The Biggest Tease In Jazz Guitar History?

[Archie]

Hey everyone.

I’v done a photoshoot of what I consider to be the rarest and perhaps most impressive 'Guild Artist Award' collection in history. I’ve done it for several reasons but mostly because I wanted to (and have) 3D scanned them, for reverse engineering. I am also a huge fan of Guild archtops and what better Guild archtops are there than these? The pinnacle of Guilds archtop output.

I am only putting up a teaser set of pics for now because the other reason for doing this, is that I want to start a monthly online archtop magazine called ‘Archtop Heaven’. It will contain photoshoots and collections like this.
It might only be a few pages thick (so to speak), but I’ve got enough content for probably 6 months to a years worth of releases.
What I really need is help getting it off the ground and maintaining it, so if someone is interested in helping me with the magazine, someone perhaps retired and or with knowledge of how to do these things, editing, layout etc.. please DM or respond below.

I’m going to create a landing page at ArchtopHeaven.com this week and it will be linked at the top of the thread, when I post the full pics for this photoshoot. That way I can maximise exposure to the landing page. It’s all very hand in glove stuff but I don't have a marketing budget. I spent all that on guitars and machinery

(p.s Sorry for the watermarks, they won't be on the magazine pics).

Anyway, please enjoy viewing the for the first time in Archtop history, all of the seminal 'Artist Award' models together in one place (as far as I know).

1x 1961 Guild Johnny Smith Award
1 x 1993 Guild Artist Award (Standard)
1 x 2008 Guild Benedetto Johnny Smith Award.

[deacon Mark]

Which one sounds the best?

[Archie]

Which one sounds the best?

[Sleeko]

Forgive my ignorance but what makes these three so special?

[Archie]

Forgive my ignorance but what makes these three so special?

It’s a mix of several things. The most important being how much you personally care about them and Guild guitars I suppose?

In market terms they’re not as desirable as a vintage L5C (well the 61 GJSA probably is) but Gibsons have always commanded more.
These guitars are however Guilds top of the line Archtops and are their equivalent, to a Gibson L5C.

If you take each one individually:

The 1961 Guild Johnny Smith Award is actually the first Johnny Smith signature guitar. It’s also very rare; far rarer than a Gibson Johnny Smith and all the subsequent Johnny Smith models. It’s likely much rarer than a first year of production 1962 Gibson Johnny Smith. I also think the Guild is the better guitar but that’s personal taste.
It's somewhat of a seminal archtop. It’s the meeting of many roads that all came together in the mid 50’s.
It is primarily a cross pollination between Johnny Smith, D’angelico, Alfred Dronge and old Epiphone; which is of course a wonderful combination. There are many stories about it and what have you. All of them have merit but I believe that Dronge was right in not agreeing to some of Jonny’s demands, regarding design. Benedetto many decades later posthumously agreed with Dronge in that he too, chose to carve the top into the cutaway. D’Aquisto also believes in this method, making in effect two worlds of Archtop thought.
1) The D’Angelico > Johnny Smith > Gibson school (Gibson copying D’Angelico).
2) The Epiphone > Alfred Dronge (Guild) > D’Aquisto > Bendetto school.
You can learn quite a lot about archtop history through this one guitar, as given in the above example. D’Anglico’s refusal to make new templates for cutaway artchtops, and Johnny Smith’s insistence that Dronge copy D’angelico’s method, led to the break up of the two and the subsequent end of the Guild Johnny Smith Award (several years later).
Some say fewer than 12 Guild Jonny Smith models were made; but I think it was in the early 20’s? I’ll check with Hans.

The Blonde Artist Award (standard) was first designed in about 1964, after Guild dropped the older styling of the original Guild Award. The original Guilds had tight wastes and small f holes. I call it the Hoboken design but that’s not entirely accurate. So in 64 they increased the width of the wast and enlarged the F-holes but didn’t change the scale length from 24,3/4” to 25,1/2” unitl 1969. This model then remained the Artist Award until the late 90’s.
This guitar is generally agree to be excellent value and a great alternative to a Gibson L5C. You could argue a poor mans Gibson L5C. Over time I’ve grown fonder of the AA look compared to the L5. I think the tail piece, the headstock, the inlays and the floating rhythm chief, just make it look top draw; although Wintermoon is right about the pickguard.
In a bizarre twist, this Artist Award, features the D’Angelico style cutaway, which is supposedly why Smith left. So it looks like they either tried to win him back by changing the design after he left, or they changed it in order to not make the same ‘mistake’ twice. I suppose they learnt their lesson; don’t mess with Johnny Smith!

The Guild Benedetto Johnny Smith, is the surprise ending to this saga and the Return of Johnny Smith to the Guild fold. So in effect he came back to where he started. This guitar has more in common with the first Award, than it does the Artist Award standard. Thinner body, less acoustic response etc.. Although on first appearance the body outline looks more like the AA standard.
I think it's one of the best looking and made mass produced archtops of all time. Certainly on par with the Gibson kalamazoo Award and easily above an L5. The finish, the recurve, the contoured neck extension, the lightness of it, the wood package. It’s really well made.
These are also relatively low in numbers and don't come up too often.


All the above are made of all solid woods by Guilds finest craftsmen and again what you see here, is ultimately the history and work of Old Epiphone, Guild, Johnny Smith D’Angelico and Bob Benedetto.

Worth noting. Guilds biggest fumble (imo) was not setting up an official endorsement with George Benson who played (I think) a mid 60’s Guild Artist Award. He can bee seen in their marketing from the late 60’s to around mid 70’s.
Johnny Smith also played a 1950’s Guild X500 before collaborating on the Artist Award, so although Johnny Smiths contract lasted longer with Gibson, he actually played and thus endorsed 3/4 different Guild guitars.
I've had the pleasure of playing a Franz equipped Ghost label X500. I still remember how good it sounded some 15 years on.

[Sleeko]

Thanks for all the interesting background on these. Appreciate the time and effort. Yes, I remember reading about the cut away story years ago. Johnny Smith definitely knew what he wanted. LoL

[Litterick]

I can help you with editing and layout.

[docsteve]

Great photos, and it’s good to have so much information about what makes the guitars special.

The venture reminds me of this, in the realm of classical guitar:

Orfeo Magazine #21 - English Edition - Spring 2023 by ALBERTO MARTINEZ - Issuu


Gesendet von iPhone mit Tapatalk

[GuyBoden]

Excellent info and pics.

Looking forward to more pics and info on Archtops.

[Max405]

Spectacular Archie!
You are an artist, no doubt.
I’d like to try one those someday. I wish I lived in the UK sometimes. Like, now..
JD

[Archie]

Spectacular Archie!
You are an artist, no doubt.
I’d like to try one those someday. I wish I lived in the UK sometimes. Like, now..
JD

You're welcome anytime.

[sgcim]

Didn't Carlo Greco have something to do with the original ones?

[Navigator]

More pics of Benson with an AA

[pilotony]

Very well done. Good luck.

Tony D.

[DawgBone]

Archie are you on X? I think you could def build a good following for your magazine by sharing some of your photos there.

[58flame]

Those Benedetto Guilds are outstanding.

[voxo]

any go fund for Archie .id donate a little cash..enthralled by his story and dedication...

[deacon Mark]

I have always been a bit disappointed in Guild AA guitars. While they are fine guitars and mostly right up to the best I find they lack the kick of a well-made Gibson acoustic. In my book the Gibson L5 stands actually quite a bit above most AA guitars. The Benedetto made ones have had issues with finishes being too heavy. I would say the an AA made is one to evaluate on its own regardless of the year. To me I have never played one that really stands up to a good Gibson L5 acoustic even a L5 that is not so special in tone.

For and electric guitar plugged in with the dearmond they are without a doubt wonderful jazz guitars top of the line stuff. To me had they made it an 18 inch guitar with more attention to carving response it would be better. Frankly that may not even be what they are about but that is just my thoughts on guild.

[58flame]

I have always been a bit disappointed in Guild AA guitars. While they are fine guitars and mostly right up to the best I find they lack the kick of a well-made Gibson acoustic. In my book the Gibson L5 stands actually quite a bit above most AA guitars. The Benedetto made ones have had issues with finishes being too heavy. I would say the an AA made is one to evaluate on its own regardless of the year. To me I have never played one that really stands up to a good Gibson L5 acoustic even a L5 that is not so special in tone.

For and electric guitar plugged in with the dearmond they are without a doubt wonderful jazz guitars top of the line stuff. To me had they made it an 18 inch guitar with more attention to carving response it would be better. Frankly that may not even be what they are about but that is just my thoughts on guild.

How do you know how heavy a finish is without removing it? I have 2 Benedetto Guild JS Awards and they are both cannons. Both are louder than my Campellone 17”. I’m not sure where this idea that all GBs have thick finishes originated.

I also have an 86 Artist Award with the RC1000 and a 69 Gibson JS. They are all outstanding instruments by any measure. I would disagree saying the Gibsons are far superior. At this level of build, it’s pretty much personal preference.

[deacon Mark]

How do you know how heavy a finish is without removing it? I have 2 Benedetto Guild JS Awards and they are both cannons. Both are louder than my Campellone 17”. I’m not sure where this idea that all GBs have thick finishes originated.

I also have an 86 Artist Award with the RC1000 and a 69 Gibson JS. They are all outstanding instruments by any measure. I would disagree saying the Gibsons are far superior. At this level of build, it’s pretty much personal preference.

It was a known problem that some of the Benedetto ones did have heavy finish. A friend of mine had one and he ended up having it redone in light nitro blond. Not all of them but some. Also, you do not need to remove a finish to see that it is heavy at all. As the personal preference that is quite true, but we simply disagree and will leave it at that. I have had 3 AA guitars over the years. Could not hold up against my Campellone, L5, of Heritage guitars. Yours were both canons and again we have had different experiences. I stand by mine and you stand by yours. Far superior was a word you used but I did not. I would say they are not far superior just better guitars. That is my story, and I am sticking to it like glue.

[58flame]

It was a known problem that some of the Benedetto ones did have heavy finish. A friend of mine had one and he ended up having it redone in light nitro blond. Not all of them but some. Also, you do not need to remove a finish to see that it is heavy at all. As the personal preference that is quite true, but we simply disagree and will leave it at that. I have had 3 AA guitars over the years. Could not hold up against my Campellone, L5, of Heritage guitars. Yours were both canons and again we have had different experiences. I stand by mine and you stand by yours. Far superior was a word you used but I did not. I would say they are not far superior just better guitars. That is my story, and I am sticking to it like glue.

Could you explain how you can tell how thick the finish is without removing it or damaging it?

I'm definitely fine with disagreeing on the Gibson being quite a bit better. It's like different flavors of ice cream. It's all good.

[MinToyTot]

Could you explain how you can tell how thick the finish is without removing it or damaging it?

I can't speak on Artist Awards but I have an Epiphone where the "Made In Indonesia" sticker casts a quite disheartening drop shadow on the wood below..

[deacon Mark]

Could you explain how you can tell how thick the finish is without removing it or damaging it?

I'm definitely fine with disagreeing on the Gibson being quite a bit better. It's like different flavors of ice cream. It's all good.

I was going to write a long answer but decided AI would get to the core and it does. In my case I worked with 2 archtop guitar builders and over years' experience can easily tell too much finish. A light but good nitro finish on the top will usually pull grain lines as the guitar ages. But here you go.
That’s a really good question — and an important one, because too-thick nitrocellulose lacquer can rob a guitar of resonance and even look “off.” Here are the main ways to tell if a nitro finish is too thick:

---

? 1. Look and feel

Visual clues:

• Plastic or “dipped in glass” look: Nitro should look organic — slightly uneven reflection, gentle “sinkage” into the wood grain, not a perfectly glassy mirror.
  
  
  • If it looks like a modern poly finish (completely flat, deep gloss, no hint of grain), it’s probably too thick.
  
  
• Rounded-over edges: On body contours or binding, excess thickness softens crisp edges.
  
• No grain telegraphing: After months or years, thin nitro often “sinks” a bit and the wood texture becomes visible again. If it still looks glassy after a year, it’s thick.

Touch clues:

• Cold and plasticky feel: Thick nitro can feel slick and less “woody.”
  
• You can’t feel grain or texture at all: a properly thin finish may still feel subtly organic.

---

? 2. Sound and resonance

This is subjective, but:

• A too-thick finish can dampen vibration, especially on acoustic or semi-hollow guitars.
  
• You may notice a slightly muted top-end or less “air” in the tone.
  
• When you tap the body, a thin finish gives a more open, woody tap tone; a thick one sounds duller or plasticky.

---

? 3. Under magnification or wear

• Check near screw holes, pickup cavities, or chipped spots — you can often see the layer thickness at the edge.
  
• Proper nitro might be a few thousandths of an inch (2–5 mils) total.
  
• If you see a heavy ridge or thick layer there (looks like enamel), that’s excessive.

[Litterick]

ai;dr

[58flame]

I was going to write a long answer but decided AI would get to the core and it does. In my case I worked with 2 archtop guitar builders and over years' experience can easily tell too much finish. A light but good nitro finish on the top will usually pull grain lines as the guitar ages. But here you go.
That’s a really good question — and an important one, because too-thick nitrocellulose lacquer can rob a guitar of resonance and even look “off.” Here are the main ways to tell if a nitro finish is too thick:

---

? 1. Look and feel

Visual clues:

• Plastic or “dipped in glass” look: Nitro should look organic — slightly uneven reflection, gentle “sinkage” into the wood grain, not a perfectly glassy mirror.
  
  
  • If it looks like a modern poly finish (completely flat, deep gloss, no hint of grain), it’s probably too thick.
  
  
• Rounded-over edges: On body contours or binding, excess thickness softens crisp edges.
  
• No grain telegraphing: After months or years, thin nitro often “sinks” a bit and the wood texture becomes visible again. If it still looks glassy after a year, it’s thick.

Touch clues:

• Cold and plasticky feel: Thick nitro can feel slick and less “woody.”
  
• You can’t feel grain or texture at all: a properly thin finish may still feel subtly organic.

---

? 2. Sound and resonance

This is subjective, but:

• A too-thick finish can dampen vibration, especially on acoustic or semi-hollow guitars.
  
• You may notice a slightly muted top-end or less “air” in the tone.
  
• When you tap the body, a thin finish gives a more open, woody tap tone; a thick one sounds duller or plasticky.

---

? 3. Under magnification or wear

• Check near screw holes, pickup cavities, or chipped spots — you can often see the layer thickness at the edge.
  
• Proper nitro might be a few thousandths of an inch (2–5 mils) total.
  
• If you see a heavy ridge or thick layer there (looks like enamel), that’s excessive.

Thank you.