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  1. #51

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    As requested:

    This is a 3" deep laminate Heritage that has a 25.5" scale, an ebony board, a mahogany neck, and 21 frets. The guy who had it before me, Toty Viola, ordered it with Lollartrons. I put in Lollar Low Winds.

    It plays very well and sounds great. It captures the Kenny Burrell "pluck and sparkle" nicely.

    It is somewhat feedback resistant. There is a thin partial centerblock to support the bridge, which helps.

    A great thing about it is the high fret access. It's like playing a 335 in that regard.


    Here's a bunch of pix:
    Photo and image hosting, free photo galleries, photo editing

    Here's the important one. Toty is in the foreground smiling. For those who are not familiar with him, here's a video.






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    The Jazz Guitar Chord Dictionary
     
  3. #52

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    Quote Originally Posted by Marty Grass

    Here's the important one. Toty is in the foreground smiling. For those who are not familiar with him, here's a video.


    Wow, great playing AND sound.

  4. #53

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    Quote Originally Posted by GNAPPI
    I think the DC wide body guitars are marvelous... so much so if I could wave a wand and turn all my Venetian and Florentine single cuts into DC's I'd do it in a heartbeat :-)

    It just happens that my ES150 is one of my fave playing and sounding guitars... add the master volume and it fills every need I have.


    "Holy double cut-away Batman...we better the check the terms of our licensing deal with DC...we might get hot again, and this could be big...Spiderman certainly made out with that Stan Lee guy over at Marvel!"

    ---Robin, Batman's trusty sidekick and Millionaire Bruce Wayne's "ward"
    Last edited by goldenwave77; 02-12-2015 at 02:59 PM. Reason: Riffing on post #47

  5. #54

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    I have been doing a LOT of research into archtops on the net, listening to every youtube vid I can, because of course most music stores don't stock many fine archtops these days
    my goal was to find the "definative" jazz box, sound-wise.. the winner in my opinion is the Gibson l-5. or the Wesmo, the choice between the two, might be personal pref... however, whilst listening to the ever so entertaining Greg Koch, on wildwood gutars, I checked out the l-5 double cut on a whim. never really considering it. The sound shocked me... it def, sounded fuller, richer than the l-5ct, and possibly as full/round as a standard l-5/wesmo...Greg K. called the sound "velvety".. it sure as heck was to my ears. they do sound tests w/ exact same amp settings on all the jazz boxes... I have NEVER heard a guitar that thin sound that big. I compared it to the gibson 63' 335 re-issue, no contest. This thing has at least one of the most beautiful sound I have ever heard..

  6. #55

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    all sharts are foolish

  7. #56

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    Quote Originally Posted by Marty Grass
    As requested:

    This is a 3" deep laminate Heritage that has a 25.5" scale, an ebony board, a mahogany neck, and 21 frets. The guy who had it before me, Toty Viola, ordered it with Lollartrons. I put in Lollar Low Winds.

    It plays very well and sounds great. It captures the Kenny Burrell "pluck and sparkle" nicely.

    It is somewhat feedback resistant. There is a thin partial centerblock to support the bridge, which helps.

    A great thing about it is the high fret access. It's like playing a 335 in that regard.


    Here's a bunch of pix:
    Photo and image hosting, free photo galleries, photo editing

    Here's the important one. Toty is in the foreground smiling. For those who are not familiar with him, here's a video.


    I knew I'd seen Toty somewhere. Loved that video of MFH. Thanks Mark!

    edit - Toty's Uncle Michele plays wonderfully too!



    Last edited by 2bornot2bop; 04-10-2015 at 03:58 PM.

  8. #57

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    I love the look of the DC and figured the best way to compare it to a std L5 was to do an extended test - by getting one. I terms of tone, to my ear, the std L5 has greater range but this difference is greatly reduced when both have flats. So I keep flats on the DC and rounds on the CES. The body depth allows for an easier time playing standing, but the feel is very similar, as it the build quality... as far as desert island one guitar only, its the CES, but its mighty close.
    Attached Images Attached Images Double-cutaway Gibson L-5?-img_2780-jpg 

  9. #58

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    I never understood the point of a double cut with a giant long heel. It has no benefit to upper neck fluid access. Now if you just like THE LOOK, then yes it looks very cool and unique. And I enjoy visual aesthetics as much as the next person, but they're no more functional than a single cut.

  10. #59

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    Quote Originally Posted by Woody Sound
    I never understood the point of a double cut with a giant long heel. It has no benefit to upper neck fluid access. Now if you just like THE LOOK, then yes it looks very cool and unique. And I enjoy visual aesthetics as much as the next person, but they're no more functional than a single cut.

    Totally agree - the heel is identical across the two and consequently the accessibility is the same. I doubt very many would have been made because as you say, the difference is entirely cosmetic (apart from the CT depth).

  11. #60

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    Quote Originally Posted by joeUK
    Totally agree - the heel is identical across the two and consequently the accessibility is the same. I doubt very many would have been made because as you say, the difference is entirely cosmetic (apart from the CT depth).
    The 70's ES150D was an exception. Perfect implementation of the double-cut archtop concept.

    Double-cutaway Gibson L-5?-es150d-jpg
    Double-cutaway Gibson L-5?-es150d1-jpg

  12. #61

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    Quote Originally Posted by Woody Sound
    The 70's ES150D was an exception. Perfect implementation of the double-cut archtop concept.

    Double-cutaway Gibson L-5?-es150d-jpg
    Double-cutaway Gibson L-5?-es150d1-jpg


    I don't know about you guys but the only active player I've seen with that model in the last couple pf years was Jesse van Ruller from The Netherlands and
    he's not using this one at the moment. Sadly I've never had the chance to try it out so I have no idea about it's sound and feel - it looks attractive and I could imagine
    it also plays well but the sound ....any really distinctive differences between this and an ES-175 (and it's sisters) ?