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Given that it’s not strictly traditional with its fingerboard, neck profile – and there’s dot inlays, a rare treat indeed for nylon – feel free to attack it with a pick a la Rodrigo Sanchez (he uses a custom NTX1200) or layer some effects over the top of it. The acoustic sound is balanced, if a little on the quieter side, while plugged in the NTX1 is a natural, and sure to record. The contemporary construction is immaculate.
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The NTX had a narrower neck, a radius'd fingerboard and 14 frets to the body.īoth have been enduringly successful, but we’ve included the NTX1 here on the grounds that it’s ideal for winning over players of traditional acoustic guitars and electric players. It had a wider classical neck, the fingerboard was flat, and the neck joined the body at the 12th fret. The NCX was more traditionally classical. Yamaha's NX range dates back to 2009, when it offered players two similar but quite different guitars, the NCX and NTX.
#Gibson es 125 back detached from side full
Read the full Taylor Academy 12e-N review With its crisp, defined classical voice, that’s a winning combo. You’ve got a great neck shape, an accommodating size with a bevelled armrest – praise be! – and incredible playability. A hard percussive approach reveals a border-line flamenco voicing, while turning down the intensity showcases a more Latin-voicing that would work well with your bossanova or jazz-fusion chord book. It has an adjustable truss rod and a lightly radius’d fingerboard and a narrower neck (about 1/8” thinner across the nut than your typical 2” wide classical guitar), but its voice is classical with an open, responsive midrange. The 12e-N could be considered a “crossover” nylon-string. First off, it’s compact, and as the firm's smallest full-scale shape, the Grand Concert is the perfect size for a classical nylon-string. There are also good histories of Gibson guitars available where you can get an overview.The Academy line offers a Taylor guitar without the hefty price-tag, making, as Taylor says, the “acoustic guitar accessible to more players.” But the Academy 12e-N is accessible in all kinds of ways. About all you can do is to wade through the info available to find out about the model you're interested in. So it's a group of guitar models with no particular rationality to its naming scheme. For example, the original ES350 was a 17" laminate-body archtop with a 25.5" scale length it became a budget Byrdland with a 23.5" (? not sure) scale length and at some point was reissued with a relatively thin body like the Byrdland but with a 25.5" scale. The same model number can be re-used for very different guitars. Guitars can be similar in external shape but hugely different in construction, like the ES-335 (semi-hollow) and ES-330 (fully hollow). There are 24.75"-scale guitars, 25.5"-scale guitars, and guitars with scales shorter than 24.75". Within the ES group there are full-depth hollow-bodies, thin hollow-bodies, thin semi-hollows, and even (one or two) full-depth semi-hollows. (E.g., an ES-355 was cosmetically fancier than an ES-335, and had an ebony fingerboard compared to rosewood.) Later models, broadly speaking, were fancier the the higher the model number of a guitar **within a series**. In the very early days the model number represented the list price of the instrument, but that hasn't been true in decades.
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Later, the ES badge was used also for thin-bodied, semi-hollow guitars. Gibson ES models originally were laminate-wood versions of Gibson's jazz guitars, meant to be more resistant to feedback.