Vienna Apex - the most beautiful archtop I've ever seen!

[Jim Soloway]

I wonder is it playing in tune with different gauges of strings but this bridge is beautifull.

Just guessing but it appears to be a two piece bridge so I'm betting that the top section is replacaeble and it probably ships with a few bridge tops to handle different strings.

[Max405]

Well put Patrick. She probably feels exactly the same about you, if the 3 contestants were, Brad Pitt, Ryan Reynolds and Chris Hemsworth.
That is a beautiful guitar.

Oh . . . I don't know about that analogy. Sophia and I would have been quite content growing old with each other. I'm quite sure the shared level of Italian competence at handling each other would have been mutually rewarding. ;-)

But, looking back these past 46 years with my wife . . . I'd not trade her for either of these three . . or for all three collectively for that matter.

[fonkyfingers]

I'm sorry but over the years I have bought all my guitars considering two issues:
1. Does it sound good (for my ears)?
2. Does it play well?
Fortunately, most of the guitars I bought did look well too.
Of course not as nice as this gorgeous peace of furniture. I appreciate the workmanship but I feel one would need to wear something like a silk Armani suit while getting it out of the alarm protected showcase...

[Jabberwocky]

How to Win Friends & Influence People: Dale Carnegie: 9780671027032: Amazon.com: Books

[Jim Soloway]

I think it's sad that whenever we discuss a limited production guitar that tries to be really innovative, the discussion seems to gravitate to the price rather than the innovations. After seeing this post, I went to the builder's site to learn more and I thought the approach to shaping the control of the tonal response of the instrument was fascinating. Before anyone writes this off as just a piece of furniture I'd suggest taking a look at what the builder has to say. His English is not as accomplished as his building skills but it's worth a read.

[kkfan]

I think it's sad that whenever we discuss a limited production guitar that tries to be really innovative, the discussion seems to gravitate to the price rather than the innovations. After seeing this post, I went to the builder's site to learn more and I thought the approach to shaping the control of the tonal response of the instrument was fascinating. Before anyone writes this off as just a piece of furniture I'd suggest taking a look at what the builder has to say. His English is not as accomplished as his building skills but it's worth a read.

Very well put, Jim.

It's clearly understood that this guitar is not for "mere mortals." And, hardly anyone has heard one being played. It is for these reasons that I specifically named the thread, "the most beautiful archtop I've ever seen!" Note that there is no reference whatsoever to sound, or to any plans to buy one. I was referring purely to the beauty of this instrument. Although there can certainly be statements about how it's totally out of reach for most of us, there's no reason to dismiss it based on price. There is obviously good reason for the hefty price tag. As Jim pointed out, reading the theory behind its build may help us understand those reasons better.

[SierraTango]

I think it's sad that whenever we discuss a limited production guitar that tries to be really innovative, the discussion seems to gravitate to the price rather than the innovations. After seeing this post, I went to the builder's site to learn more and I thought the approach to shaping the control of the tonal response of the instrument was fascinating. Before anyone writes this off as just a piece of furniture I'd suggest taking a look at what the builder has to say. His English is not as accomplished as his building skills but it's worth a read.

I am in total agreement Jim. The OP is enthusiastic about the aesthetics of the instrument, and that is a good thing. He doesn't mention playing or gigging with one, which is OK too. It was the OP that brought price into the discussion, making a statement to the effect of ".....the 30K Benedetto doesn't even come close" to being as "beautiful" as the Scharpach he posted photos of. Totally subjective opinion he and anyone else is entitled to. Has the OP been close up with a Cremona?

Also agree about innovative ideas regarding archtops. Yes, my BC is about as traditional as they come, and the ONLY instrument I would seriously interested in "upgrading" (if it could be called that) would be one of Ken Parker's archtops. However, I am perfectly content with my BC, as the saying goes beauty is in the eye of the beholder.

[kkfan]

I take exception to that statement. You are certainly entitled to your opinion, but as the owner and lover of a Benedetto Cremona I wouldn't trade straight across for this guitar. I'm not particularly fond of the headstock shape, the open tuning pegs, or the tailpiece.

That's what makes horseraces as they say.

I apologize if I've offended you. But I certainly don't see the Cremona coming anywhere close to the Vienna Apex in terms of beauty alone. None of us can attest to the sound quality as none of us have heard the Vienna Apex. And I happen to absolutely love the headstock design.

[kris]

Ok...Jim, I have some questions : what for is this beautifull guitar? without any pickup how to use it on the gig? what kind of amplification to use with it? maybe it is only for studio recordings...?

[Archie]

Funny I looked at it and though how ugly the F-hoels were, how ugly the maple binding in the (reasonably thick top is) and I've never liked classical tuners on archtops. I also prefer a figured neck extension block than the way it is done here. The tail piece looks totally out of place to me and looks cheap/tacky, althgouh I'm sure its a quality unit. It just looks toto small or thin for the body imo
I also dont like those violin bridges, they look cheap on violins and even more so on Archtops.

I guess i'm more a classic archtop guy.

I suspect you can give it any title you want but I'm sure the price and rarity is the biggest factor, which means absolutely nothing to me, especially if you don't like that look of it.

These cost an arm and a leg too

[kkfan]

I am in total agreement Jim. The OP is enthusiastic about the aesthetics of the instrument, and that is a good thing. He doesn't mention playing or gigging with one, which is OK too. It was the OP that brought price into the discussion, making a statement to the effect of ".....the 30K Benedetto doesn't even come close" to being as "beautiful" as the Scharpach he posted photos of. Totally subjective opinion he and anyone else is entitled to. Has the OP been close up with a Cremona?

Also agree about innovative ideas regarding archtops. Yes, my BC is about as traditional as they come, and the ONLY instrument I would seriously interested in "upgrading" (if it could be called that) would be one of Ken Parker's archtops. However, I am perfectly content with my BC, as the saying goes beauty is in the eye of the beholder.

I brought up the figures ONLY because there were posts about the Apex being very expensive. Therefore, I was giving the posters a reference point in terms of price. I was and am not interested in the price.

No, I have never been up close with a Cremona. I am judging the beauty of both the Cremona and the Apex (two upper echelon guitars in terms of price) solely from the photos I've seen. Again, price was mentioned only to give some perspective to those that thought the Apex was expensive.

And you're absolutely right: beauty is solely in the eyes of the beholder. That is the reason I said that the Apex is the most beautiful archtop "I've ever seen." The statement was never an objective claim. It was purely subjective.

[kkfan]

Funny I looked at it and though how ugly the F-hoels were, how ugly the maple binding in the (reasonably thick top is) and I've never liked classical tuners on archtops. I also prefer a figured neck extension block than the way it is done here.
I also dont like those violin bridges, they look cheap on violins and even more so on Archtops.

I guess i'm more a classic archtop guy.

I suspect you can give it any title you want but I'm sure the price and rarity is the biggest factor, which means absolutely nothing to me, especially if you don't like that look of it.

You could also koo over these if the astronomical price for something is what is so impressive. Admittedly they do sound good, although I hear something in the lower mids I dont like.

The price has NOTHING to do with it.

I would love the looks of it even if it were $4,000.

Heck, if it was $4,000, I'd own one!

[Archie]

The price has NOTHING to do with it.

I would love the looks of it even if it were $4,000.

Heck, if it was $4,000, I'd own one!

Sorry I wasn't talking directly to you. Glad you like it, better get saving

[Jim Soloway]

Ok...Jim, I have some questions : what for is this beautifull guitar? without any pickup how to use it on the gig? what kind of amplification to use with it? maybe it is only for studio recordings...?

Scharpach has an extensive and very respected career as a builder of acoustic instruments. I haven't played them but I do have friends who have owned them and loved them (including one of the best players I know). So his focus is strictly on acoustic performance, not amplified performance. His stated objective with this guitar was to redesign the bracing and control of the top to reduce the mid-range prominence or "bark" that we typically associate with archtops and give it a more balanced voice like we expect from flat top guitars while maintaining the projection of the archtop.

For the musician, this guitar is meant to provide a more fulfilling musical experience rather than providing tool for a working player. I think that's an entirely reasonable objective since most of us, no matter how often we may gig or not, still have some of our most meaningful musical moments sitting at home playing guitar. I think of this much like the grand piano that my mother has in her living room. She's not at all concerned with how to amplify or record it. It's sole function is provide her with an instrument that gives her maximum musical pleasure.

[kris]

Scharpach has an extensive and very respected career as a builder of acoustic instruments. I haven't played them but I do have friends who have owned them and loved them (including one of the best players I know). So his focus is strictly on acoustic performance, not amplified performance. His stated objective with this guitar was to redesign the bracing and control of the top to reduce the mid-range prominence or "bark" that we typically associate with archtops and give it a more balanced voice like we expect from flat top guitars while maintaining the projection of the archtop. For the musician, this guitar is meant to provide a more fulfilling musical experience rather than providing tool for a working player. I think that's an entirely reasonable objective since most of us, no matter how often we may gig or not, still have some of our most meaningful musical moments sitting at home playing guitar. I think of this much like the grand piano that my mother has in her living room. She's not at all concerned with how to amplify or record it. It's sole function is provide her with an instrument that gives her maximum musical pleasure.

Thanks Jim. I think grand piano has his big history/clasical music/ but this beauty instrument I do not know at all. Looks like new "jazz acoustic" guitar project. Anway not for me.

[kkfan]

For the musician, this guitar is meant to provide a more fulfilling musical experience rather than providing tool for a working player. I think that's an entirely reasonable objective since most of us, no matter how often we may gig or not, still have some of our most meaningful musical moments sitting at home playing guitar. I think of this much like the grand piano that my mother has in her living room. She's not at all concerned with how to amplify or record it. It's sole function is provide her with an instrument that gives her maximum musical pleasure.

You hit the nail on the head there, Jim!

[fonkyfingers]

Innovative...well...
Just have a look at the specs:
The headstock has been slotted (for weight reasons?), and the tuning machines are from massive gold plated silver. The tailpiece has been carved out from a massive piece of brass, gold plated. Sides and back are made from "cello wood", aka maple (be it AAAAA+ or a little less). The maple bridge btw is from one piece but you can have an adjustable bridge made from ebony. The neck is made from "cedrella odorata" which is "Cedro", a common wood for classical guitar necks and cigar humidors. The frets are PLEKed, not everyone likes this kind of fret dressing...
If I did not overlook something, the statements on their page are 95% marketing stuff (which is absolutely ok).
Not innovative enough for me but ymmv...

[kris]

interesting how it sound?

[Klatu]

I agree with the OP in that it's at the top of my list of all time most beautiful guitars. I visited the builder's website at Jim Soloway's direction and was intrigued by the HIT & Free Floating Top System. It's supposed to be a way in which the arched top can be built entirely out of natural materials without the need for bracing. While the description referenced some sort of internal frame that replaced traditional bracing, I wasn't able to find any pictured of what is happening inside the guitars.

The only guitars I've seen that have been able to go without any binding are Composite Acoustics, but it is easier for me to understand how they achieve success since they're flattops made completely out of carbon fiber.

Who can elaborate on the following for me?

H.I.T. & FREE-FLOATING TOP

The top and bracing design features our unique H.I.T.: Harmonic Integrated Topdesign.
Mainly this means that the bracing is not longer a separate part glued to the top, now top and bracing are acoustically and physically seen as one unit. The resonance plates and bracing are now correlated positively with the velocity of the longitudinal sound waves.
The Concertura uses our improved Free-floating Topdesign™. The topplate is allowed to vibrate intensively as this is seen to be the most important medium to amplify that short pulse of the string. This is done by the use of a specific frame that prevents the sides and neck to dampen the vibration of the top. With the additional lift to disconnect the fingerboard over the 14th fret from resting on the top, further enhancement to create a completely free vibration of the top, is reached.
The Concertura accommodates a type of neck-to-body construction supporting the left-hand to easier vibrate a tone. The enhancement of the resonance capacities (H.I.T. and Free-floating Topdesign) distinguishes the difference between a guitar of average quality and one that is suitable for a top soloist.

[Jim Soloway]

Thanks Jim. I think grand piano has his big history/clasical music/ but this beauty instrument I do not know at all. Looks like new "jazz acoustic" guitar project. Anway not for me.

Not for most of us Kris but then he'll probably only build a handful of them anyway so that really doesn't matter. To me, the interesting thing about builders like Scharpach or Ken Parker is how some of their most creative ideas eventually filter back into the mainstream. I'll never have the money to own any of their guitars but I'm really glad that there are talented and innovative builders out there who are willing to push the envelope, looking for ways to make the guitar are better instrument.

[Bluedawg]

Part of the allure for me in this guitar is the finish and the maple binding ...

put that finish or binding on a Cremona, or Campellone, or even and L5 and I think they'd compete for beauty ...


and I love the slotted headstock ...

the flattops I've played with slotted headstocks are some of my favorite sounding guitars ... I would like to try a few archtops with a slotted headstock and see if it makes a difference in tone

[Jabberwocky]

...
Who can elaborate on the following for me?

H.I.T. & FREE-FLOATING TOP

The top and bracing design features our unique H.I.T.: Harmonic Integrated Topdesign.
Mainly this means that the bracing is not longer a separate part glued to the top, now top and bracing are acoustically and physically seen as one unit. The resonance plates and bracing are now correlated positively with the velocity of the longitudinal sound waves.
...

May I try, Klatu?

Somewhat like this gentleman's innovative approach: Tone Bars | McCarthy Stringed Instruments . And for the vulgarians amongst us of whom I am a card-carrying founding member for life, $7500 for a 17" archtop.

Price tags; they're kind of an inconvenience of modern living.

[SierraTango]

I apologize if I've offended you. But I certainly don't see the Cremona coming anywhere close to the Vienna Apex in terms of beauty alone. None of us can attest to the sound quality as none of us have heard the Vienna Apex. And I happen to absolutely love the headstock design.

No apology needed, and no offence taken. Sometimes we see photos (and those are some really fine professional shots of that instrument) and it just stuns us into action. Absolutely nothing wrong with that-if it inspires you, a very good thing.


Putting things into prospective: I played a Fly In event last weekend with the Cremona, it's my working instrument. Lots of really cool old warbirds on the ramp-Mustangs, Thunderbolts, etc. One of the owner/pilots came up to me and thanked us for playing music that fit the venue-lots of American Songbook material written in the era of WWII. He commented on what a "beautiful" sounding and looking guitar I was playing. We compared notes, and the last overhaul on his plane's engine was about 30K.

The rich are different.

[Klatu]

May I try, Klatu?

Somewhat like this gentleman's innovative approach: Tone Bars | McCarthy Stringed Instruments . And for the vulgarians amongst us of whom I am a card-carrying founding member for life, $7500 for a 17" archtop.

Price tags; they're kind of an inconvenience of modern living.

Wow. Thanks for posting the link.

As a layman, it looks like a technique that could have widespread appeal among builders since it doesn't appear to be as complicated or esoteric as some other innovations can be.

[Jabberwocky]

How much was the overhaul of your Ducati's Desmodromo, ST?