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Hello Coolvinny,
Originally Posted by coolvinny
Bryant is under a lot of pressure in line with huge interest for his masterpiece. He will soon start with work on my Jazz Special with 25" scale, vintage, dark, sunburst and CC floating (Pete Biltoft). This waiting period is worse than the covid pandemic, but we will survive it all.
I'm archtop guy but Paulleta is very interesting choice. Are you satisfied?Last edited by Fal Tarlow; 11-26-2020 at 06:22 PM.
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11-26-2020 05:01 PM
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Another Jazz Special with floater! That's great to hear. The video of "Out of Nowhere" Bryant posted of my Jazz Special played acoustically doesn't even come close to doing justice to its acoustic tone now that it's settled in and has TI Bebop 13's on it (I use a thick unbeveled Blue Chip KS60 pick FYI...to me it gets the best acoustic tone out of any guitar). Not even close. You'll love the guitar Originally Posted by Fal Tarlow
As for the Pauletta, yes I'm totally satisfied with it. While I could do without the functionality of the bridge pickup (and that would reduce the weight a bit), I bought it in part as my tribute to the Les Paul wielding guitar gods who got me into blues and jazz (Duane Allman, Mike Bloomfield, Bluesbreakers-era Clapton) and it really needs the bridge pickup to fully cop that bit of nostalgia (I had a Heritage H-150 with the same amber sunburst in my blues days, and in fact I named her "Amber" which is the same name Slaman named this guitar!). It's an amazing instrument with a to-die-for neck (1.75" nut width, perfect shape and perfect depth)...in fact my favorite neck of any guitar I've every laid hands on. Having said all that, sometimes I think about selling it simply because I hardly use it...but I also know that as soon as I sell it some need will arise for a solid body. I've used it at big band practice to good effect. I'm half-hoping that Metheny's use of Slaman guitars will lead to a parabolic increase in market value along the lines of Manzer...
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So I take these jazz combo classes run by a local music institution where they get top local pros to "lead" different combos...we all stand far apart, wear masks and every week we think they're going to cancel it due to the pandemic (especially recently), but so far they have continued since starting up again in September.
Point is, we had one last night where the drummer couldn't make it, so it was just bass (no amp), two guitars and the pro on piano. During the bass solos (if piano was laying out) I actually had to be careful not to be too loud comping with my Trenier even when my volume all the way off...on a laminate 2.5" deep guitar.
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If the bassist isn‘t a Ray Brown clone, pulling thunder out of his fiddle when taking a solo unplugged then a full out comping with that guitar -also unplugged- would indeed be too much. Restraint is always the best advice and I try to channel Jim Hall in these situations, strumming/ picking VERY lightly, only using 2- or threepart voicings, sometimes even just one string, a la Freddie Green ...
some bassists don‘t want any comping but I often think that for the listener it can provide some sort of guideline through the changes and the form of the song. It’s a good thing to practice , paring the harmonies down to the bare minimum while still connecting them in a musically meaningful manner.
Re the particular qualities of the guitar(s) in question I think this model is even better suited for this way of playing than a comparable archtop made out of solid woods. So far my own Jazz Special performs (in my usual small group settings) just great , giving me a strong, warm and balanced lead tone and with a twist of the volume knob it backs down to a nicely dry , very acoustic tone that‘s perfect for comping. Arguably better than my Super-400, which kills as my note-cannon in loud situations....
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For those waiting for a Trenier Jazz special - I can only say it will be worth waiting for. It will be like no other laminate you’ve played.
It truly blends attributes from a solid carved guitar with the warmth of a laminate - producing a surprising amount of volume ( acoustically)- with a beautiful woody warmth vibe. My Jazz special (plugged in )sounds like Jim Halls tone.
Bryant is in final set up with my “Trenier Georgian “ - so hopefully you guys are getting closer.
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Thanks Trenier sensei. Originally Posted by QAman
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Here is another great video made by the talented Will Sellenraad playing his Trenier laminate with a real vintage Charlie Christian pickup. Enjoy!
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Can't wait to see your finished instrument next year Fal! Sounds like it's not a million miles from what I have in mind. I just received a very clean 1948 Dearmond FHC pickup from another forum member in readiness for a future space in Bryant's schedule. Originally Posted by Fal Tarlow
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Bryant just shared some photos on Facebook and Instagram of the last Jazz Specials of 2020:
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Stunning jazz specials!!!
One day...
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Those are some sweet-looking, music-making objet-d'artes!
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Still excited for my Broadway 2020. Er, 2021. 2.5 years of wait hoping it's worth it, but glad I jumped on a 1928 L5 when I did. That has more than tied me over lol.
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Wow! These are beautiful!
Originally Posted by David B
Bryant just shared some photos on Facebook and Instagram of the last Jazz Specials of 2020:
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I know the three gentlemen getting these instruments and they are going to be amazed at the tone Bryant creates with these Jazz electrics. These guitars are really incomparable , and have what I now describe as the “Trenier sound “ - which is a warm resonant responsive vibe with endless sustain and ease of playability.
The guitars are very light weight ( for a laminate) and a joy to play both amplified and unplugged
They have become increasing popular over the past few years - and those who own them know why.
What a great Christmas present.
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For those interested -Bryant just posted a video playing all three jazz specials.
He uses an old iPhone6 like me- but you can still get an idea of the tone.
Trenier Guitars
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One thing that I suggest all of you waiting for your archtops from Bryant is to clarify with him your preference for finger rest clearance below your high E string. My 17” Artifex archtop from Bryant (which I love...
) arrived with its finger rest only about 1/8” (3 mm) offset from the high E string where I typically pick which was too close for me. This may be fine for some players but it was too close for me (my pick would hit it).
A luthier friend of mine was able to adjust it for me to about a 1/4” to provide a bit more clearance (6 mm) shown below.
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That is a gorgeous tone. Trenier guitars truly sound as good as they look! Originally Posted by QAman
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You can watch a Trenier Jazz Special in great hands tomorrow, Saturday 16 January, as my friend Nick Costley-White leads a group in a live-stream performance, presented by London venue/band/organisation Kansas Smitty's. Kansas Smitty's pivoted quickly last year from a small basement bar (and one of my favourite London jazz venues) to high-quality streaming from a professional studio.
Nick is going to be performing music from Pat Metheny's 'Bright Size Life'.
8pm London time, on the Kansas Smitty's Facebook and YouTube pages. The video will stay up on YouTube for a day or two afterwards.
YOUTUBE: Kansas Smitty's - YouTube
FACEBOOK: Kansas Smitty'sLast edited by David B; 01-15-2021 at 01:58 PM.
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Thanks for sharing ! Great playing..... Originally Posted by David B
and the Trenier Jazz electric sounds great. Very smooth and pure sounding timbre to the voice.
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Just posted this on my thread looking for pickup recommendations but thought I would share it here on the Trenier thread too. I usually practice late at night when the family is asleep so I love the warm sound of this guitar unplugged
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Nice playing Paulie2- you can hear the beautiful round ring to the Trenier voice. Originally Posted by Paulie2
Thanks for sharing.
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Tuesday 23 February at 8pm GMT, Nick Costley-White is playing duo with vibraphonist David Mrakpor. Live-streamed by Kansas Smitty's on YouTube and Facebook. Tunes associated with Ralph Towner, Gary Burton and other favourites.
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My snakehead next to someone's excel. Seeing this pics reminds me I forgot to ask for no first fret inlay. Whoops.
(I like my burst better)
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Looking nice - thanks for sharing !
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NP. I just pasted it over from FB. Getting updates on this guitar is pretty much the only thing I use facebook for. Originally Posted by QAman
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They both look beautiful! Originally Posted by omphalopsychos
My snakehead next to someone's excel. Seeing this pics reminds me I forgot to ask for no first fret inlay. Whoops.
(I like my burst better)
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Originally Posted by omphalopsychos
Keep sharing any progress, I would love to follow along with the build
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Two beautiful bursts! As you know J, I'm considering a similar vintage burst for my Jazz Special.
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Paulie, Originally Posted by Paulie2
Here are three more shots from Trenier's Facebook post this morning:
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Bryant hand rubbed these finishes - and when the clear is applied and buffed out ...it will look like a Loyd Loar period finish.
My Broadway looked like yours at this stage and the finished product was extraordinary.
You fortunate to be getting one. My Trenier Broadway is equal in every way to my original 35’ D’Angelico snakehead. Neither of which will be sold anytime soon.
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Oh that's funny. You have a Trenier Excel and a DA Snakehead. I'm getting a Trenier Snakehead - should I get a DA Excel to match you? If I hadn't recently heard some horror stories about Rudy's I might have had one by now. Originally Posted by QAman
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I sold my Trenier Excel to a friend - and it’s now in the possession of Gary Larsen.
Gary is a big time D’Aquisto collector and and enjoying the reincarnation of sorts , in a Trenier.
You will love this new guitar.
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Sorry, QAman. By Excel, I was referring to your Broadway. As you know Bryant uses Broadway generically to refer to his 16” parallel braced guitars modeled after 30s archtops. Your Broadway seems to be modeled after a mid 30s Excel. When I said Excel I wasn’t referring to Bryant’s other 17” model.
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Oh - I see what you mean. No problem my friend. I’m excited for you......I know how good it’s going to be.
When I picked up my Broadway - I told Bryant it felt like I was at Kenmare street picking up a new D’Angelico. The guitar brought tears to my eyes. We were bought teary eyed.
I had the same emotional response with my new Georgian. Bryants guitars just keep getting better, and better sonically.
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Oh I'm totally prepared to cry when this gets here.
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Special into a 1940 EH 185. Sounds pretttty good.
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Nice playing - and oh that beautiful round smooth timbre of a Trenier Jazz electric. I was playing mine yesterday - it was from the first batch and I’m glad to own it. Originally Posted by omphalopsychos
In the late eighties and into the early nineties I had the opportunity to play a few of the D’Aquisto electrics during my visit to Jimmy’s shop. In my opinion - Bryant’s 7 thin ply plates enhance the original design by adding a beautiful warmth and responsiveness. I also feel the Trenier guitar is easier to play then the original D’Aquisto.
Sent from my iPhone using TapatalkLast edited by QAman; 03-07-2021 at 11:57 AM.
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Just dropped my Trenier archtop off with my local luthier for the first time since I acquired it for a pickup swap and setup. He was excited and raving about the build quality, fret work, the pickguard, cleanliness of the work, etc. Cool to see someone who knows their stuff being excited about an instrument that I own.
I will report back on the setup and new Lollar pickup as soon as I have it back in a couple weeks
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I highly recommend that you do so. Originally Posted by omphalopsychos
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interesting snakehead. I wonder if John himself retrofitted the NYer t.p. or someone else did. Originally Posted by ThatRhythmMan
I highly recommend that you do so.
if he did I wonder why he didn't use a shorter Excel t.p. [I've seen that on another snakehead]
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John did it for the original owner (Andy Jackson) in the late 30s. There are a few pics from Jackson’s time with Edgar Hayes which show the tailpiece on the guitar. Originally Posted by wintermoon
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I'm curious about the Trenier. Is that a recent acquisition? Originally Posted by ThatRhythmMan
I highly recommend that you do so.
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Steve - Can you elaborate? Originally Posted by QAman
Albert
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Hi Albert,
Its been such a while I thought your question was about my Trenier Broadway.
The Trenier Jazz Electric has a thin 7 ply laminate, and the adjustable slotted tail pc bracket, which was not likely on the earlier D'Aquisto electrics that I played in Jimmy's shop. The slotted tail pc bracket enables you to adjust downward pressure on the top and affects string tension and playability.
In my opinion, for a modern archtop, the break angle intersect at the tail pc should be on plane with the fingerboard or slightly below. Jimmy D'Aquisto was realizing this on the later period guitars- which contained the slotted bracket. This necessitated a flatter neck set....which Jimmy was doing. He was essentially creating the modern solo archtop, and bringing in some flat top characteristics.
So - for example, if you put a straight edge on the fingerboard and visually extended it through the bridge it should hit the point where the strings enter the tail pc, or slightly below. My Georgian is set up this way and its responsive to the lightest touch - with tons of volume.
Now, if we were playing in the big band Era, the break angle would need to be steeper to project a bright punchy sound - with less sustain.
I attached a pic of my Jazz electric and Georgian so you can see the shallower angle from the bridge saddle to the tail pc. It’s hard to see the plane I’m referring to- but you get the idea.
Last edited by QAman; 03-13-2021 at 06:27 AM.
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Final countdown..
Will things ever be the same again?
Spruce veneer top, PGs HCC pickup, QAmans brown burst..
Thanks for your help during the waiting period.
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Your getting closer. Great choice with the finish and CC pickup - it will be a warm lush sounding guitar. Originally Posted by Fal Tarlow
Final countdown..
Will things ever be the same again?
Spruce veneer top, PGs HCC pickup, QAmans brown burst..
Thanks for your help during the waiting period.
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Thanks for illustrating that. I see what you mean, and it makes a great deal of sense. Many thanks! Originally Posted by QAman
Hi Albert,
Its been such a while I thought your question was about my Trenier Broadway.
The Trenier Jazz Electric has a thin 7 ply laminate, and the adjustable slotted tail pc bracket, which was not likely on the earlier D'Aquisto electrics that I played in Jimmy's shop. The slotted tail pc bracket enables you to adjust downward pressure on the top and affects string tension and playability.
In my opinion, for a modern archtop, the break angle intersect at the tail pc should be on plane with the fingerboard or slightly below. Jimmy D'Aquisto was realizing this on the later period guitars- which contained the slotted bracket. This necessitated a flatter neck set....which Jimmy was doing. He was essentially creating the modern solo archtop, and bringing in some flat top characteristics.
So - for example, if you put a straight edge on the fingerboard and visually extended it through the bridge it should hit the point where the strings enter the tail pc, or slightly below. My Georgian is set up this way and its responsive to the lightest touch - with tons of volume.
Now, if we were playing in the big band Era, the break angle would need to be steeper to project a bright punchy sound - with less sustain.
I attached a pic of my Jazz electric and Georgian so you can see the shallower angle from the bridge saddle to the tail pc. It’s hard to see the plane I’m referring to- but you get the idea.
Last edited by citizenk74; 03-13-2021 at 05:27 PM. Reason: Capitalization
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I experimented with the tailpiece height for quite some time when I got my Jazz Special, along with different types and gauges of strings and I strongly suggest every new owner does the same - these guitars are so responsive and "efficient" (in lack of a better word) that the slightest changes in these parameters will be heard and felt. My guitar was put together in early 2019, finished by April and I had it my hands by early July - it's nicely settled in now and I THINK I have found the optimal combination of string gauge+type, action and general setup by now which works for ME and my special requirements. Very interesting journey and mos. def. a learning experience ... I'd LOVE to get my hands on one of these 16" solid-wood archtops .... so tempting !
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Finally got the Lollar Imperial in my Trenier to replace the Duncan it arrived with. Wow, what a huge upgrade!!! I had a thread on the forum and a lot of people recommended this model. I reached out to Bryant as well and he confirmed those recommendations as one of the best choices for what I am looking for.
It just "feels" better to play, as the notes have more of a creaminess to them, similar to the 57 classics in my 335. This gave the guitar better warmth, better clarity, and much better evenness in response across all strings when compared to the Duncan. The had SD had a stark contrast between the wounds and unwounds and was more brittle sounding. The only trade off, which is not necessarily a bad thing at all just different, is that this is more "electric" sounding than the Duncan, if you know what I mean. Its hard describing these concepts of tone.
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