I was so impressed with both the Artist, and his new gear that I called Bruce Zumsteg the following Monday and asked him to build me a Hybrid. At that time Bruce informed me that certain aspects of the final design, and other production issues would have to be finalized, and that there might be a wait of a year or more. For me this was not a problem, and I told Bruce that whenever he felt the design was ready for production, that I wanted one.

My new custom Hybrid arrived last week, and I must say that it has far exceeded my wildest, and most optimistic expectations. The guitar is simply the finest I have ever laid hands upon. (And friends, that's a lot of guitars.) My reference model is my 1967 PP Emmons, so you can imagine how high the bar has been set regarding sonic quality.

The process of having a custom made instrument was fun, interesting, and Bruce made the entire endeavor an exercise in the pursuit of excellence. Bruce's essential concern is always to provide the ultimate in customer satisfaction, and excellence in his handiwork. All questions that I had regarding the process were handled knowledgably, and patiently by Bruce, who made me feel that I had a very collaberative role in the process.

I will write more about the new guitar soon and will get some pics posted within the next week or so.

It's black mica with pearl inlay, and retro style "butterbean" kluson type tuners, and it's a tone monster, that sustains forever, tunes beautifully, and plays like a ferarri.

John Widgren and I parallel-ordered, parallel-obsessed about choice of finish and setup, and then parallel-received these two absolutely wonderful instruments.

Mine is a rosewood mica with pearl inlay strips and Kluson tuners. My previous instruments have included a '69 Emmons and a Franklin, so I too am comparing the new Zum to some significant reference points.

I completely agree with John in his assessment. The Hybrid has by far the longest sustaining tone I've ever experienced. It has growl and hair. It has fat unwound strings not unlike the push-pull. It stays in tune. Plays like a Porsche. Looks great. I love it.

The design of the new changer provides body contact in all changer positions--neutral, raise, and lower; and you can feel the vibrations coursing through the whole steel, down into the legs and pedals.

It's not news to report that commissioning a steel from Bruce Zumsteg is a complete pleasure. He has understood and delivered on every request I've made, and a few I should have made but neglected.

The standard tuning machine on Bruce's guitars are the more modern (and actually better) Gotohs, or Schallers, or the hi ratio, hi quality type.

The more modern tuners definitely work better!

Bruce cannot warrantee the Kluson type tuners against backlash or slip. Bruce informs me that the modern type tuners sound great, and work better..

I chose to go with the Kluson type because I was looking for a very specific vintage look and sound. (This was a custom option) I have been playing PP's for years, and am very familiar with the less than perfect characteristics of the K type tuners, and I'm willing to deal with them, and perhaps replace a tuner or two every few years if necessary. The K type tuners do contact the headstock more directly than the modern tuners.

Nothing is a panacea, what works for me is certainly not for everyone. I am admittedly somewhat of a "vintage nut", and sometimes I think I hear stuff that no one else does. (...the voices, the voices...)

On a given string, the longest raise stroke (the greatest raise in pitch) is stopped not by a stop on the pedal or knee lever (as with an all-pull guitar), but rather by the scissors itself striking the cabinet (as on an Emmons push-pull mechanism). Lesser/shorter raise pulls on the same string do not contact the body, but rather the usual pedal/knee lever stop as on a typical all-pull. Just as on an Emmons push-pull, the body contact raises must be carefully adjusted to achieve firm contact, but not to overpull, and thus overstress, the mechanism.

In the neutral position, and also during lowers, the scissors rest against a heavy stop-bar through which stop screws are threaded, permitting pitch adjustment for open strings (again, as on a push-pull).

It seems that firm mechanical contact between parts promotes the transportation of vibration between those parts. That's why, I think, the Hybrid Changer contributes to sound and sustain, and perhaps why the Kluson tuners may also be a factor (no bushing between shaft and keyhead).

Except with a with a partial raise, both scissors fingers are always in contact with a stop

With the partial raise, the lowering scissor part is in contact, but the raising scissor part is floating.

I believe pricing can only be determined by talking to Bruce.

[This message was edited by Rob Segal on 23 February 2005 at 11:26 AM.]

I had the incredible experience of playing with John Hughey this fall, when I sat in with the Time Jumpers in Nashville. I heard John playing a LeGrand up here in July, and he sounded great as always, but when I played with him, he had his new Hybrid, and it was just incredible...now, we all know John could make 10 rubber bands on a cardboard box sound amazing, but there was something extra fine in that Zum sound and it sold me, so i am on the list for spring '06. Your posts further convince me i made the right decision, and all I need to do is keep practicing so I'll be closer to worthy of such a great axe!

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http://www.johnmcgann.com
Info for musicians, transcribers, technique tips and fun stuff. Joaquin Murphey transcription book, Rhythm Tuneup DVD and more...

[This message was edited by John McGann on 26 February 2005 at 06:49 AM.]