-
[QUOTE=QAman;1285938]Here are a few pics of inside the brochure
It’s great to see a mention of Barry Morton on the brochure. Lessons with Barry was almost a rite of passage in my town. Roger asked about him when I ordered my B120 - I had no idea he was connected as a rep.
-
09-10-2023 09:59 PM
-
Today - I picked up the completed B165 and the Jazz solid. It was a great sun filled day to drive through Manhattan and see Macys all decorated - and thousands of people scurrying around town. You could feel the Holiday buzz.
As for the B165, it took some convincing on my part to have Roger leave this as an acoustic laminate with a just floater. He really wanted to cut that pickup in the top- but honored my request and was glad he did. He will be making more of these in the next batch. The guitar came out fantastic!
Acoustically this guitar has an enormous mid range with a complimentary bass- and sweet highs- it’s a really good one. We compared this guitar to Rogers carved guitar of the same size , and there was very little sonic difference. In fact , from Rogers listening perspective - this guitar sounded louder.
He has quite a collection of NOS DeArmond pick ups from the 50’s- so we added the 1000 rhythm chief and it looks great and sounds lush. He added a tone and volume control under the pick-guard.
As for the Jazz solid - it oozes the ring of a D’Aquisto, and for good reason. Jimmy was very instrumental with this design and Roger showed me the original body template with hand written comments from Jimmy. Tons of Jimmy D’Aquisto memorabilia at Rogers shop. The magic of this jazz solid lies within the confines of the body structure - which contain inner carved arches and a glue ledge which sonically binds the top and back plates, and a long neck tenon.
Here are a few pics:
A fun day for sure !
Sent from my iPhone using Tapatalk
-
Awesome! I've been looking forward to this day. Congratulations!!
Been thinking about a Les Paul for some time now. Might have to look into the JSolid. It'd go well with my B-120 and probably feel very familiar. Any chance you could post it's weight?
I've seen the templates and plates for the Solid in some of Rogers 'Around the Shop' pics online. Always been curious about this guitar.
And excellent color choice. I applaud your bravery sir.
Have fun with those two!
-
ccroft,
Originally Posted by ccroft
Thanks for the kind words. They both came out real good and the set up work is perfect. Very low nut slots , no buzz and very straight neck. The guitar weighs around 6.8 lbs, and is very comfortable.
If your looking at a new Gibson Les Paul standard from the Custom shop, this is comparably priced, maybe a little less. I own a recent Les Paul Custom shop build, and its great, but the Borys Jazz solid is at a different level sonically.
If you like your B120 - this would be a great compliment - and im sure Roger can match the color.
Sent from my SM-P610 using TapatalkLast edited by QAman; 11-17-2023 at 08:37 AM.
-
Wow, they both look stunning. Somehow I can never get along with blue guitars - I’ve no idea why - but yours looks great. The one I’m really drawn to is the B165. It looks, and from your description, sounds like a Great guitar, and the Rhythm Chief looks perfectly at home on it.
So, well done, a collaboration to be proud of. I trust you’ll have many happy years in the their company. Out of interest, what amp will they be going through?
-
Hi Rob, Originally Posted by Rob MacKillop
Nice to hear from you ! Actually, the blue color was a bit darker than expected, but in hand it’s quite beautiful. Roger used real nice wood on the Jazz solid - it really sings. He also ordered special abalone for the fingerboard inlays, and used some to make the diamond inlay on back of headstock.
The B165 has the voice of a fine carved guitar, but with that bit of softness you get from a laminate. I’ll be playing these both through my Carr Raleigh and Carr Super Bee.
Thanks again for the interest - I think you would love the B165.
Sent from my iPhone using Tapatalk
-
I think so too!
-
The combination of an expertly built/acoustically alive lam-top with a floating pickup is def. a winner - this immediately caught my attention when I first saw and heard Bryant Trenier's version some 6 years ago and the result - my own Jazz Special - has become my No. 1 (archtop) guitar for playing live, relegating all others to either being sold off or strictly home/studio use. In more adverse stage conditions the Fender D'Aquisto gets the preference.
Some 20 years ago I also owned a Jazz Solid from Roger, a very nice playing and sounding instrument but the small size didn't work for me in the end - I need a larger guitar to feel comfortable, both sitting and in standing position. It was on the heavy side but weight is quite subjective - plus contrary to popular belief a light weight guitar does NOT automatically sound "better" than an average/heavy model.
My Super-400 CES was a real mutha but man what a sound - THICK, commanding, brimming with authority and feedback was never an issue.
It would be so much fun to be able to compare your various Trenier and Borys guitars side by side .... Congratulations !
-
`They both look great Steve! I have no doubt they sound great as well. Enjoy!
-
Gitman, Originally Posted by gitman
Thanks for sharing you experiences with great laminates. I too have one of Bryants laminate from the first batch. It has a syrupy smooth voice unlike anything I've played. A very soft round timbre - and effortless to play.
The Borys laminate has a different voice. It posses more of a nice natural reverb, and its a bit brighter than the Trenier, but with a very powerful / fat mid range, and a whiff of that D'Angelico vibe throughout the fingerboard.
I was just playing the B165 for about an hour........playing all sorts of stuff, then I felt compelled to pick up one of my slide bottles, and started working on a slide guitar version of " White Chrustmas". I have a series of slide bottles, and the one with a copper lining with the bone sleeve sounded the best. I know this is a departure from Jazz - but I play different styles and its cool to experiment on these guitars.
When I get a chance I'll do a comparison with the Trenier.
Sent from my SM-P610 using Tapatalk
-
Bob, Originally Posted by skiboyny
Thanks! As you know, when it comes to a fine sounding laminate, a Borys is hard to beat. You would love this B165.
Also, the Jazz solid is extraordinary, it has a D'Aquisto ring to each note which is sure to impress anyone who plays it. A fun duo for sure.
Sent from my SM-P610 using Tapatalk
-
Wow! Congratulations, Steve. Two gorgeous looking guitars. I'm sure they sound amazing. Especially in your very talented hands. I, too, commend your adventurous spirit with the blue solid.
Christmas came early for you. Enjoy!
-
Thanks Michael. The Jazz solid is by far the best chambered guitar I’ve ever played. This guitar was designed in collaboration with Jimmy D’Aquisto. Roger was explaining to me the input that Jimmy had - and this design produced a better sounding guitar than Jimmy’s original solid body’s. The insides of the Top and back are carved in a very unique way - with a center Block that joins the plates together. The sustain is incredible and it has that Jimmy “ring “ to each note. Originally Posted by D'Aquisto Fan
Wow! Congratulations, Steve. Two gorgeous looking guitars. I'm sure they sound amazing. Especially in your very talented hands. I, too, commend your adventurous spirit with the blue solid. Christmas came early for you. Enjoy!
Attached are a few pics of the the original brown paper template containing notes from both Roger and Jimmy. According to Roger - Jim writes “ They wont be making this guitar naturally …Jim”. It’s in faded ink. It’s a very time consuming build - and requires great precision when joining the halves.
The B165 is also fantastic- it sounds like a really good carved guitar. I was playing them both all day - but it’s the “ring “ of the jazz solid that captivating ….it’s quite amazing.
I was able to hand select the materials for the Jazz electric - and the body for the B165 - so I was pretty confident in the sonic outcome. I’ve been around guitar building long enough to know good tone wood.
Lots of Jimmy D’Aquisto history in Rogers shop. I think you would enjoy a visit one day.
It’s a fun duo for sure.
Sent from my iPhone using Tapatalk
-
Wow. I love those pictures. Thanks for sharing. Yes, I'd love to visit with Roger and hear his stories about Jimmy. Your solid body sounds like a wonderful guitar. You can get back to your Allman Brothers roots with that baby! Oh, and I like the choice of the old DeArmond on the B165. I'm sure it sounds great, and it looks cool, too. I know what you'll be doing this weekend! Originally Posted by QAman
Thanks Michael. The Jazz solid is by far the best chambered guitar I’ve ever played. This guitar was designed in collaboration with Jimmy D’Aquisto. Roger was explaining to me the input that Jimmy had - and this design produced a better sounding guitar than Jimmy’s original solid body’s. The insides of the Top and back are carved in a very unique way - with a center Block that joins the plates together. The sustain is incredible and it has that Jimmy “ring “ to each note.
Attached are a few pics of the the original brown paper template containing notes from both Roger and Jimmy. According to Roger - Jim writes “ They wont be making this guitar naturally …Jim”. It’s in faded ink. It’s a very time consuming build - and requires great precision when joining the halves.
The B165 is also fantastic- it sounds like a really good carved guitar. I was playing them both all day - but it’s the “ring “ of the jazz solid that captivating ….it’s quite amazing.
I was able to hand select the materials for the Jazz electric - and the body for the B165 - so I was pretty confident in the sonic outcome. I’ve been around guitar building long enough to know good tone wood.
Lots of Jimmy D’Aquisto history in Rogers shop. I think you would enjoy a visit one day.
It’s a fun duo for sure.
Sent from my iPhone using Tapatalk
-
Steve, Originally Posted by QAman
Slight detour. I have a Carr Skylark. My archtops, carved and laminate, sound fantastic through it. Carr makes great amps.
-
Next time you visit NY we will have a fun time. I've actually been playing some Allmans Fillmore on my 59' custom shop Les Paul. I have several Les Pauls and the 59' is tonally spot on to Duanes sound. Originally Posted by D'Aquisto Fan
Wow. I love those pictures. Thanks for sharing. Yes, I'd love to visit with Roger and hear his stories about Jimmy. Your solid body sounds like a wonderful guitar. You can get back to your Allman Brothers roots with that baby! Oh, and I like the choice of the old DeArmond on the B165. I'm sure it sounds great, and it looks cool, too. I know what you'll be doing this weekend!
The Borys Jazz solid has a very jazzy vibe to it - unlike anything I've heard. When I get a chance I'll send you some unplugged audio so you can hear the true voice.
I played the B165 plugged in today and I was able to dial in a great tone through my Carr Raleigh. The 50's Rhythm Chief 1000 is perfect for this guitar. I have a reverb interface and it compliments the Raleigh quite nicely. My Carr Super Bee is just incredible- but I have that dialed into the Les Paul's right now and don't want to mess with it.
Sent from my SM-P610 using TapatalkLast edited by QAman; 11-18-2023 at 08:36 PM.
-
Ron, Originally Posted by FourOnSix
Carr Amps are superb. I was considering a vintage Princeton Reverb - but didn't want to deal with the maintenance. So, I bought a new Carr Super Bee, with the 10" and its awesome. I then recently picked up a Carr Raleigh with the brown alligator and maple trim. Besides these two, I have a Henriksen blu 6 , so my amp needs are covered.
Sent from my SM-P610 using Tapatalk
Attachment 106457
-
Hi QAman ! Could you now elaborate some re the tonal differences between this B-165 and your Trenier Jazz Special ? My interest lies in the basic acoustic volume, sustain, tonal character and dynamic potential but since they have very different pickups the electric tone will be more difficult to assess I guess ...
The B-165 is also a slightly larger guitar, correct ? what about the difference in weight ?
Thanks for the help !
-
Gitman, Originally Posted by gitman
Nice to hear from you and hope all is well. The Borys has a completely different sound than the Trenier. Both beautiful in different ways - here are some differences:
Trenier - 16" lower body, 2.55 body depth , parallel braced, neck angle flatter, with shallower angle from saddle to ebony tail pc., lighter in weight than Borys - but not by much. I did not weigh them , just by feel.
Result = Very warm creamy round timbre, with very low fretting resistance. A real softness to the note quality- with admirable acoustic presence, and ample sustain. Very balanced with rich fat trebles. Plugged in it's fat and warm. I love my Trenier, and Bryant will be making me one without the built in pickup in next batch.
Borys- 16.5 lower body, 2.900 body depth, parallel braced. Neck set not as flat like Trenier, with greater angle from saddle to brass tail. This is a special build intended for a built in pickup- but I asked Roger to leave it as an acoustic laminate - which took some convincing.
Result- A powerful sounding acoustic laminate, reminiscent of a carved guitar. It posseses a good bit of that D'Angelico/ D'Aquisto vibe in the note quality - with ample sustain. Brighter than the Trenier, but not in a harsh way. Very comfortable playing with a bit more fretting resistance - but much easier than any carved guitar - and really nothing worth even mentioning. This difference in fretting resistance is purely due to the angle from saddle to tail pc. This guitar also has bit more natural reverb - due in part to the brass tail pc. Its sounds great with the DeArmond floater- a real vintage vibe.
Roger was so impressed with the guitar, he decided to make another one in next batch - with just a floater. There was very little difference between Roger's 16.5 carved guitar and this B165. It's all in the quality of the plates !
These are both great guitars that are much easier to play than any carved guitar. The laminate plates of both guitars have a bit flatter arch than a carved guitar and a very warm tap tune on back plate. There is an overall softness, and sweet dynamic range found in a good laminate . They are both super responsive to a light touch - unlike a carved guitar which generally requires more fretting effort.
Both of these guitars check all my boxes - and inspire me in different ways.
If you would like a short video comparison I can send via " WhatsApp" - just send me a pm with your number.
Hope this helps
Sent from my SM-P610 using Tapatalk
Reply With Quote
Moffa Mithra
Today, 08:31 AM in For Sale