MSA Studio Pro

Mike Perlowin RIP · Post by **Mike Perlowin RIP** » 22 Mar 2007 12:12 pm

So the next se of questions is:

Would it be worthwhile or practical to retrofit existing millenniums and legends with the longer fretboard, and what would be involved (including the cost) of such a retrofit?

Johnny Cox · Post by **Johnny Cox** » 22 Mar 2007 12:50 pm

Doug, the compound curve in our finger happens past the point of the finger that determines the scale length. The intent is to alleviate undue stress on the dead portion of the string.

Mike, any Millennium or Legend can be converted to
24 1/4" scale. This requires a new neck and keyhead. Personal preference dictates if it's worthwhile.

Mike Perlowin RIP · Post by **Mike Perlowin RIP** » 22 Mar 2007 1:19 pm

Johnny Cox wrote: Millennium or Legend can be converted to
24 1/4" scale. This requires a new neck and keyhead. Personal preference dictates if it's worthwhile.

What would be the cost be for the conversion?

Donny Hinson · Post by **Donny Hinson** » 22 Mar 2007 1:28 pm

Morton Kellas wrote:Donny, Why the uncalled for sarcasm? I did not ask for your opinion did I?

You're right, of course. I do apologize. I sometimes forget that we have different opinions, different personalities, and altogether different priorities.

I went to a funeral today for a friend and former co-worker, the second in as many weeks. Most of us reach the point in life when we seem to lose so many, so quickly. I ask for no pity, but feel that we all put too much emphasis sometimes on "things", and not people.

I feel the same way in the area of music...maybe I'm alone in that. To me, it's the players, their ability, their style, and their emotion, that matter most. The instrument and all it's appurtenances plays only the smallest of roles in the final product, the music we hear. I can't imagine artists obsessing over DaVinci's brushes, or baseball players obsessing over Babe Ruth's bat in the way a lot of us obsess over this guitar or that, or this amp or that. Maybe DaVinci did obsess over his choice of brush, and maybe Ruth did obsess over his choice of bat.

But I'd like to think that they just grabbed whatever was handy or practical, and then went about working their miraculous accomplishments.

I know several guitar players who are worshippers of Chet Atkins' style and sound, and they're quite good, too. And yet, none of them plays a Gretsch guitar. They still have a great "Chetster B." sound, though.

Do you see what I'm trying to say?

If not, well...please forgive my ramblings and my rather blunt remarks. I'm a little weird myself, sometimes.

David Doggett · Post by **David Doggett** » 22 Mar 2007 2:27 pm

We're sorry for your losses, Donny. We've all been there, or will be sometime. A little crankiness is understandable. We're always interested in what you have to say.

As for some of us seeming to obsess over the little things concerning instruments and electronics, we may appear to obsess here on the Forum more than we do in real life. One of the great things about the Forum is that one can quickly clear up nagging questions, small and large, by asking trivial and possibly stupid questions. The vast experience here helps make up for the fact that one lone steeler off in some farflung place can't try all the equipment that's out there, and can't perform every little stupid experiment that can be thought up. But more often than not, somebody somewhere has some relevant and possibly hard-earned experience. Mine and others seemingly trivial questions have sure taught me a bunch, saved me a lot of time and money, and helped me home in on just the equipment that suits my needs. Thanks everybody, and you too, Donny.

Now if somebody would just take a look at my stupid question about multiple speakers over in the electronics section...

Johnny Cox · Post by **Johnny Cox** » 22 Mar 2007 2:45 pm

Mike, we will be happy to quote a price to anyone interested via email or telephone. It's no big secret, we just prefer to communicate one on one with the customer.
johnnycox@msapedalsteels.com
214-388-0461

Joan Cox · Post by **Joan Cox** » 22 Mar 2007 3:52 pm

I went with Johnny last night to his regular Wed night job at Pearls in Fort Worth and listened as he played Jay Dee's Studio Pro on the job. I was completely blown away by the sound of this guitar. Johnny sounds great on any guitar, but this one has something special. It has THAT sound. Each note seems to jump out of the amp with clarity. The notes are all so round and clean, still having the brilliance that Johnny likes so much. Anyone that was at the Dallas show and heard Jay Dee's set can attest to how great it sounded when he played it. It was a pleasure to sit and listen to Johnny and the band. What a great sounding guitar.
Joan

Paul King · Post by **Paul King** » 22 Mar 2007 4:44 pm

I will say after hearing Jay Dee Maness play the MSA Studio Pro at the Texas show, I sure would like to have one. That set Jay Dee played was awesome and the guitar sounded soo good to my ears. I believe MSA definitely has a winner with the Studio Pro line.

Morton Kellas · Post by **Morton Kellas** » 23 Mar 2007 5:55 am

Donny, Thank you for responding in such an appropriate manner. I have no animosity and wish you the very best that life can bring. I look forward to reading your future posts on the forum. Best wishes.

Gil Berry · Post by **Gil Berry** » 23 Mar 2007 8:32 am

That new guitar is beautiful. And more importantly, has the precision mechanics that MSA has had for years. I own an old D12 black mica MSA that is built like a tank (weighs about the same, too) and with minimal maintenance will probably last nearly as long as that Italian bass mentioned in that thread about cost of pedal steels. When I got a Sierra, though, with the longer scale length, I was astonished at the difference in sustain and tone compared to the MSA. My harmonics were 10 times easier. Now that MSA has come out with a longer scale length guitar, they may have become a contender in the tone competition along with being a beautiful guitar and leader of the pack in innovation and precision mechanics. Now, MSA, how about stretching that new 24 1/4 scale to 24 3/4 or 25 by making a keyless?

Reece Anderson · Post by **Reece Anderson** » 26 Mar 2007 3:18 pm

All of us at MSA wish to again extend our most sincere appreciation for the kind words.

Gil B....As many know, the 24 1/4 inch scale, as well as the chrome strips on the front of the wood body "Studio Pro", represents a wide departure from MSA's long history, both in scale length, and cosmetic design.

As far as your asking MSA about new things.......be sure to visit our display room in St.Louis next September, I'm sure many of you will be extremely surprised.

Gil Berry · Post by **Gil Berry** » 26 Mar 2007 4:07 pm

Reece, I would love to see your booth in St. Louis, but it's a far piece for an old man in California. And please understand, I did not mean to belittle MSA in any way. As I said, I own one and have never regretted purchasing it. As far as tone goes, I have no doubt a player with your skill could make a shoestring stretched across a Prince Albert can sound like a million bucks. But for those of us lacking that gift, that extra scale length seems to help considerably. Which brings out a question: Why? When the bar is placed across the strings, isn't the effective length of the string the distance between the bar and the changer? Why does the length of the string behind the bar make a difference in the sustain? I know it does, but don't understand why. Any of you experts have an answer for this?

David Doggett · Post by **David Doggett** » 26 Mar 2007 7:42 pm

Gil, I'm no expert. But the longer neck, tuned to the same pitch, with the same gauge string will have slightly higher tension, which gives slightly more sustain. The tension will be higher all along the string, in front of the bar and behind it. Alternatively, you could use a lighter gauge string and keep the tension the same - the thinner string at the same tension will also have more sustain.

Johnny Cox · Post by **Johnny Cox** » 29 Mar 2007 9:04 am

Gil, please allow me to jump in here. I just want to point out that there are many differences in every MSA built since we started back in 2002 from the MSA you currently own. I won't go into detail but I will say that extending the scale is by no means the only contributor to the great sound of The new MSA line of guitars.

Paul King · Post by **Paul King** » 30 Mar 2007 3:45 am

Johnny, While the Studio Pro is obviously a great guitar there is one thing that does interest me. Where did the name "Studio Pro" come from? I am just curious as to where the name come from and who came up with the idea.

Larry Behm · Post by **Larry Behm** » 30 Mar 2007 4:15 am

JC when you played JD's guitar out at the gig did you use the Tonealigner pickups he had in it?

Larry Behm

Johnny Cox · Post by **Johnny Cox** » 30 Mar 2007 8:37 am

Paul, Studio Pro was a name that Reece had on his mind for a new guitar designed with recording and live playing in mind. We sought out input from some of the top studio players in the country and put this together with some of ideas we had to come up with the MSA Studio Pro.

Larry, yes I used the guitar as Jay Dee ordered it and was very impressed with the Tone Aligners. They will be in my selection of pickups now.

Herby Wallace · Post by **Herby Wallace** » 31 Mar 2007 8:37 pm

Well, I must comment too. I heard every note that JD played on this new guitar at the Dallas show and I was very impressed with the tone. I have not personally played the new MSA, but it did get my attention when I heard JD play it. Johnny and Maurice, I think you have a winner.

Herby Wallace

Paul King · Post by **Paul King** » 1 Apr 2007 7:00 am

I have commented about the tone of the new MSA Studio Pro before. Even Herby Wallace, who is a great steel player and has his own name on another brand, has commented on the tone of this new guitar. It also tells me Herby Wallace is a first class gentleman to offer his comments on another guitar on this forum. Herby, you are truly a great individual and you have my deepest respect as well as me being a big fan of yours. I can only dream of reaching the level of playing steel you have attained.