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I didn't intend any sort of direct comparison. The Loar didn't work for my needs but I don't criticize anyone else's choice. The Gibson Johnny Smith I used to play didn't work for my needs either but some people love them. I don't see the point of making a guitar with a huge thick neck in this day. Back when Loar was building guitars it was another matter, that thick neck served an important function before truss rods and into the early days of the truss rod. I don't require paper-thin necks and have played some V-necked Gretsch guitars that I found quite comfortable but the Loar I played at the show had a real Louisville Slugger on it. Maybe it was a bad example of the model. As I said in my post, I was surprised that they brought that particular instrument to the show, it didn't look like the pick of the litter to me.
In all fairness I should mention that there was a Gypsy Jazz guitar from the same distributer just a few feet away that listed for $600 and was quite impressive for the price.
As far as the D'Aquisto is concerned, I was most impressed by the level of volume it produced acoustically. NAMM is a cacophony that fatigues the ears quickly. It's virtually impossible to hear anything without an amp but the little 16" Jazz Line cut through well when I played some rhythm on it.
As I said earlier, I didn't intend a direct comparison and I'm sorry if I left that impression. Both are guitars I would have considered owning but for very different reasons. The Loar would be a play at home axe, just for practice around the house. As it turns out, I couldn't live with the neck so it's out of the picture. The D'Aquisto would be for gigs although the acoustic volume would be more than sufficient for living room use.
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01-29-2012 05:21 PM
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Synchro, I get where you're coming from.
On the volume, the Loar 700 is deceptive. It doesn't give the player the loudest volume at ear level but it does project a lot of sound. It's worth hearing someone else play it to convince yourself it is putting it out there.
The neck, I agree, is subjective but not unheard of in the age of rod necks. For example the Gibson Flying V, Fender Teles and Strats all have V neck editions, Eric Clapton being the best known modern V profile neck player I can think of.
A note of caution on shorter scale guitars with thin profle necks - I have a Baby Taylor and while a very different proposition to an archtop and shorter scale, it's a well made guitar with a rod in the neck. Taylor originally said that any guage of string was fine to use. I believe they ended up taking them back to fix them as it turned out the necks were pulling forward and the tops coming up (this happened to mine) when any kind of heavier guage was used. A problem I believe that has been reported on many shorter scale instruments. The V neck is chunky as you said but reassuringly solid to my mind.
Cheers.
Paul.
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Hi Paul,
firstly I agree that the neck profile and width is appropriate for a replica of a golden era 1^2 archtop. I have no concerns about the neck which seems straight enough and feels good to me - but ther are many Loar instruments around with finish faults and the thing that bothers me is that all three that I have so far seen have very sjhallow neck angles giving very little adjustment on the saddle and the tailpiece is touching the body. I get the distinct feeling that the Chinese company have bought an old gibson, torn it apart and copied it - but the one they got needed a neck reset. I have thought about tryin to get the neck reset, but I bought three archtops before getting the Gibo, and I'd just rather move them. Indcidentaly, the cream of the crop was a '66 Harmony Monterey which cost under £400. To be fair to the Loar guitar - It IS loud, unsubtle but loud, and the neck is right for '20s & '30s jazz styles - or if you want to be a new Maybelle Carter. It sounds more like a mid-range flat-top than a regular middly jazzer from the States.
To the person who found the neck too large/deep/wide whatever, this is really not an electric guitar, nor a modern flat-top strummer. The design was made for dance band rythmn section and should be played with high action medium strings and a 1/4" thick plectrum (OK I exaggerate for dramatic effect) but this is - good or bad- a replica of a 1920s guitar.
I just checked them out on Thomanns site again - I see the "bliss bundle" they now offer with it includes a guitar lead and 10-46 nickel strings - that's about how much Thmanns know/care about what they are selling.
For £660 it is not a bad guitar I suppose, but it doesn't work for me and I finally got a half good one.
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I think it's pretty clear what the loar is designed to be...and some of us like fat necks!
I agree that they project much more out front than to the player...pretty much like most "old style" archtops I've played.
I do not think they are great guitars. With a little work (and if you are willing to overlook a few cosmetic flaws) they are great values, imho...a great sounding all solid wood archtop for 1k and under...nobody else comes close...yet...
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I wound up finding a great deal on a used Eastman acoustic non-cutaway archtop, and can't put it down; I'm even taking it to gigs without an amp. None needed! Now the bug has bit, and I want another Loar too (had to send one back due to warped neck).
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The eastman non-cutaways look awesome! Which model did you get?
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Norman,
Funny you post this now. I just got back from the music store trying out a couple of Eastman non-cutaway acoustic archtops and I was really amazed at the volume and depth of tone from them. Very tempting.
PS: They said they had to order in several more AR371s because my post of mine on this forum, according to them, prompted interested calls from all over the country. LOL! Crazy!
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It is the AR810, sunburst. GuitarsnJazz listed it used on ebay a few weeks back, and I was the only bidder. I suspect the photos were off-putting, as the guitar appeared to have a garish red hue in the sunburst that is really quite subtle in ordinary light. In fact, I was pleased to find the sunburst finish was quite well done, and the guitar is fantastic for what I paid.
Originally Posted by Anandbhat
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Saw this video the other day and was so impressed!
Great buy.Enjoy!
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Great review. He's right about the projection. It does respond nicely to a soft touch, but you can whack it with a heavy pick and be heard over the kettledrums! Originally Posted by Anandbhat
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Hi All,
I am new to the forum and a recent convert to Jazz. I read this thread a few weeks ago and decided on balance to buy a Loar LH-650-VS. Bearing all of the feedback from this thread in mind I decided to try to find a dealer here in Spain, but I had no luck. I have used Thomann in the past, but have to agree that they do not do any quality checks before dispatching, although they are very fast to put things right. I looked around on-line and found a dealer in Ireland (my original homeland) Kieran Moloney instruments, Galway. I phoned him and asked if he would check through his stock and pick out the best finished guitar he had, and fit it with a set of flat wound 10`s ( a mistake on my part) and do a set up. I also asked him to go over the guitar in detail and sent a list of the problems' people on this forum have found with the Loar`s. I ordered the guitar on a Friday, and it arrived the following Thursday. The price, including postage strings and setup, was the same as Thomann.
Other than the glue mark near the bridge (which he found on all his stock) the guitar is perfect. It has the lowest buzz-free action of any of my guitars, even set up for the 10`s I ordered. The finish is flawless, and the tone is amazing. This will be my new go to guitar. If you can get a good one, properly set up, I reckon it is by far and away the best value for the money.
Just my 3 cents worth!
Thanks for all the advice and feedback, it made my buy pain free.Last edited by mark6110; 02-03-2012 at 11:00 AM.
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Well done, Mark. I agree - if you are willing to accept there might be the odd flaw here and there, you will be very happy with this guitar. And the action is very easy to change, as the dials on the bridge move easily without having to detune the strings. Now treat yourself to some beautiful Philippe Bosset strings :-)
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Thanks for the tip Rob, I will try to find some here. Still loving this guitar, sometimes it sounds as if I can actually play!
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oh man! I don't know it is about that archtop but I love the look of it. I think it's the fact that it's minimalist yet still elegant.
COngrats!
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Hey, are The Loar guitars any good? Specifically the acoustic archtops. I really want an acoustic archtop and these seem quite affordable. Thanks for your input!
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I recently picked up an LH-600. Out of the box, it was a good guitar--with a little work, I turned it into an almost-great guitar.
First of all, right now, nobody else is competing with their specs/price bracket. There's no other way to get a brand new, vintage styled all solid wood archtop for as little as $700 (You might be able to find a used Eastman, but they sound very different--not better or worse, but very different)
Mine certainly had cosmetic flaws in the finish. The action was too low, and the 15th fret was a little high. The F holes are actually a little different from one another...which is actually kind of cool...it shows a human actually worked on this guitar.
After an hour of work, I had the guitar set up pretty much exactly how I wanted it, and I can live with a few ugly spots for what I'm getting. the guitar sounds great--just like a vintage style archtop should--bold, brassy, with a quick attack and decay, but also capable of much subtler tones (depending on how you hit it)
I'm a fan. I'd love to own a real vintage solid wood archtop or have one made from a custom builder someday, but in the meantime while I practice an get better (hopefully to justify that eventual purpose) the Loar will suit my acoustic archtop needs perfectly.
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I would love to see/hear an A/B comparison of Loar and Eastman acoustic archtops to gauge the difference between them and better understand what each has to offer in terms of sound and "feel" for lack of a better word.(You might be able to find a used Eastman, but they sound very different--not better or worse, but very different)
FWIW I was able to play a few of each in local shops when I looking for an "old school" archtop a couple of years ago. I eventually settled on an Eastman but still try out every Loar I find (tho' I've yet to even see a 700). The finish issues that every one mentions were present on virtually all of the Loars I played. The Loar neck is definitely chunkier and the sound IIR a bit punchier, harder, to put it that way. The Eastman seems to have a "rounder" more fluid sound and can almost approximate a small body flat top if strummed up by the neck.
I too have dreams of one day getting a vintage archtop...
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I think that's the difference exactly, El V.
The Eastman's are more "modern voiced." I've only heard a Benedetto played--not played one myself, but there's a certain aesthetic to that type of tone versus say, an old L5, and yes, that modern voice is a bit more "flat topped." I put Eastman in that category...
Which is not to say the vintage style is a one trick pony, which it often gets painted as...
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All you have to do is listen to some of those old Eddie Lang, Harry Volpe, or Carl Kress recordings to hear that an older archtop is certainly *not* a one trick pony...
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That was the model I was interested in, price wise. Thanks for your input on it! Originally Posted by mr. beaumont
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Search for the Thomastik Infield Plectrum Strings thread, I juyst put up a video with it, where it sounds pretty true to what the guitar actually sounds like in my house.
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I've had an LH-700 for a little over a year and mine came pretty good stock. I found one high fret (4) and fixed it with a little sanding. I've just found another one (15?) and will fix that on the next string change.
The finish on mine was quite good and I don't see any tape inside as others have.
My quibble on this guitar is in finding strings that I like. I've tried half wound 12s and vintage wound 13s and will be going to chrome 11's next string change.
I will mention that my string winder took out a little finish on the headstock so I'll need to be more careful next time.
Very cool to play if you're into vintage.
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Soon, you might consider the TI plectrums--I don't love the feel yet, but they sound great.
I put Elixers on as well when I first bought the guitar, and thy sounded good too.
I'd avoid stainless steel flatwounds like the chromes--it's an acoustic guitar.
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I've tried a number of different strings -- round, flat, and half-wound -- but haven't yet found one that wowed me. I currently alternate between Newtone Masterclass PB and JP PB, medium gauge in both cases. Both are nice strings and sound good on my guitar.
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Thanks Jeff, Originally Posted by mr. beaumont
With this guitar the journey is a lot of fun and just maybe I want it to feel like my JP so gotta try the chromes. The 700 has a big sound and we'll see.
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