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The famous acoustic guitar generally don't have a pickup.
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01-25-2012 01:32 PM
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Sorry,...Now i must go.
Bye... Jazz 175
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A big +1 to all of this. The people that told me that I needed a solid wood guitar with a floating pickup tended to be music store employees; people that would benefit directly if I followed their advice. More to the point, none of these people actually were playing gigs with the type of guitar they suggested to me.
Originally Posted by Jazz_175
I found it revealing to learn that the L-5 CES was braced differently than the L-5 C. The guitars looked similar but the differences under the surface were aimed towards reducing acoustic performance and increasing feedback resistance. A friend owns a beautiful Super 400 CES which is no great shakes acoustically . . . but it is usable.
It's always been my contention that I don't really know a guitar (or amp) until I've used it on a gig. The music store "expert" that advises a high-end archtop with plenty of acoustic performance has an interest in moving high-end gear and probably knows or cares not about the feedback problem.
Were I a guitarist of greater stature and greater wealth I would probably buy a guitar quite similar to a Sweet 16 or an acoustic L-5 CT with a floating pickup just for around the house or perhaps recording. (Note that I said "perhaps".) For gigs I'd use something very similar to the Sadowsky.
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steak to salmon is a good analogy.
all the same, id take the Sadowsky. not a heritage fan.
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But steak IS better than salmon! Originally Posted by BigDaddyLoveHandles
Roger
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I would probably choose a caramel burst steak over a sunburst salmon but then again, I'm a long time fan of the steakmeister, Jim Hall. Originally Posted by sadowsky
But steak IS better than salmon!
Roger
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Oh?? Really?? What if it happens to be a . . . . .salmon steak? Originally Posted by sadowsky
But steak IS better than salmon!
Roger
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Well, now I find myself torn. I've owned a Heritage for a long time but hope to buy a Sadowsky in the next few years. So I guess I like both steak and salmon.
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both are too flame soiled for my liking.
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Just to throw in a bit more confusion for the OP, I'd say that both of those two guitars are excellent. But they are not the only ones worth considering. Another suggestion could be the Aria D'Aquisto series. Or a laninated guitar custom built by Tom Painter for a price which is a little under the Sadowsky. The Painter guitars are made with the same idea in mind as the Sadowsky - thinner plywood = more live than present day Gibson laminated guitars. They have very little decoration and as such look more crude then a Sadowsky or a Heritage, but they play and sound really good, and one can choose scale length, nut width, body depth, body shape, sunburst/antique blonde and pickup to suit personal preferencies. I have one and it definitely sounds better than my old 1961 Gibson 175 and is now my main electric jazz guitar.
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When I saw Painter guitar pictures for the first time I said:" How ugly..."
Well maybe that's too much, but really a little decoration.
Oldane: did you order the guitar from the States without trying it?
Here are the words of Painter himself (from his website)
"...My focus as a guitar maker is on laminated/composite archtop guitars. Why a laminated guitar? I think many experienced players will agree that very often a laminated guitar is more practical from a live performance and durability standpoint. Furthermore, if built correctly, they will have a respectable acoustic volume, and a very even tone with good separation throughout the range of the guitar when amplified...."
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They've got one here:
Jazz Guitars, Amps & Accessories - Painter P-175 Short Scale
Very Interesting
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You think this is ugly?
Personally, I love it.
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It's nice, although I don't like the little pickguard and have to get used to the absence of binding along the fretboard.
Actually I don't like pickguards in all jazz guitars.
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Well, that's the way he makes them. Some like it, others don't. Actually, I think that omitting the bindings ensures a wider gluing surface for the top and back on the sides (which are fairly thick), thus giving a more robust instrument. Originally Posted by Jazz_175
Yes, I ordered without trying it beforhand. We have no luthiers i Denmark making archtops. And travelling across the Atlantic to visit various luthiers / guitar shops was not an option for me - it would cost more than the Painter guitar, considering I would also loose income while I was away. But I listened closely to clips on the internet (there are quite a few) so I had a pretty good idea of how they sound. Much of the rest was actually in my own hands as I could decide on neck specs, body size and thickness etc. I have been playing for many years, so I know what I want. I have ordered guitars this way three times, and I have been VERY detailed about my specs, so I knew pretty well what I would end up getting. For example: On the Painter I wanted the PU moved a little bit closer to the neck, so the PU blade was right under the imaginary 24th fret. I also wanted the Biltoft HCC PU (which I already knew well from another guitar) fitted with Alnico II magnets instead of the ceramic magnets, Painter prefers himself. On say a Sadowsky, I would not have had these custom options. The Painter turned out to be just as I expected. The only mods I have done is replacing the speed knobs with black pointer knobs, so I can see and feel easily where the knob settings are at, and I have replaced the straight bridge saddle with a compensated saddle which works better with my setup (medium flatwounds and a not too low action).
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Why? Originally Posted by mattymel
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I must put in a plug for Steve Holst: $2800 gets you heck of a deal in a laminated archie. Steve Holst makes his own plates. The other Steve is Steve Andersen and his Vanguard laminate. Steve Andersen also makes his own plates.
If you're going to splash that kind of cash, these are two of the finest alternatives to the Sadowsky Jim Hall and Heritage Sweet 16 that I am aware of.
John Stewart of www.myjazzhome.com has an Andersen Metro Special for sale right now, below $4000.00. You'd do well to consider it.Last edited by Jabberwocky; 02-06-2012 at 09:53 PM.
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After my visit to the Sadowsky shop last week, I put in an order for a Carmel burst Jim Hall. One or two of you may recall I tragically was on the wrong side of a buying race in Massachusetts last year, loosing out for it by a day. My Jimmy Bruno needs a brother, and after playing the ones on the shop, I am convinced about their greatness. April or may, it ships...
This is the one I lost, it it has enough similarities to what I ordered.Yippe!
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So far, in the recent past few years, I have sold my 53 ES 175, 74 Gibson Howard Roberts Custom, 2002 Heritage Golden Eagle, Heritage Eagle Thinline, Heritage Prospect STD......while keeping my Sadowsky Jim Hall.
I have no regrets. Guitars are meant to be played, not collected. I play my Jim Hall. I love it, and will never sell it.
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MSR13, is the Jim Hall so different from the Jimmy Bruno?
Or did you just need another Sadowsky so badly
One day, I'll get one too...maybe a Jim Hall or a LS-17
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From any realistic, philosophical, or economic persecutive, the Hall is not needed-- need here is just hyperbolic. I do nod to your insight. However the guitars are quite different. Generally, the Bruno is a smaller body and thinner neck at the nut. I keep flats on the Jimmy, but will leave round wounds on the Hall. The Hall requires different playing posture than than Bruno. The Hall, to me, sounds a bit fuller, and has overtones. The bruno seams a bit more articulate and smooth. I feel more of an intimate playing connection with the Bruno. I assume I will develop that in time with the Hall. The SS-15 was like the bruno, in how I can being it right into my body. I almost gave up on the Hall and went with the 15, but the similarities with the Bruno were too much for my purposes, But, boy, did I like it, too.
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Originally Posted by NSJ
It sounds like you found your dream guitar.
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Being in Seattle, I'll take the Salmon with an order of sienna burst SS15.
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I was about to get a Jim Hall model a couple of months back, in around August. But I chose to go with (as you can see in my thread I posted) a Victor Baker custom. The Jim Hall is about 4500 or so, and I paid a couple of hundred more than that for a completely custom instrument with a solid top, not a laminate (although Sadowsky laminates are REALLY well built).
Anyways, it really depends on what you want, if your options are the two:
If you're ordering the Sadowsky directly from them, it's about a 3 month waiting time, since they only order guitars from Japan by demand, and they do it every 3 months to get a big guitar shipment rather than send one guitar at a time. The Heritage you would get asap.
Also think of playability. You can plug the Sadowsky in anywhere and play it at any volume. It will hardly feedback.
The Heritage is fully acoustic and doesn't even have sunken in pickups to reduce wood vibratiion. You'll get a nice acoustic volume and sound, but it will sometimes be difficult if you're going to plug it in. I'd rather be ready for a performance than have to deal with feedback, and I've dealt with that a lot.
Price wise, I don't know how much a new Sweet16 is, I googled it and got different results, 5500-6250. I paid less than that for my VB. The Sadowsky is I think 4500.
I tried out the Jim Hall a few times at the shop. It's a great guitar. I wish I could have tried a new one though, rather than the showroom one, which a lot of people have used and is kind of dirty, old strings, etc.
Anyways, I would go with the Sadowsky, but it's really your choice. Would be great if you could try them out.
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You should buy my Heritage Johnny Smith. 16 11/16" wide 25" scale,1 3/4" nut. And for less,I bet,than either the Sadowsky or the Sweet sixteen At $2500. It does have a repaired hairline crack under the guard.
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