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Topic: A new MSA 12 string universal day |
Ken Metcalf
From:
San Antonio Texas USA
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Posted 5 May 2016 2:18 pm |
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Okay I have been noodling around and trying my new 2016 MSA Studio pro U-12 for a few days now and I have to say it is a very good guitar. Smooth easy pedal and lever action.
The tone is very balanced with clear crisp bottom end and nice mellow highs.
Quad raise and triple lower changer standard.
Kyle and Mitch had a custom tone control made for it that works really well and I like that!
MSAs quick change pickups, I have True tone and Telonics pick ups for it and I like them both. The TT is a little more woody or airy sounding but I am still adjusting the Telonics and would like to do a couple gigs to really get it dialed in correctly. I am possibly biased to prefer single coil tone but they are surprisingly close. The Telonics does have an advantage with the adjustable pole pieces.
The Fret light thing is cool and I know it seems silly but after you play it for awhile and then turn it off it is like you miss it and want it back on...
I know I know but I like it. ^_^
Black automotive grade paint with lots of clear coat instead of formica.
Pedal rods interchange with no order any rod fits anywhere. Pedals and levers adjust easily with just your fingers right there under the guitar.
Anvil type case with wheels standard.
I really like this guitar's intonation and tone are exceptional.
A lot of little details that go into a MSA which are not immediately obvious make it a very special PSG.
The rumors that a Studio Pro has better tone than other MSAs because of the tighter grain maple are probably unfounded but mine seems to sound better than everyone else's and it's black maybe that's it. 
Last edited by Ken Metcalf on 6 May 2016 11:43 am; edited 1 time in total |
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Ben Edmonds
From:
Greenfield, Massachusetts, USA
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Posted 5 May 2016 2:34 pm
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| Nice ken. I'm jealous |
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Archie Nicol R.I.P.
From:
Ayrshire, Scotland
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Posted 5 May 2016 4:30 pm
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Yep.
Arch.
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I'm well behaved, so there! |
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Mike Wilkerson
From:
Luther Oklahoma
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Posted 5 May 2016 6:06 pm
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 what a beauty... Slim
_________________
S12 MSA Classic Nashville 400 with fox mods amp 1 volume pedal 1 Lil Izzy and 3 cords |
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Mike Perlowin
From:
Los Angeles CA
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Posted 5 May 2016 6:44 pm
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KEWL!!!! MSA is as good as it gets.
How do you like the L-frets?
After comparing several different pickups, I decided that I prefer the Lace Alumitone. You might want to try one of those.
If I ever buy another guitar (which I don't need and can't afford,) it will be another MSA. A "Blue Darlin'" Legend.
_________________
Please visit my web site and Soundcloud page and listen to the music posted there.
http://www.mikeperlowin.com http://soundcloud.com/mike-perlowin |
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David Wright
From:
Pilot Point ,Tx USA.
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Posted 6 May 2016 1:56 am
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Ken,
Glad you're happy with your new guitar, The more you play it the more you'll love it... |
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Greg Cutshaw
From:
Corry, PA, USA
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Posted 6 May 2016 4:39 am
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| That's one of the coolest guitars I've ever seen! Please post the copedent when you get a chance. |
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Ken Metcalf
From:
San Antonio Texas USA
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Posted 6 May 2016 11:14 am
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For those few who have not seen the fret light thing.
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Ken Metcalf
From:
San Antonio Texas USA
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Posted 6 May 2016 11:39 am
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Pretty much Jeff Newmann copedant except the 8th pedal is a Mooney type thing I am trying out.
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Olli Haavisto
From:
Jarvenpaa,Finland
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Posted 6 May 2016 1:05 pm
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How do you use the C on lkv, instead of the more common Bb?
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Olli Haavisto
Finland |
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Ken Metcalf
From:
San Antonio Texas USA
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Posted 6 May 2016 2:47 pm
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| I wasn't using the Bb vert much so I decided to try using it as a half pedal walk down or augmented which is okay for me but this MSA is so easy to half pedal it is ridiculous. Also several of the compensators are not even necessary. |
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Marty Broussard
From:
Broussard, Louisiana, USA
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Posted 6 May 2016 3:33 pm
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Beautiful guitar
_________________
RETIRED
Former steel guitarist for Tracy Byrd & The Byrd Dawgs, Mark Chesnut & The New South Band, Mark Nesler & Texas Tradition, Wayne Toups & ZydeCajun, Belton Richard & The Musical Aces
"Technique is really the elimination of the unnecessary..it is a constant effort to avoid any personal impediment or obstacle to achieve the smooth flow of energy and intent" Yehudi Menuhin |
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Darvin Willhoite
From:
Roxton, Tx. USA
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Posted 6 May 2016 7:09 pm
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NICE!!! I love my MSA's, the new ones and the old ones.
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Darvin Willhoite
MSA Millennium, Legend, and Studio Pro, Reese's restored Universal Direction guitar, a restored MSA Classic SS, several amps, new and old, and a Kemper Powerhead that I am really liking. Also a Zum D10, a Mullen RP, and a restored Rose S10, named the "Blue Bird". Also, I have acquired and restored the plexiglass D10 MSA Classic that was built as a demo in the early '70s. I also have a '74 lacquer P/P, with wood necks, and a showroom condition Sho-Bud Super Pro. |
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Dan Robinson
From:
Colorado, USA
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Posted 7 May 2016 10:10 pm
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| Wow, talk about attention to detail. Even the stamped logo on the top surface of the pedals is gorgeous. Beautiful guitar. I can't think of any downside to the L-Frets. |
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Pete Burak
From:
Portland, OR USA
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Posted 8 May 2016 7:44 am
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Nice MSA Uni!
On your LKV, you could rod it up to raise all 3 B's to C primarily for B6th playing.
It is analogous to your F-Lever on E9. |
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chris ivey
From:
california (deceased)
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Posted 8 May 2016 8:21 am
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msa's have always seemed like the ultimate fine machine. i'm surprised i don't see everyone playing one.
the only question is why i don't hear people raving about the tone. like they are so perfect, there is no special character in the sound.
of course maurice said they can sound as good or better than anything...and i'm sure that was true in his hands and now david's.
it just seems like the 'sound to die for' comes from older, clunkier, obsolete steels.
can anyone explain this? |
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Mike Perlowin
From:
Los Angeles CA
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Posted 8 May 2016 9:28 am
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| chris ivey wrote: |
msa's have always seemed like the ultimate fine machine. i'm surprised i don't see everyone playing one.
the only question is why i don't hear people raving about the tone. like they are so perfect, there is no special character in the sound.
of course maurice said they can sound as good or better than anything...and i'm sure that was true in his hands and now david's.
it just seems like the 'sound to die for' comes from older, clunkier, obsolete steels.
can anyone explain this? |
If we compare them to 6 string guitars, MSAs are like big Gibson hollow body jazz guitars, while Sho-buds and Emmonses are more like Tels and Strats. The Gibson is never going to give it to you, no matter how you tweak the amp.
If you want the Tele sound,you need to buy a Tele, If you have a Gibson, you set the amp to accentuate it's natural tone.
MSAs are not like Emmonses and Sho-buds. The secret to making them sound good is to bring out have their own natural characteristics, rather than try to make them sound like something they are not.
_________________
Please visit my web site and Soundcloud page and listen to the music posted there.
http://www.mikeperlowin.com http://soundcloud.com/mike-perlowin |
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Lane Gray
From:
Topeka, KS
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Posted 8 May 2016 9:37 am
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I wish I had had the time to make a video with Donnie Souther's white tidewood mica D-10 when I got done working on it, but I didn't.
Warm, fat, but with a honky-tonk bite to it.
Did it sound like my Zum or Bud? No. But it sounded great, and I had some vocabulary that really worked with it.
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2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
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mike nolan
From:
Forest Hills, NY USA
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Posted 8 May 2016 10:05 am
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| Nice axe! Congrats. |
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chris ivey
From:
california (deceased)
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Posted 8 May 2016 10:08 am
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i know a great player can make it work. it just seems that the milly, legend and studio pro are such advanced finely machined super machines that this should translate also into a distinctive sound.
or has the new generation of steels...zum, rains, rittenberry, fessenden, infinity, justice, etc.
all reached the ultimate zenith of sound?
(you could probably swap badges on these mentioned steels and most people wouldn't know the difference...visually either)
a generically perfect blank page for an artist to make his mark on. |
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John Goux
From:
California, USA
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Posted 8 May 2016 10:58 am
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Ken, in your coped, what does comp+ comp- designate?
J |
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Lane Gray
From:
Topeka, KS
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Posted 8 May 2016 11:31 am
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They're small raises to bring a "tempered" note to another value.
The G# of the E chord is about 8 cents flat of ET, but the G# of the C# chord wants to be something else, so you put a compensator on the F lever.
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2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
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Carl Williams
From:
Oklahoma
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Posted 8 May 2016 12:42 pm Lit Up MSA :)
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Ken,
Congrats on the new MSA...she's a fine looking work of art for sure! Thanks for posting the photos and your review...enjoy your new toy! Carl
p.s. I've sent you a Private Message... |
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Mike Perlowin
From:
Los Angeles CA
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Posted 8 May 2016 12:49 pm
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I have compensators on the 2 F# strings. The one on the first string is on the A pedal. The one on the 7th string is on the B pedal.
There are 2 reasons for this. #1, both pedals already have 3 pulls. This way they both have 4, and neither one has 5.
#2, since I lower the 8th string down to D, if I add the B pedal, have a D major chord on strings 8, 7, and 6. Having the compensator on the B pedal puts that chord more in tune.
Lane, I think I'll follow your suggestion about putting a compensator on the F lever.
_________________
Please visit my web site and Soundcloud page and listen to the music posted there.
http://www.mikeperlowin.com http://soundcloud.com/mike-perlowin |
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Ken Metcalf
From:
San Antonio Texas USA
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Posted 8 May 2016 2:51 pm
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Mine has a gear down reduction system on the compensators.
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