D'Angelico guitars

[Marcis]

Hallo my jazz friends. Now i am playing mainly my Sadowsky semi- hollow, but I am interested in buying some kind of jazz - box - does anybody heard soethong about D'Angelico guitars ? I was looking for The heritage , but it is hard to find them in Europe...

Thank you in advanve for your answer

[TruthHertz]

Don't bother with the new Korean ones, go for the older ones made on Kenmare Street in New York. Superior tone.
David

[oldane]

Originally Posted by TruthHertz

Don't bother with the new Korean ones, go for the older ones made on Kenmare Street in New York. Superior tone.
David

LOL. Indeed superior tone. However, also superior price (expect 25 grand and above, depending on model and condition) .........

[Marcis]

Yeah the price is good - of course the korean made models are cheaper but i think must find carved one

[TruthHertz]

OK OK, so we're talking reality here. Vestax made ones labelled New Yorker and they were pressed in Japan, I think. I know they were made in Japan, I know they were solid top, but whether they were full carved or pressed, I'm not sure. If they were carved, whether they were tuned or carved to graduation spec, I'm not sure. My memory tells me they were pressed, which sounds a lot better than your average laminate, but not a rich and resonant on overtones as a good tuned carved.

Now there are a few hand builders out there who have built "D'Angelico"s and charged a pretty penny.
Here's one:
D'angelico Excel by Michael A Lewis | eBay

Can you say "cashing in on a name?"
A lot of guitars out there with the D'Angelico logo on them. Methinks one pays a percentage for that mystique.
David

[oldane]

Originally Posted by TruthHertz

Now there are a few hand builders out there who have built "D'Angelico"s and charged a pretty penny.
Here's one:
D'angelico Excel by Michael A Lewis | eBay

Jim Triggs has made copies of D'Angelicos (and Strombergs) with hand carved woods for 20 years. Though not exactly cheapos, they are at a much lower price point than the Michael Lewis in the link. Expect to pay $7-9000 for them. Gruhn Guitars usually has one ore two of them either new or second hand. One can also order one directly from Jim Triggs and have him make it with custom dimensions, neck specs, finish etc. He is very accomodating to customor wishes.

This is a Stromberg Master 400 copy Jim Triggs made for me last year. I am very pleased with it. I guess his D'Angelico copies are just as nice:

[Patrick2]

OK . . . I have to weigh in on this. Firstly, through the years, I haven't been a real big Triggs fan. I know and TOTALLY respect his work as a master luthier. Just was never quite "smitten" by his guitars. HOWEVER!!!! The Triggs orchestra guitar posted above is without a doubt one of the prettiest and most magnificent guitars I've ever seen.

The only D'Angelico replicas ever made that were carved top guitars, were made by.. . and I believe in this order ... Mr. Arturo Valdez, then Jim Triggs, but Jim only made 1 or 2, then Heritage made about a dozen or so . . . . (I have 2 of them) then Michael A. Lewis made quite a few. Any and all of these guitars are of the same quality of craftsmanship as the better original D'As.

I will not comment on any of the Asian imports.

To the OP . . . if you want to buy a Heritage guitar, and have it shipped safely to Europe, then visit this site; www.heritageownersclub.com Seek out a club member with the name .. . "martygrass" He has shipped 17" and 18" hand carved arch tops to Europe, successfully, on more than one occasion. Martygrass can find you a pre-owned one in near mint condition. The savings from buying pre-owned will more than make up for the shipping and import taxes of finding a new one there locally. I hope that helps.

[oldane]

Originally Posted by Patrick2

The only D'Angelico replicas ever made that were carved top guitars, were made by.. . and I believe in this order ... Mr. Arturo Valdez, then Jim Triggs, but Jim only made 1 or 2 .....

Actually Jim Triggs has made quite a number through the years with carved tops and backs, and he still makes them on order. Some of them are more exact copies than others, though. One of them was a blue sunburst comissioned by the late Scott Chinery for his blue guitar collection.

[Patrick2]

Originally Posted by oldane

Actually Jim Triggs has made quite a number through the years with carved tops and backs, and he still makes them on order. Some of them are more exact copies than others, though. One of them was a blue sunburst comissioned by the late Scott Chinery for his blue guitar collection.

I think you may have misunderstood what I posted. What I said was that Jim Triggs made only 1 or 2 D'Angelico replicas, as commissioned by either the D'Angelico family, or the company that bought the rights to the name, which was GHS Strings. Triggs made many "copies" as you have stated. But, they were Triggs guitars, with a Triggs logo on the head stock. One of the things that I could never warm up to, with Jim Triggs, was that most, if not all of his guitars were "copies" of someone else's works. Very little of his own style, inovation, personality was incorporated into his copies. The guy is truly a MASTER luthier. But, most of his work was copying . . . and . . . yes, improving upon someone else's work.

According to book author Frank W/M Green, what knocked Triggs out of the running for "replicas" of the D'As . . was his request for $50,000 per guitar. If you have a chance, you may want to pick up a copy of . . "D'Angelico . . Master Guitar Builder . . What's in a Name" by Frank W/M Green . . published by Centerstream. It is a wonderful read. The entire story of John D'Angelico's original guitars . . with some great photos . . as well as the complete and accurate history of all of the replicas. My New Yorker, number 1027, built by Heritage, is shown (unfortunately in black and white) on page 86.

You'll have to excuse my bragging on it . . . but, I'm quite proud to own it. It's an amazing guitar!

[fws6]

Last month there was a stunningly beautiful original DAngelico Excel on ebay priced at 12,500 and noone bought it. Right now there is a Michael Lewis copy on at 21,500 ... makes you wonder doesnt it.

Personally, I think the whole idea behind the replica's is kind of awkward. I am lucky to have some of the older instruments. But if I would buy a new instrument, I would buy a design of today, Collings, Holst, Andersen, Mirabella, Moll etc. Someone who builds in the tradition of the past with their own ideas on top. I would never buy from someone who is trying to redo the past and then has to make up a 1000 excuses why it would be just as good.

I understand that large companies like Gibson, Epiphone, Fender are still making guitars when there founding fathers are no longer there. They were founded and built for that purpose - to mass produce instruments and supply as many customers as possible. But I dont understand that DAngelico or DAquisto guitars can be made by Lewis, Triggs, Heritage, or in Japan / Korea. For the simple reason that there never was an original DAngelico factory. Just one man making one guitar at a time, putting his own name on it.

I wouldnt hestitate to buy a Triggs or Lewis or any other quality builder's guitar today. But please let it be one of their own design, and with their own name on the headstock.

Let me make this comparison; you can still buy a Ford today even though Henry himself is long gone (=mass product). But wouldnt it be strange if an artist today would paint sunflowers and then deliberately sign it with "Vincent Van Gogh" ? And then try to sell it for the same price as an original claiming it it is just as good ???

[MGI]

Is this design original enough?

[fws6]

>Is this design original enough?

Well I am not the judge of anything, what I wrote above is just my personal opinion and others will undoubtedly differ.

What you are posting is a very original design indeed, which can only be applauded.

[stevedenver]

well i own a triggs-kind of an L5C with a D'A headstock-

he does very fine work
and
its is far superior to any modern Gibson L5 ive ever played



as for orignal design

it is my opinion that guitarists, generally speaking, are very conservative

all of us lust after whatever our favorite players used or those instruments we feel beautiful or iconic

personally for me it is a ...an L5 and then a New Yorker (and im working on this last one-probably a Triggs )
but i also lust after many of the newest designs-but i know im odd in this regard (and likely others LOL)-i also simply cannot afford 10K-12K + for many of the guitars i love

my point is that guys like mr triggs have to pay the bills, and they do that by being able to sell guitars-guitars that most folks want and not too far out of sight prices -something familiar and well built and beautiful-and that will sell

so id say some luthiers seek a different market-
instead of selling 1-2 $25k + guitars each year, he sells 40 or more guitars and now mandos

one can buy the Triggs "L-5 " the San Salvador, for about 5500 new -hard to touch any Gibson for that price-my point is that I have wanted an L5 style guitar for decades-but was always out of my range-but i felt comforatbel buying a triggs based on his reputation , the amaznig quality and tone and feel, and the likelihood the guitar would be re-sellable in the future-his background and association with Gibson i think makes him more accepatable to a neophyte -hes as Gibson as Gibson in terms of specs and far better in quality and detail-better guitar than ill ever be a jazz player i imagine


i think if one looks at innovative offering from the major producers, be it a Fender Starcaster, the stratocaster Elite, the Les Paul recording guitar, the Les Paul with Moog electronics, Rigel mandolins etc etc-none were accepted

frankly too, while i dont buy instruments to re-sell-i do consider IF i would be able to re-sell-its hard enough to sell a non-'name' guitar regardless of quality (because most folks want the name or have been convinced only the name is good, or its what will make them happy, admired, etc etc)

so at least having a guitar that is familiar in style can help in this extremely limited market

in my visits to other guitar forums, i think many do not play jazz, but they lust after the name and the design and the pedigree-not necessarily the performance

as for replicas-thats what you may seek when you cant afford the real thing,
i bought a pseudo replica (in my mind) telecaster by a maker thats particularly gifted at building teles that sound like really old ones-they look brand new-and have his name -not fender's-bought it because it sounded and played like a real one and cost about 22k less-

i think creativity is wonderful, but in running a business, so you can get folks to buy, and stay in business and make a name, and guys like Mr Chinery to recognize your work, sometimes one polishes rather than re-invents-then later, you may have the ability to re-invent once you have the stability and reputation-chicken or egg i suppose-but with all the models and makers of guitars, it never ceases to amaze me how the big 3 seem to be what the majority of guitarists seek

as for the 50K -one never knows why-given Mr Triggs own pricing, i can only imagine that either the specs and woods may have justified, the licensing, or many other possible legal or business considerations-the best guess i can think of-it was a way of saying no thanks-its what i do when i am offered work i dont really want to do or be associated with......or otherwise be held captive

[carlescountry]

A very rare in Europe D'Angelico Vestax NYL-1: Top: Hand-carved solid German spruce

D'Angelico NYL-1 Jazz Guitar in Tobacco Sunburst - Very Rare!

[hot ford coupe]

Originally Posted by carlescountry

A very rare in Europe D'Angelico Vestax NYL-1: Top: Hand-carved solid German spruce

D'Angelico NYL-1 Jazz Guitar in Tobacco Sunburst - Very Rare!

That is a definite rarity. It would look better with the metal tailpiece. I wonder how the sound differs from the standard version and if it's worth all those extra bucks. That's a lot 'a dough.

Frank, you brought up a very interesting point that I've been thinking about since you wrote it. The example of the Van Gogh is a perfect analogy. Why pay the same for a copy when you can get an original for the same price? True, the original painting is rare to say the least and I can understand someone wanting a copy to put in their home if they're a VVG fan but it will always be a copy and should never command the same price as the real one. I don't feel that the making copies of the D'As is wrong. I think trying to make perfect look and sound alikes is fine but charging more than the originals for them and saying they're just as good as the originals is weird. If I were a luthier charging those prices, I would want my own design, sound and name on the thing.

The reason I got my vestax copy was that I'm really crazy about the styling of the D'As. I love the way they look and it makes me feel good to see mine sitting there on the guitar stand when I'm not playing it. Being a historian type, it brings a lot of the musical history of NY to mind. I'm very well aware that this guitar in no way sounds like the real thing or imitates the real thing in any way, but for me, it's strictly a matter of esthetics and no more than that. It's an affordable way to have what I've wanted. Fortunately, it sounds good at the same time.

[ybjazz]

I owned one of these a few years ago before I let it go to a friend of mine since I didn't play it much. However, I found it to be an excellent guitar for a good price. I don't think you'd have any regrets, although I'd dish out the extra cash and make sure you get a case that fits it correctly because the headstock is a little large and I remember it not fitting well in just the average case.

I'm not a big gear nut, nor do I think anything (except maybe a house, or a car) is worth more than $25,000. I honestly think you can find a great sounding jazz box for under 500 bucks if you take the time to look, and take the time to set it up nicely, all of which you can do on your own. I perform full-time and I've been playing on the same piece of crap $300 guitar for the past decade. Many of us full-time players can't afford the prices Luthiers ask for on their guitars, but they need to make a living too, and most of them make a great instrument that'll last more than a lifetime. Most of the guys I know that own the high end custom archtops are actually my students, which oddly enough are doctors, lawyers, and bankers. I had one walk in the other day with a vintage D'Angelico he bought off Ebay and he's still learning how to play over a blues! But if you've got the money, why the heck not!?

[MGI]

Originally Posted by fws6

>Is this design original enough?

Well I am not the judge of anything, what I wrote above is just my personal opinion and others will undoubtedly differ.

What you are posting is a very original design indeed, which can only be applauded.

Thanks!!!

[oldane]

Originally Posted by fws6

Personally, I think the whole idea behind the replica's is kind of awkward. I am lucky to have some of the older instruments. But if I would buy a new instrument, I would buy a design of today, Collings, Holst, Andersen, Mirabella, Moll etc. Someone who builds in the tradition of the past with their own ideas on top. I would never buy from someone who is trying to redo the past and then has to make up a 1000 excuses why it would be just as good.

Actually, before ordering the Triggs Master 400, I did have the same considerations. But obviously, I ended up placing the order. Why? Well, I have always admired the styling of those old big Strombergs. That style have very much been the "classic look" of a big band rhythm guitar, which is exacly what I'm using the guitar for - medium/heavy strings with high action and some relief.

As for many of the modern designs, it's not only a question of the visual appearance. Modern designs are often lighter with thinner x-braced tops as opposed to the thicker parallel braced tops (Strombergs had a single diagonal brace). The sound and plying style are different on those modern archtops. They have a more mellow sound and calls for a lighter touch. The old instruments - especially the Strombergs - are NOT the instrument of chioce for delicate fingerpicking, but they are unsurpassed for heavier strumming for a loud and projecting sound which can be heard in the midst of a full band. My Triggs guitar fulfills that.

Then why not track down and buy an original Stromberg Master 400 in good shape? I might even be able to scrape together the money it will cost (25-50 grand).

First, I don't want to spend that much on a guitar - the price far exceeds its utility value. Second, with such a high price and with the scarcity of the old Strombergs, I wouldn't ever dare take it out of the house, less take it to a gig. I want my guitars to be utility instruments. I'm not running a guitar museum.

Enter Jim Triggs who could deliver the sound and the nostalgic look of an instrument of days gone by. Of course, it's an anacronism. but so is a swing big band with tuxedo clad musicians plying 60-70 years old arrangements from the Basie, Goodman and Ellington book. My Triggs falls right into that time pocket.

[Marcis]

Does anybody know the dealers in europe which sells The Heritage or DAngelico ?

[fws6]

>as for orignal design it is my opinion that guitarists, generally speaking, are very conservative

agreed a 100%. Few (jazz) guitarists are into something wild and completely new. What I said that I would like (if in the market for a new guitar) was an instrument based on the classics yet not a blatant copy, just some currect day interpretation.

Your Triggs is beautiful and exactly like that; it is clearly based on the DAquisto but with modern day looks, finish, and his own name on the headstock. Makes perfect sense to me.

I just do not see the point of him or anyone else recreating a DAngelico (in looks only) and then even put DAngelico on the headstock.

>A very rare in Europe D'Angelico Vestax NYL-1: Top: Hand-carved solid German spruce

again I dont see the point in this mere copy + I paid less for my original DAngelico not so long ago. Quick calculation is that 7000 pound equals 14000 US$, whilst there was an original Excel on ebay a month ago for 12k that noone was interested in. I am sure it is a good guitar but I'd rather have the original handmade item, especially when it is 2k lesser in price

>Does anybody know the dealers in europe which sells The Heritage or DAngelico ?

Heritage would be Welkom to Haar Guitars in the Netherlands.

New Heritage is very expensive whilst used they tend to be undervalued (there is a beautiful Golden Eagle on gbase for 2500 - try to beat that as a good value for an all carved 17" jazz box !)

DAngelico would be home as you had initially posted yourself ? These are the Korean guitars. The DAngelico name is currently under new ownership and will soon introduce a line of USA models as well as a budget line of asian made made models.

[Marcis]

can someone tell me abou D Angelico - which price range is Korea made and which is American made ?

[stevedenver]

you know i agree with the modern aspect and the comments
and that what i would have chosen -but those instrument command a much higher price

i wanted high end utility as well as a simple joy in looking at it and playing it

-but
i am so grateful that we live in a second golden era of guitars-
as a guy that grew up in the 60s, i remember the competition was limited, the quality was take it or leave it

today-you can buy a F style mando far superior to Gibson and but for the name-identical design
the same for Martin style guitars
etc

the imitation factor has in some ways, other than brand fixation, really helped with overall quality and in some ways better prices imho

as far as the same name on the headstock-i know this has been done with Les Pauls by some builders -basically an uber clone-the buyer gets to sport the 'clothing' and has a better-than-Gibson made instrument

[Patrick2]

Originally Posted by stevedenver

well i own a triggs-kind of an L5C with a D'A headstock-

he does very fine work
and
its is far superior to any modern Gibson L5 ive ever played



as for orignal design

it is my opinion that guitarists, generally speaking, are very conservative

all of us lust after whatever our favorite players used or those instruments we feel beautiful or iconic

personally for me it is a ...an L5 and then a New Yorker (and im working on this last one-probably a Triggs )
but i also lust after many of the newest designs-but i know im odd in this regard (and likely others LOL)-i also simply cannot afford 10K-12K + for many of the guitars i love

my point is that guys like mr triggs have to pay the bills, and they do that by being able to sell guitars-guitars that most folks want and not too far out of sight prices -something familiar and well built and beautiful-and that will sell

so id say some luthiers seek a different market-
instead of selling 1-2 $25k + guitars each year, he sells 40 or more guitars and now mandos

one can buy the Triggs "L-5 " the San Salvador, for about 5500 new -hard to touch any Gibson for that price-my point is that I have wanted an L5 style guitar for decades-but was always out of my range-but i felt comforatbel buying a triggs based on his reputation , the amaznig quality and tone and feel, and the likelihood the guitar would be re-sellable in the future-his background and association with Gibson i think makes him more accepatable to a neophyte -hes as Gibson as Gibson in terms of specs and far better in quality and detail-better guitar than ill ever be a jazz player i imagine


i think if one looks at innovative offering from the major producers, be it a Fender Starcaster, the stratocaster Elite, the Les Paul recording guitar, the Les Paul with Moog electronics, Rigel mandolins etc etc-none were accepted

frankly too, while i dont buy instruments to re-sell-i do consider IF i would be able to re-sell-its hard enough to sell a non-'name' guitar regardless of quality (because most folks want the name or have been convinced only the name is good, or its what will make them happy, admired, etc etc)

so at least having a guitar that is familiar in style can help in this extremely limited market

in my visits to other guitar forums, i think many do not play jazz, but they lust after the name and the design and the pedigree-not necessarily the performance

as for replicas-thats what you may seek when you cant afford the real thing,
i bought a pseudo replica (in my mind) telecaster by a maker thats particularly gifted at building teles that sound like really old ones-they look brand new-and have his name -not fender's-bought it because it sounded and played like a real one and cost about 22k less-

i think creativity is wonderful, but in running a business, so you can get folks to buy, and stay in business and make a name, and guys like Mr Chinery to recognize your work, sometimes one polishes rather than re-invents-then later, you may have the ability to re-invent once you have the stability and reputation-chicken or egg i suppose-but with all the models and makers of guitars, it never ceases to amaze me how the big 3 seem to be what the majority of guitarists seek

as for the 50K -one never knows why-given Mr Triggs own pricing, i can only imagine that either the specs and woods may have justified, the licensing, or many other possible legal or business considerations-the best guess i can think of-it was a way of saying no thanks-its what i do when i am offered work i dont really want to do or be associated with......or otherwise be held captive

As quoted in the book I referenced by Frank W/M Green, on page 98, Jim Triggs asked for the commission. He is said to have told Frank . . "Commission me to make one of those a year. It will be the best and most ornate inlaid replica you can imagine. The cost is $50,000 a piece".

I don't necessarily agree that people seek replicas because they can't afford the real thing. Some look at replicas as a tribute to an artist, or a luthier, or a time and period in the guitar making industry. Many of the people who bought the high end replicas from Valdez, Heritage, Triggs and Lewis . . did so because they liked the guitars. Many of them own originals and others could easily have afforded originals. They are NOT the same people who are buying the $1,500 Korean replicas. The unfortunate part of it all was that the people who bought the rights to the name, went off shore to low cost builders to produce something that looks like a D'A. Those are the people who are trying to cash in on John's legacy . . . not the Jim Triggs and Michael Lewis of the guitar making world. Triggs asked an astronomical price because he understood what it would take in blood sweat and tears to recreate and in fact improve on John's work. That's also why he was looking to limit it to 1 guitar per year. Believe me, he wasn't going to get very rich on that $50,000 price tag. Heritage's replicas were originally priced out at $11,000. But, they were able to take advantage of the economies of scale, in that they are a manufacturing plant and not an individual boutique builder. As for Michael Lewis . . . just take a look at his replica number 12-036. It's a "New Yorker Supreme" . . as he calls it. It's a bit over the top gawdy for me . . . but, one look at it will tell you the reason his work is so expensive. As for me . . . I would put the tone, sound, playability and fit and finish of my Heritage built New Yorker and Excel up against any original or replica D'A ever built . . . by anyone.

[whatswisdom]

Originally Posted by fws6

I wouldnt hestitate to buy a Triggs or Lewis or any other quality builder's guitar today. But please let it be one of their own design, and with their own name on the headstock.

I met this guy yesterday and really liked his vibe. Just thought I'd give him a mention here as I haven't seen his name around. I'm going to check out his guitars next week:

archtops

[carlescountry]

Non-controversial, what do you think about this letter of Jack Grassel that appears on the website of J. Hale Music in the section of korean D'Angelico?

Jazz Guitarist Jack Grassel purchased an EXS-1DH from us and he uses this guitar on nearly all of his gigs. Recently we received the following email from Jack:

Dear Mr. Hale,
I was in Minneapolis for a gig recently and visited all the guitar stores. I came across a DAngelico from the early 50s that had recently been purchased by the store from the original owner. It was the same model that the one I purchased from you is based on. (EXS-1DH)
Since I had never played a "real" DAngelico before, I asked for permission to play it. They said yes, and I spent an hour with the guitar. It felt so much like the new one I bought from you that I began to wonder what it would be like to alternate playing the two guitars. So I brought my new DAngelico into the store.
After going back and forth many times, I could not tell the difference in feel, weight or balance between the two guitars. The necks and bodies felt identical. The old one had a slightly heavier sounding bottom end but mine had a straighter neck, better action and more comfortable finish on the back of the neck. The only real difference was that the old DAngelico 's price tag was $30,000.
Until this amazing opportunity presented itself, I had never played a vintage D Angelico. It increased the respect I have for my new guitar.
I know many guitarists who own new DAngelicos and love them as I do. If someone says something that isn 't positive about the new DAngelico guitars, I suspect that they haven 't played a vintage one. I 'm astounded to realize that these new less-expensive-ones are almost identical to the originals.
Thanks for making the D Angelico available to me. It 's the guitar I play 90% of my gigs on and practice exclusively on. I 'm going to buy another one as a spare.
Jack Grassel


This is the site. The letter is at the end of youtubes:
D'Angelico Guitars from J Hale Music

[JohnW400]

I wasn't aware that John D made a 16" laminate with 2 routed pick-ups. I thought almost all his stuff was carved with floaters


description from from site: "EXS-1DH: Instrument features 16" laminate construction with pressed solid spruce top, twin built-in Kent Armstrong pickups, "

Anybody know for sure?


And BTW, I found this site
http://www.fine-instruments.net/dangelico.html

Might be helpful for the OP

[fws6]

yes John D.A. also did build guitars with laminate bodies and set in pickups. The bodies and electronics were bought from others and he added his own necks. That way he could also make instruments for less wealthy customers.

But if the quote above describes a DA from the 50s with a price tag of 30k it better be a carved top Excel or NYer. And in no guitarist ears this will sound the same as a new laminate electric. That would be the same as arguing yoiu just played a strat and a Les Paul and they sound identical.

[JohnW400]

I heard that as well but I thought he bought the bodies from Guild.

I guess what threw me was that I thought they were both acoustic instruments. It wasn't until after I read that this model was a laminate could I understand Jack Grassel's comments.

Jimmy D'Aquisto also did some laminates. I'm told he used some bodies made by Hagstrom. These models come to market once in a while and although expensive in their own right, they go for a fraction of what a carved D'Aquisto sells for.

To me it's a little misleading. Without knowing the history one could infer and assume that the Korean versions are just as good as the original John D'Angelico carved guitars.


It's too bad the names were sold off. These two (D'Aquisto and D'Angelico) were more than just guitar makers. They were artists. It seems almost disrespectful that their names be used on instruments not made by them.

Yes I'm aware of the counter argument that Leo and Orville are long gone but Fender's and Gibson's were always*factory* made guitars.

There are Jimmy D'Aquisto clones. Those made by Aria and those made by Sadowsky. At least Roger had the good sense to pay respect to Jimmy by not putting Jimmy's name on his Jim Hall model and just using Jimmy's design.

[hot ford coupe]

I can completely understand why oldane had his Stromberg copy built. He needed a new guitar and wanted to use it in a very specific way. Jim Triggs knew exactly what he wanted and custom built an instrument that would do exactly that. Why reinvent the wheel? Jim used a tried and true design on a guitar that would do what oldane wanted. Making it look like a Stromberg was also a customer request. Then Jim put his name on the thing. Now you know just who made it and why.

As far as the D'A copy sounding just like the real thing, I remember George Gruhn on a video saying it's very likely that a poorly set up instrument can sound inferior to a lesser quality guitar. This could have been the case. Also, each D'A was buit with a particular player and purpose in mind. It's a fact that many of the D'As made in the 50's were made to be used strictly with a pickup, usually a DeArmond. John D. made those with thicker tops to resonate less to help squash the feedback. He even made one of Chuck Wayne's guitar completely lined inside the body with green pool table felt even over the F holes to cut out the feedback. Can you imagine how that might have sounded acoustically. Probably similar to a laminate. Bottom line? Each D'A sounds different from one another. Plus, each player sounds like him/herself on different guitars. Go from there.

[carlescountry]

It's true, there are D'A with the body made for others.

A laminate D'Angelico G-7 with two P-90:
1959 D'Angelico G-7 Natural > Guitars : Archtop Electric & Acoustic - Monkton Guitars | Gbase.com

And other:
D'Angelico G-7??????