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Hi everyone, I currently own a Gibson L5 WES made in 2007. Recently, I've been eyeing a 1990s Benedetto Manhattan jazz guitar because its neck width is 45mm. I've never played a guitar with this width before, so I'd like to ask if you all buy guitars with the same neck width? I'm used to my Gibson L5 WES, and switching to a Benedetto feels like I'd have to readjust the feel all over again. Any suggestions?
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12-19-2025 08:25 AM
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There is definitely an adjustment, in my opinion.
Originally Posted by Jazz1984
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Some people can adjust to a wider nut width easier than a narrower one than they're used to playing.
Other factors are neck profiles, a slightly narrower nut width can sometimes be adjusted to if the neck has a larger profile than what you're used to.
These factors are personal, only you can decide for yourself.
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My Nickerson is 44mm, my koentopp 45mm…I come from a classical background and prefer the width/space. If you’re used to a wesmo it won’t be much of an adjustment. If you were using a vintage fender or a later 60s Gibson w a skinny neck (tended to have narrower nut widths) or have smaller hands, it’ll be noticeable.
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I own and gig with my 1990 Bob built Benedetto Cremona. I have a dear friend that has a WesMo and I have no issues playing either one.
You do have to remember that in that period Bob was building custom dimensions for customers. So, as you have been advised, play the Manhattan and see if it's a correct fit for you. I betting that you will fall in love. I enjoy playing my friends L-5 WesMo, but my Benedetto is really on another level.
Good luck with the search!
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I have three guitars with 24 3/4" scale and 1 11/16" nuts, one guitar with 25" scale and 1 11/16" nut, two guitars with 25 1/2" scale and 1 3/4" nut, one with a 25.4" scale and 1 5/8" nut. And two nylon strings. To me it takes about three seconds to make the adjustments, if even that. Most of the time I barely register the differences, even if I am playing the guitars back to back.
Maybe I am just an insensitive clod (in this and other things, ask my wife); I confess I find myself puzzled when people say- for example- they're not comfortable on anything but a 1 11/16" nut and anything else is either far too wide or far too narrow. I don't understand how that can be such a big deal but I only have my hands and nervous system and not theirs, so I don't know how things feel to them. As the saying goes, YMMV.
I think there is benefit to having guitars with different width necks and different scale lengths in that it may reduce the risk for repetitive strain injuries by having that variation.
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That's an interesting perspective.
I've not thought about nut width and potential injuries. Having space for my fingers to articulate note yes. And it has always fascinated me seeing players use the thumb. That's so wrong for me. I've tried. Can't do it. Stretch the hand to opposite sides of the neck from behind! ?
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I have a number of guitars so they are all different. Going back and forth between them does not take long. Some are 1 11/16 an some are 1 3/4 and I really don't have trouble. The only thing I notice is a 1 5/8 it gets noticeable and those skinny late 60's Gibson necks are a major no-no for me. Otherwise no too much of a problem.
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i'll also add to the responses, I've got mostly 44.45" (Benedetto nut width), and a couple of guitars with 1-11/16ths and there is virtually no adjustment switching between them, though I'll add I strongly prefer the wider neck width in every way. Good luck
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I go back and forth between those two nut widths all the time, it's not that much of an adjustment when you do it often.
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Most of my custom guitars have been 44.45mm (1 3/4") nut width - it's my favorite! Very comfortable for me!
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I've had over 60 guitars in as many years. Neck width has never been an issue. Nor has scale length. One of Finland's top jazz guitarists has been playing the same instrument - Lottonen Centurion - for some 20 years. He couldn't even remember its scale length (25"/635 mm), but had no difficulty adjusting to my Emperor Regent (25.5"/648 mm). I'm happier with that guitar than any of my shorter-scale archtops. (With my arthritic fingers, I can't do proper top-string octaves on any scale anymore and have never ventured into the harmonics game, so scale really doesn't matter.)
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Fender and a lot of other solid body necks are 42mm (pretty close to 1 5/8")
43mm and 44mm are pretty common (1.69", 1.73")
45mm is 1.77"
And then there is depth of the neck at the nut and the 12th fret. I'm finding I really prefer .85" or better at the nut. But then I like thicker necks.
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Nut width: approx. 45 mm
Neck thickness at 1st fret: approx. 22.2 mm
Neck thickness at 10th fret: approx. 24.3 mm
These are the Manhattan specifications I've seen so far. Is it larger, thicker, and wider than a typical Manhattan?
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I have a 1989 Benedetto Fratello with a 1 3/4” (44.45mm) nut. My main gigging guitars for many years have been an ES-175 and an L5CES, both having 1 11/16” nuts. When I pick up the Benedetto, I have no trouble adapting and it feels extremely comfortable. It is not too deep from front to back, so the extra 1/16” width doesn’t make it feel like a stretch at all. I have played other guitars that have chunkier necks combined with 1 3/4” nuts, and in those cases, the difference is a little more more noticeable. The Benedetto, on the other hand, feels fantastic.
Keith
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I have guitars with both widths, but I like to play on the one I’ll be using the day before to be acclimated.
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Right, my Campellone is 1 3/4" as is my Borys, and I have two Gibsons at their width, and two Fenders at theirs. So I am pretty used to switching back and forth. Originally Posted by floatingpickup
I will say that I play a bit differently on each. I really like 1 3/4" for chord melody and most jazz, but I can fly around on a Gibson scale a bit better, and a bit bluesier. Fenders, I just play them like Fenders I guess, I was never able to really play jazz on those. I did a lot of studio work in my earlier years, and got used to using each type for their specific advantages.
I agree that I would play one for a few hours before a gig.
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Another consideration is if you are used to an L-CES guitar. A Carved higher end Benedetto will be way more acoustic and brighter in tonality. As well as more prone to feedback due to its construction.
A great thing for quieter gigs in general, but can be problematic for louder gigs with drums,etc.
The tonality is also different from a Gibson Johnny Smith or L-5C for example. Not a bad thing,but for me I enjoy the thicker Gibson plates as opposed to thinner brighter modern Archtop response.
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Thank you everyone for your replies. So, to summarize everyone's suggestions, changing to two different widths and thicknesses of the neck should allow for a successful adaptation.
One more question: So, is it true that the Gibson L5 has a thicker, fuller sound, while the Benedetto has a brighter, more modern sound?
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That is generally true. The L5CES is a fully electric guitar with a significant amount of hardware built in to the top. That makes it a less acoustic sounding guitar that will sound quite warm when amplified via the neck pickup and the tone control rolled back. If you want it to sound “brighter”, you can fully open the tone control or even use the rear pickup, but it will be bright in an “electric guitar” way, with little to no acoustic resonance. A Benedetto Manhattan is a fully acoustic guitar with a floating pickup, so it will retain the natural brightness and resonance of an acoustic guitar. I don’t like a really bright amplified tone, so I had a tone control added to my Benedetto Fratello (on the pickguard). When I roll the tone control back, it gets warmer but still sounds different than my L5CES. Originally Posted by Jazz1984
Keith
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I totally agree with Mr. Keith on this, however I would like to also state that several factors are at play here. Strings, Pick, Amp are all part of the "fuller" vs. "modern" sound. My Cremona has a floating Bartolini pickup and sounds plenty full through my amp, a Koch Jupiter Jr. I use TI JS 12's and that gets what I want to hear.
To the OP: What are you planning to use the the Manhattan for? As has been pointed out, if you are playing out with Bass and Drums at higher volume, you MAY struggle with feedback. I have a separate guitar for those environments, and you will probably end up taking your L-5 to the gig.
If you are looking for a instrument to enjoy at home or in smaller venues, the Benedetto will be perfect.
Again, play the individual guitar and really decide if it is right for YOU. The Benedetto vs. Gibson debate has been going on for years, and a lot of times by folks who have never played either one.
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I'd be curious to hear where you think your Campellone fits on that spectrum. I find with an Armstrong 12 pole that it gets warm enough, with a bit of that "air" that I really like. Originally Posted by floatingpickup
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I have two Campellones, both with floating KA mini humbuckers. I think the Campellones are probabaly a little brighter than the Benedetto, but It’s really hard to say because the Campellone’s have always had roundwound strings and I have never had anything but TI flatwounds on the Benedetto. FWIW, I also have a ‘63 L5C with a Johnny Smith pickup and its acoustic sound is definitely the brightest of the bunch. Obviously, an L5CES, with double built-in pickups, is a completely different animal than any of the ones with floaters. I have to say that my L5CES always sounds just right on a gig, no matter the type of room. Originally Posted by bluejaybill
Keith
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There are thousands of L5s and there are thousands of Benedettos. It is a mistake to think of "the Gibson L5" or "the Benedetto" as having one particular sound. Originally Posted by Jazz1984
Many of them sound different from most of them, and all of them can sound different tomorrow from the way they sound today if somebody wants them to.
Consider "the sound" of these two Gibson Super 400s:
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The instrument is a small part of the equation. For Elvis, it was the hair oil on his fingers that gave him his tone. For Kenny, it was Kenny. Of course,there are many Jaco fans who wipe their strings with chicken fat. Originally Posted by Sam Sherry
There are thousands of L5s and there are thousands of Benedettos. It is a mistake to think of "the Gibson L5" or "the Benedetto" as having one particular sound.
Many of them sound different from most of them, and all of them can sound different tomorrow from the way they sound today if somebody wants them to.
Consider "the sound" of these two Gibson Super 400s:
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