Larry Carlton - T7TM LH Naturel
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665,83 €
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Guarantee 3
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Lefthanded Electric Guitar
Sire Larry Carlton T7TM LH Natural Where other T Series Thinlines stay in maple, SonoVente.com's Sire Larry Carlton T7TM LH opts for solid swamp ash under-top mahogany, F-hole and full-spectrum P90 LC Vintage soapbar - brass half-bridge, Edgeless™ rosewood and Sire Premium locking tuners for discerning left-handers.
ARTICLE N° 121967
Presentation
A mahogany body topped with solid swamp ash, an F-hole cut into the body, soapbar P90s where the T series usually places simple coils: from the very first chord, SonoVente.com's Sire Larry Carlton T7TM LH reveals a sonic personality that breaks with the conventions of its own family. The mahogany body forms the basis for a fleshy, sustained mid-bass; the table ash adds a luminous attack that is amplified by the F-shaped soundhole, releasing the high harmonics in the hollowed-out body. The LC Vintage P90 soapbar pickups capture this stratification with a warm, dense grain - their wide pick-up of the sound spectrum and their even output balance between neck and bridge positions make the 3-position selector a genuine tonal sculpting tool rather than a simple switch.
The left hand encounters luthiery built to last. The C-profile hard maple neck engages the palm over a 647.7 mm scale that tightens the strings for a strong pick bite. The Edgeless™ rosewood fingerboard changes the tactile game: dark, slightly porous, it absorbs heat from the hand and glides without grip over the 22 2.7mm Medium Jumbo frets. The 241.3 mm radius secures wide bends without choking the string. The 42 mm bone saddle returns vibrations to the head without mechanical filtering. The 4-bolt steel plate anchors the neck/body junction with a structural rigidity that withstands stage stress.
The vintage T-type half-bridge with rounded brass saddles brings out the bite of the ash in a mellow, long sustain - the brass absorbs just the right amount of shine to balance out the overall effect. The Sire Premium locking action locks the string as it winds, making any tuning drift anecdotal. Visually, the mother-of-pearl/abalone inlays, rounded rectangular blocks on a rosewood fingerboard, the tortoise pickguard, the chrome dome buttons and the chrome finish on the fittings make up a coherent, sober Natural aesthetic. The 10.8 mm string spacing structures the right hand, and the DR Dragon Skin+ DEQ-10 strings deliver even tension throughout the entire vibrating length.
The left hand encounters luthiery built to last. The C-profile hard maple neck engages the palm over a 647.7 mm scale that tightens the strings for a strong pick bite. The Edgeless™ rosewood fingerboard changes the tactile game: dark, slightly porous, it absorbs heat from the hand and glides without grip over the 22 2.7mm Medium Jumbo frets. The 241.3 mm radius secures wide bends without choking the string. The 42 mm bone saddle returns vibrations to the head without mechanical filtering. The 4-bolt steel plate anchors the neck/body junction with a structural rigidity that withstands stage stress.
The vintage T-type half-bridge with rounded brass saddles brings out the bite of the ash in a mellow, long sustain - the brass absorbs just the right amount of shine to balance out the overall effect. The Sire Premium locking action locks the string as it winds, making any tuning drift anecdotal. Visually, the mother-of-pearl/abalone inlays, rounded rectangular blocks on a rosewood fingerboard, the tortoise pickguard, the chrome dome buttons and the chrome finish on the fittings make up a coherent, sober Natural aesthetic. The 10.8 mm string spacing structures the right hand, and the DR Dragon Skin+ DEQ-10 strings deliver even tension throughout the entire vibrating length.
Features
Body shape
T-shape
Type of tuners
Locking
Number of strings
6
Instrument size
4/4, standard
Number of frets
22
Body Type
Chambered
Nut width
42,00 mm (1,654")
Neck material
Maple
Fingerboard material
Rosewood
Scale length
647,00 mm (25,47")
Top material
Marais ash
Pickup type
Passives
Fingerboard radius
241 mm (9,50")
Body material
Mahogany
Hardware color
Chrome
Electronic
Passive
Cutaway
Yes
Pickguard color
Tortoise
Left-handed instrument
Yes
Artist
Larry Carlton
Pickup setup
P90
Neck shape
C
Packaging
Single unit
Bridge shape
Vintage
Color
Natural Wood
Assembly
Bolt-on neck
Other features
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Model : Sire Larry Carlton T7TM LH
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Instrument type : Electric guitar
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Series : Not specified
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Size : T-shape with F-hole
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Pitch : 647,7 mm
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Colour : Natural (NT)
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Finish : Not specified
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Top : Solid marsh ash
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Sides : Not specified
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Back : Not specified
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Bridge : Vintage T-type half bridge (brass saddle)
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Neck : Hard maple, C profile
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Fingerboard : Edgeless™ rosewood (rounded fret edges)
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Radius : 241.3 mm
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Trussrod : Not specified
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Number of frets : 22
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Frets types: Medium Jumbo
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Fret size: 2.7 mm
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Saddle nut: Bone, width 42 mm
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Saddle nut: Not specified
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Tuning: Sire Premium locking tuners
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Fittings finish: Chrome
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Pickup: Vintage P90 LC pickups (soapbar type)
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Preamp: Not specified
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Controls: 3-position selector, volume, tone
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Original strings: DR Dragon Skin+ DEQ-10 bass strings
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Other features and details (not specified)
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Mahogany body with solid swamp ash top
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Sire T shape with F-hole
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P90 pickups with higher output and modern sound
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Balanced output between neck and bridge pickups
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4-bolt steel neck plate
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Mother-of-pearl/abalone rounded rectangular block fingerboard markers
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Chromed dome-type control buttons
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Tortoise cover plate (natural colour)
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String spacing: 10.8 mm
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Sire Premium locking tuners
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Microphones designed to capture the full spectrum of sound
To find out more...
Larry Carlton also left his mark on studio guitarists by a rule he often applied during sessions: construct a solo as a 'conversation', with short phrases and breaths, rather than a continuous demonstration.
In the 70s, he was one of the musicians capable of recording final parts directly onto analogue tape without editing, a very high standard in Los Angeles studios at the time.
He was also one of the first fusion guitarists to succeed in getting a very jazz sound accepted in mainstream pop productions without over-simplifying it.
In the 70s, he was one of the musicians capable of recording final parts directly onto analogue tape without editing, a very high standard in Los Angeles studios at the time.
He was also one of the first fusion guitarists to succeed in getting a very jazz sound accepted in mainstream pop productions without over-simplifying it.
