Question leading from JPs post

**Bungo** · 09-22-2006, 10:18 AM

The change in the bottom horn and slight body and contour changes all have to do with fret access and technique facilitation. - Quote from JPs post.

OK, I thought I'd put this in a new thread so as not to jumble the other one.

I'm a bit confused so I'm hoping that someone will have the answer to this (JP perhaps if you're still here Sir!)

When I play at the top end of the fretboard with my average sized hands, there is still lots of room between the back of my hand and the inside edge of the bottom horn. Even if I had quite large hands I would still imagine that at no time when playing would any part of my left hand come into contact with any part of the horn.

So...at the end of all that, is JP playing in a way that does actually lead to contact between left hand and bottom horn, or is it maybe just a psychological thing to have more space there or...something else???

Your thoughts please ladies and gents.

**Knox** · 09-22-2006, 10:42 AM

I always find that the problem is not the lower horn but rather the upper horn that restricts access to the higher strings form the 15th fret onwards. Its near impossible to do runs for anyone form the bottom E through A, D, G etc at the high frets because of the tradtional setup of having the upper horn set higher and in front of the lower.

The only guitar that I know that has solved this problem is the Washburn N series (Nuno Bettencourt Signature) because it has the patented Stephens Cutaway system on the upper horn and it works a treat...

It kind of doesn't matter how extended the lower horn is if the upper horn is set in the traditonal position or thereabouts.

Just my experience anyway.

**GHWelles** · 09-22-2006, 11:01 AM

Does it have something to do with thumb position? If you take the classical approach, the thumb is in the center of the rear of the neck, not wrapped over the top. So the lower horn clearance would be the area of concern. Since Petrucci has a technical style he may well use this approach.

And it looks like both cutaways are deeper on this design.

It is nice to see guitar design advancing instead of trying to recreate the late 50's and 60's.

**Knox** · 09-22-2006, 11:52 AM

Thats right....if you adopt the classical approach the recess of the upper horn shouldn't bother you that much....but I dare anyone to try and access the lower three or four strings on any strat style guitar at the higher 15th to 22nd/24th frets....its virtually impossible.....you need an SG style setup where both horns are parallel.....if I had my perfect guitar it would be an EBMM with both horns like this....

It only looks weird because you aren't used to seeing this setup.....perfect access on both sides.....I'm surprised more guitars don't offer this....maybe a future possibility for EBMM models? Or something like the stephens cutaway?

**GHWelles** · 09-22-2006, 12:05 PM

I've seen that twin cutaway, thin horn approach before:

Danelectro Longhorn Bass

Not really my thing.

**Knox** · 09-22-2006, 12:13 PM

Sorry....I'm not suggesting this hasn't been done before....I think PRS, Carvin, Hamer and a few Washburn models have used this and of course Gibson...

**eliot323** · 09-22-2006, 12:31 PM

I must admit, although it is a beautiful guitar and I can see the technical benefits of improved upper fret access, I prefer my current JP6's - the Danelectro Longhorn comparison is very apt...

**Bungo** · 09-22-2006, 11:16 PM

Originally Posted by GHWelles

Does it have something to do with thumb position? If you take the classical approach, the thumb is in the center of the rear of the neck, not wrapped over the top. So the lower horn clearance would be the area of concern. Since Petrucci has a technical style he may well use this approach.

That's a good point. I forgot that some people play 'properly'. I'll have to dig out a DT DVD and see where he's putting that left hand!

**Bungo** · 09-22-2006, 11:20 PM

Originally Posted by Knox

I always find that the problem is not the lower horn but rather the upper horn that restricts access to the higher strings form the 15th fret onwards. Its near impossible to do runs for anyone form the bottom E through A, D, G etc at the high frets because of the tradtional setup of having the upper horn set higher and in front of the lower.

Now that's a bit confusing? Pardon my ignorance but how does the upper horn restrict access?

I'm a bit worried now that I'm doing this guitar playing thing all wrong!!!!!

**stratovarious** · 09-22-2006, 11:46 PM

you have to stretch to get to higher frets,

**robelinda2** · 09-23-2006, 12:54 AM

your'e obviously spending too long doing widdly stuff at the 21st fret stratovarious.

**stratovarious** · 09-23-2006, 01:13 AM

Originally Posted by robelinda2

your'e obviously spending too long doing widdly stuff at the 21st fret stratovarious.

whoops!

Smoke on the water was eassy..

**stratovarious** · 09-23-2006, 01:18 AM

Originally Posted by marillion-freak

Who's your teacher

Robelinda2

I dont grab onto it like that, not that high up anyway. I was just answering Bungo's question

**Lucidology** · 09-23-2006, 01:22 AM

Actually this is a really good question for a post Bungo...

Ends up being quite educational when it's broken down...!!

I would think easier access to the upper frets would certainly encourage one to play more in a guitar's upper octave range...

In truth, I rarely, if ever play that high up a fretboard ... but maybe I would with an guitar like the new JP model..!?!