The Jazz Guitar Chord Dictionary
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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) ?

  13. #62

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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.
    The ES-150 does make access a little better. This Heritage allows similar access plus has 21 frets and a 25.5" scale. It's not a stranger to the forum.

    Double-cutaway Gibson L-5?-toty_guitar-jpgDouble-cutaway Gibson L-5?-img_1566-jpgDouble-cutaway Gibson L-5?-img_1564-jpg
    Last edited by Marty Grass; 08-15-2020 at 06:03 PM.

  14. #63

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    do somebody remember this doublecut D'Angelico in the Tsumura book?
    Double-cutaway Gibson L-5?-da-dctsumura-jpg

  15. #64

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    I have a set of plates for one of these. Hmmm, maybe I'll add it to my Roger build list:
    Attached Images Attached Images Double-cutaway Gibson L-5?-roger-luxus-special-2-png 

  16. #65

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    I recently saw one of these for sale locally. I never knew they existed. It appears they’re a recent iteration of L-5 CES. Does anybody have much experience with them? Besides the additional cutaway, they’re also somewhat thinner (2 3/8”). Somehow it doesn’t look right to me but that’s probably because I’m so used to seeing single cuts (used to own one). Thoughts about how you think it would compare value wise with a late model single cutaway L-5 CES? It certainly would have rarity on its side. Desirability is another question. I’m tempted to go play it and see how I like it.

    It still shows up on the Gibson site but I doubt they still make it.

    Gibson.com: Gibson Custom L-5 Doublecut

  17. #66

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    I suspect they made a dozen of them in one batch back in 2014/2015 and called it a day. It's simply a thinline L-5CES (or a long-scale Byrdland, take your pick) with a spare cutaway. Plays the same. Sounds the same. Same build quality. Same hardware. No functional benefit unless you are a lefty. I think they are dead sexy.
    Last edited by Hammertone; 03-30-2022 at 01:16 AM.

  18. #67

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    Nicely executed, but not for me.



  19. #68

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    what possessed them to put the pickup selector ala 175?

  20. #69

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    Quote Originally Posted by wintermoon
    what possessed them to put the pickup selector ala 175?
    Maybe they had a few lefty top plates sitting around gathering dust, and someone said: "hey, I've got a nutty idea!"

  21. #70

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    Quote Originally Posted by wintermoon
    what possessed them to put the pickup selector ala 175?
    Exactly! Presented with a chance to put the selector switch with the knobs ala 3xx, they instead molest the upper bout. My sole quibble with the L5CES is the switch position; I think it rather spoils the beautiful curve of the cutaway. Nonetheless, I could learn to live with it, at the right price. Oh well.

  22. #71

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    Quote Originally Posted by citizenk74
    Exactly! Presented with a chance to put the selector switch with the knobs ala 3xx, they instead molest the upper bout. My sole quibble with the L5CES is the switch position; I think it rather spoils the beautiful curve of the cutaway. Nonetheless, I could learn to live with it, at the right price. Oh well.
    I like it where it normally goes from a function standpoint, I just don't like where 175s and Tals have them for that reason
    of course from a function standpoint everyone has their own taste

  23. #72

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    Quote Originally Posted by wintermoon
    what possessed them to put the pickup selector ala 175?
    Well, it would make it easier to switch back and forth from my 175!

  24. #73

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    They could have taken a page from Gertsch and put a couple of switches and knobs on both cutaways. Missed opportunity, if you ask me.

  25. #74

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    Quote Originally Posted by Hammertone
    They could have taken a page from Gertsch and put a couple of switches and knobs on both cutaways. Missed opportunity, if you ask me.
    Me, I'm just thinking of saving a foot or more of precious, precious braid-shielded wire. Bottom line, you know.

  26. #75

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    Quote Originally Posted by Scotto
    Attachment 11169 I saw this on the internet several years ago and instantly wanted one. Would love to see this new one in person.
    I believe this photo is of one of the two double cutaway Byrdlands made in 1958!