New St Vincent
- Thread starter NickNihil
- Start date
I have no idea about new ones, but there are not enough threads about the St. Vincent model so maybe in the meantime to getting your question answered we can talk about this model.
I never really liked the aesthetics of the standard model that much, but somehow the Goldie version appeals to me a lot. I like the Velveteen but then I recently saw some pics of a Silk Charmeuse in natural lighting-- which everyone thinks is black-- and it's actually a beautiful deep metalflake midnight blue. My car is the exact same way-- it's midnight blue and everyone says "Oh, your car? That black one over there?" Haha.
So the candidates for my next EBMM are Cutlass HT, Albert Lee Ghost in the Shell, Valentine Carmelo, St. Vincent Goldie or the Mariposa.
The Mariposa is kind of a longshot but sometimes I feel it sneaking up the list. So of the two "oddball" shaped EBMM on my list-- the Goldie and the Mariposa-- I've heard the one thing about both is not that great upper fret access. I'm not a shredder that much these days, but I do have my moments and I don't want to end up with something that just sacrifices range for pure aesthetics.
Anyone who has played both-- anybody prefer the upper fret access and overall ergonomics over the other? Any thoughts? Maybe I've asked this before but I don't remember. It's just something I've been thinking about.
I never really liked the aesthetics of the standard model that much, but somehow the Goldie version appeals to me a lot. I like the Velveteen but then I recently saw some pics of a Silk Charmeuse in natural lighting-- which everyone thinks is black-- and it's actually a beautiful deep metalflake midnight blue. My car is the exact same way-- it's midnight blue and everyone says "Oh, your car? That black one over there?" Haha.
So the candidates for my next EBMM are Cutlass HT, Albert Lee Ghost in the Shell, Valentine Carmelo, St. Vincent Goldie or the Mariposa.
The Mariposa is kind of a longshot but sometimes I feel it sneaking up the list. So of the two "oddball" shaped EBMM on my list-- the Goldie and the Mariposa-- I've heard the one thing about both is not that great upper fret access. I'm not a shredder that much these days, but I do have my moments and I don't want to end up with something that just sacrifices range for pure aesthetics.
Anyone who has played both-- anybody prefer the upper fret access and overall ergonomics over the other? Any thoughts? Maybe I've asked this before but I don't remember. It's just something I've been thinking about.
It's a divisive model but I've always loved the aesthetics. I've also been a HUGE fan of hers for the past 15 years or so. I've had 2 STVS (3 if you count my first one being a Sterling), an original and a Goldie (had to sell them recently, dark and troubled story, don't wanna talk anymore about it here but selling the Goldie was especially painful.). I feel like an outlier on this forum as a noisy/alt/experimental type player in a sea of shredders and heavy rockers (not that I have anything negative to say at all about the music or the practitioners. I was a shred guy in my teens/early 20's and there's still a number of things from those styles I really dig).
Like I said, I love the looks of the guitars and they, like most all EBMM models, are ridiculously comfortable to play. More than most folks would suspect based on the shape (yeah, there's a bit of upper fret compromise, but less than you'd think). Because it's long, it plays like a bigger guitar than it is-Jazzmasters were my go to's for a long time (still a fixture) and it works pretty similarly ergonomically and can really move with you when performing. It's more easily playable in more positions you might find yourself holding the guitar. I didn't mind so much unloading the original-it was a SPECTACULAR player, but it was a Stealth Black (which I like), and the pickups in it really lacked harmonics/overtones. I really love overtones. I'll never damp the headstock, use buzz stops on Jazzmasters, I want bigsby's without tension bars, and I won't mute tremolo spring. I live primarily in cleans, light breakup, I still predominantly use potted pickups because I do like to occasionally pulverize my signal with volatile and grotesquely inappropriate fuzz, but I still have an ALHH, and the neck pickup went microphonic and it's beautiful. The harmonic spectra is so rich. The Stealth Black made it difficult to replace the pickups in an aesthetically pleasing way and at some point it was just going to be too expensive to keep trying. The Goldie's pickups, on the other hand, GORGEOUS!
Never tried a Marisposa because, with the exception of vintage-style Duo Jets or thicker body/arch top flavored instruments, I want forearm contours. I hate playing teles, for example, because of the lack of forearm contour. Body's too big for its shape, sits weirdly on me, and digs into my arm. I had to get rid of an exquisite Firebird because if I played it for long periods of times I'd actually bruise my forearm like I was in a fight.
Like I said, I love the looks of the guitars and they, like most all EBMM models, are ridiculously comfortable to play. More than most folks would suspect based on the shape (yeah, there's a bit of upper fret compromise, but less than you'd think). Because it's long, it plays like a bigger guitar than it is-Jazzmasters were my go to's for a long time (still a fixture) and it works pretty similarly ergonomically and can really move with you when performing. It's more easily playable in more positions you might find yourself holding the guitar. I didn't mind so much unloading the original-it was a SPECTACULAR player, but it was a Stealth Black (which I like), and the pickups in it really lacked harmonics/overtones. I really love overtones. I'll never damp the headstock, use buzz stops on Jazzmasters, I want bigsby's without tension bars, and I won't mute tremolo spring. I live primarily in cleans, light breakup, I still predominantly use potted pickups because I do like to occasionally pulverize my signal with volatile and grotesquely inappropriate fuzz, but I still have an ALHH, and the neck pickup went microphonic and it's beautiful. The harmonic spectra is so rich. The Stealth Black made it difficult to replace the pickups in an aesthetically pleasing way and at some point it was just going to be too expensive to keep trying. The Goldie's pickups, on the other hand, GORGEOUS!
Never tried a Marisposa because, with the exception of vintage-style Duo Jets or thicker body/arch top flavored instruments, I want forearm contours. I hate playing teles, for example, because of the lack of forearm contour. Body's too big for its shape, sits weirdly on me, and digs into my arm. I had to get rid of an exquisite Firebird because if I played it for long periods of times I'd actually bruise my forearm like I was in a fight.
Nick, thanks for your thoughts on the Goldie. It just looks like a fun guitar to play. Sorry that you had to part with yours. I think what I might try to do is see if I can more easily find the Sterling versions of the Goldie and the Mariposa in a physical store (like a GC) and play them both and see how the ergonomics compare-- obviously they wouldn't be as good as the EBMM versions, but I'd get a sense of which one I think would better suit me.
In regard to slab bodies/forearm cuts (and lack of) I do actually like slab bodies just fine. I did once get a nasty bruise on my forearm during a span of playing my Valentines obsessively several hours a day for a week (and was terrified that it was a lone star tick bite, haha)-- but I think that model would look less cool with contours on it. I think the subtle wedge shape is a genius touch. I don't mind belly cuts and arm cuts and stuff--- but I'm perfectly fine with Teles and other slab guitars too. I do think the contours of the St. Vincent look pretty aesthetically sound and comfy.
I was looking at where the body joins the bass side of the neck on the Mariposa and thinking it would be more restrictive of my thumb than the Valentine but I realize my thumb never goes higher than the 17th fret anyway-- the cutaway is deeper than it even needs to be functionally. I thought about taping something into the lower cutaway at the same fret where the St. Vincent's neck joins the body so I can see what it's like to try to get similar access to the upper frets. I may try that. I may just be better off finding the Sterling versions and trying those out, like I said.
Yeah, I also like getting overtones and stuff in my guitars. I've always wanted a Jazzmaster/Jaguar but so far have not gotten one. I do have a Yamaha Revstar standard with P-90's and it's got a cool metal tailpiece with space between the bridge and the attachment point where the strings can ring out. I think it adds a liveliness to the tone.
eh.... I just looked at the inventory of GC stores in my area online. None have any Mariposa or St. Vincent in either EBMM or Sterling versions. That's a bummer. Not surprised though.
In regard to slab bodies/forearm cuts (and lack of) I do actually like slab bodies just fine. I did once get a nasty bruise on my forearm during a span of playing my Valentines obsessively several hours a day for a week (and was terrified that it was a lone star tick bite, haha)-- but I think that model would look less cool with contours on it. I think the subtle wedge shape is a genius touch. I don't mind belly cuts and arm cuts and stuff--- but I'm perfectly fine with Teles and other slab guitars too. I do think the contours of the St. Vincent look pretty aesthetically sound and comfy.
I was looking at where the body joins the bass side of the neck on the Mariposa and thinking it would be more restrictive of my thumb than the Valentine but I realize my thumb never goes higher than the 17th fret anyway-- the cutaway is deeper than it even needs to be functionally. I thought about taping something into the lower cutaway at the same fret where the St. Vincent's neck joins the body so I can see what it's like to try to get similar access to the upper frets. I may try that. I may just be better off finding the Sterling versions and trying those out, like I said.
Yeah, I also like getting overtones and stuff in my guitars. I've always wanted a Jazzmaster/Jaguar but so far have not gotten one. I do have a Yamaha Revstar standard with P-90's and it's got a cool metal tailpiece with space between the bridge and the attachment point where the strings can ring out. I think it adds a liveliness to the tone.
eh.... I just looked at the inventory of GC stores in my area online. None have any Mariposa or St. Vincent in either EBMM or Sterling versions. That's a bummer. Not surprised though.
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I was actually still intrigued by the Valentine and apparently it thins out a bit on the top half of the body. Were I to ever get one, though, I'd probably have to find one without active electronics (BFR butterscotch with bigsby maybe?) due to my love of certain fuzzes and dislike of adding hard to repair potential failure points. But they're gorgeous and sound killer. Otherwise, that also means no Axis models for me (and I LOVE those rare semi hollows)! A Reflex, on the other hand, those GAS me up when I see them around.
I'm also super curious about the Cutlass HTs. Never cared much for Strats/S-style either (yeah, I can be a PITA) but I'm really intrigued by the HT single coils, especially in the neck (I know, active electronics again. Nonetheless...) Far as I can understand, the only HT pickups used in the neck are their single coils (probably too high output otherwise)-their dual humbucker HT guitars only have HTs in the bridge and a complimentary 'custom wound ceramic' in the neck positions.
I'm also super curious about the Cutlass HTs. Never cared much for Strats/S-style either (yeah, I can be a PITA) but I'm really intrigued by the HT single coils, especially in the neck (I know, active electronics again. Nonetheless...) Far as I can understand, the only HT pickups used in the neck are their single coils (probably too high output otherwise)-their dual humbucker HT guitars only have HTs in the bridge and a complimentary 'custom wound ceramic' in the neck positions.
Most of the time I only play through modelled amps/ amp sims like Tonex or Neural DSP and Amplitube et ( at the moment I've been stuck on Neural DSP's Morgan amp suite) I can play with the Valentine with fuzz tones just fine in these formats. I have no idea what would happen if I plugged it into a physical fuzz pedal going into an amp.
I was also a bit scared at first because of failure potential of the electronics in the Val, but I find every facet of the design to be so well done and useful to me. So many tonal combinations that are fast to access and tickle my eardrums the right way. The Carmelo is on my list, like I said-- but in the few demos I've seen, the MM "Ranger" humbuckers are so bright that they actually sound brighter and more tele like than the pickups in the standard model. Not a bad thing-- they sound really good and unique, but not like typical humbuckers imo. The Bigsby was what put me off that one-- I've heard they're a pain to deal with, but some of my favorite guitarists have used Bigsbys so that's always in my mind too. But I still wish it could have the boost too.
The wedge design is great-- my buttermilk Valentine is only 6.5 lbs and my BFR is 7.3. They both look like they would be heavier guitars. The wedge does actually help position the guitar against your body in a more comfortable way. Both the Mariposa and St. Vincent are much lighter guitars than they look like they would be too.
I also never really got into Strats-- until a few years ago, my brother bought me my first one. To me, an S- style guitar is the most different type of guitar in terms of tone and how I play it physically. It's so different to a T-style and everything else. Both my left and right hands seem to do unexpected things when given a Strat to play. I would almost always choose a T-style first for most applications, but for certain things there is nothing like an S-style guitar in SSS format. Every player should have at least one good Strat/S-style. I want a Cutlass HT so bad!
I was also a bit scared at first because of failure potential of the electronics in the Val, but I find every facet of the design to be so well done and useful to me. So many tonal combinations that are fast to access and tickle my eardrums the right way. The Carmelo is on my list, like I said-- but in the few demos I've seen, the MM "Ranger" humbuckers are so bright that they actually sound brighter and more tele like than the pickups in the standard model. Not a bad thing-- they sound really good and unique, but not like typical humbuckers imo. The Bigsby was what put me off that one-- I've heard they're a pain to deal with, but some of my favorite guitarists have used Bigsbys so that's always in my mind too. But I still wish it could have the boost too.
The wedge design is great-- my buttermilk Valentine is only 6.5 lbs and my BFR is 7.3. They both look like they would be heavier guitars. The wedge does actually help position the guitar against your body in a more comfortable way. Both the Mariposa and St. Vincent are much lighter guitars than they look like they would be too.
I also never really got into Strats-- until a few years ago, my brother bought me my first one. To me, an S- style guitar is the most different type of guitar in terms of tone and how I play it physically. It's so different to a T-style and everything else. Both my left and right hands seem to do unexpected things when given a Strat to play. I would almost always choose a T-style first for most applications, but for certain things there is nothing like an S-style guitar in SSS format. Every player should have at least one good Strat/S-style. I want a Cutlass HT so bad!
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tbonesullivan
Well-known member
As far as I know, they are great guitars, and the artist is also great. The current lineup came out in 2021 I think? I mean not every artist is going to be like Petrucci and release new versions of their signature guitar regularly. There have been some specialized versions of the Steve Morse over the years, but for the most part it has been the same guitar for decades. They did a lot of r&d on the goldie, so it's very possible that they just want to keep it as is for now.
Recently the model has been getting some hype as Olivia Rodrigo has a custom purple Goldie that she's been using on tour.
I've thought about getting one before, but right now I need to focus on selling off a bunch of guitars. NOT any of my EBMM guitars however.
Recently the model has been getting some hype as Olivia Rodrigo has a custom purple Goldie that she's been using on tour.
I've thought about getting one before, but right now I need to focus on selling off a bunch of guitars. NOT any of my EBMM guitars however.
