination between hands. Also, try some different picks. If you want to make your sound warmer and more natural, try coconut picks with a medium tip (like a Wilton pick or a Dugain coconut with the medium tip... not the pointy one) or a softer thicker polymer pick with a pointy tip like a Mustache 4mm, or a harder thinner polymer pick with a broader tip like a Wegen BigCity 2.2mm. These three types of picks will give you various flavors of 'mellow' without stealing volume or making it impossible to pick precisely. If those are too mellow.. drop down to a Bigcity 1.8mm or Moustache 3mm. Pointy coconut picks wear too quickly to be reliable for gigging, but if you don't mind keeping a couple of them with you at all times and sharpening them every couple of days... you could go that way too.

Ian Rossiter · August 2011

Wow, Thanks for the response!! I've been experimenting with picks as of late; Dunlop 205,Wegen 2.5mm Mandolin picks,even a Dunlop 5.mm, going back to my regular Wegen GJ 3.5mm from time to time. The 5mm actually makes sense with this guitar ( at this point in it's development.) given it's tendency to be quieter,and really having to reef on the string to get it going.
I have never tried coconut or the other more exotic materials you mentioned, but I will for sure.

Ian Rossiter · August 2011

Ironically, my Djangobooks order arrived today, containing among other things, V-picks. WOW!! What a difference in Tone!! It sounds like a totally different Guitar now. Gonna go play some more now.