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I suppose any skilled archtop builder with a reasonable amount of experience and talent could do it.
Gilchrist was mentioned up top - I don't know what he's charging these days, but I'm sure his instruments are priced at the higher end for this style of guitar.
A guy like Mark Campellone could certainly build a '20s style L-5, but I'm not sure if he'd entertain the various custom features it would require - he has done the snakehead headstock a few times(and it is lovely, IMO) and one or two-piece necks, but I'm not sure if he'd want to bother with the more overt recarve, narrow f-holes or the darkburst finish. Easy enough to ask, I suppose.
My guess is that he'd base it on a Standard with no pickup, which starts at $4,600. All the options required to bring it in line with a '20s L-5 would probably push it up into to $6,000 - $6,500 range.
He bases his guitars firmly on Gibson designs, as opposed to the more recent Benedetto approach.
Campellone snakehead:
Last edited by Hammertone; 02-26-2017 at 11:44 AM.
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07-07-2015 05:58 PM
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Both Triggs and Campellone build variations on the theme, though neither seem to be as close of a copy as some of the luthiers listed above make.
Triggs:
2014 Triggs 16" Archtop - Vintage Guitars Since 1965 - Matt Umanov Guitars
Campellone:
Well darn, I can't find the link now. But Acousticmusic.org recently had a 16", non-cut, purely acoustic Campellone in stock.
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Thanks. Yeah anyone can probably do it, but most are in the Benedetto school of design. There aren't many that really are interested in the style because there isn't a market. Having a guitar built outside of the normal style of a luthier isn't a good combo IME.
Originally Posted by Hammertone
I saw that Campellone but when I called him 2 years ago he was not interested at all in any deviations. He wanted to build his stock models only. That may have changed because a friend just asked about an oval hole build and Mark was all about doing it. The workload probably determines it. Yeah that noncut is really pretty but it follows a more modern L5 style.
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This was my goal with the thread: people who have really looked at the L5 and understand how it is built and have an interest in that style. Originally Posted by rpguitar
What's interesting is that a true in-the-shoes Lloyd Loar would have a Virzi Tone Producer—which Gibson promptly ditched right when Loar left, and Monteleone apparently isn't a fan of it either.
Another thing I learned: we have Loar to thank for bringing the idea of tap tuning tops from violins, but concert pitch during the 20's was different from what we use today, so the instruments were tuned to literally a different time—C=256 (A=431). Apparently that contributes to the great tone of the guitars now. Happy accident.
If you haven't seen this page, this is a great bio of Loar from Roger Siminoff:
Lloyd Allayre Loar, 1886-1943 | Siminoff Banjo & Mandolin PartsLast edited by spiral; 07-07-2015 at 06:38 PM.
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That Mowry is just sick!! Also, I'd have to imaging it sounds just a gorgeous as it looks. What a beauty!!!! That's just magnificent old school Gibson-esque delight. Originally Posted by spiral
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Interestingly, it looks like Ryan Thorell (who makes Frank Vignola's signature guitar) makes a 16" L5ish guitar too:
Thorell "The Luxerado" Acoustic Archtop Guitar, New | om28.com
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My own L-5-like grail is slightly different. Early 1930s Roger, by Franz Hirsch:
Last edited by Hammertone; 04-28-2017 at 12:10 AM.
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Great thread! And very cool that you update the OP with poster's suggestions. Originally Posted by spiral
Mowry and Cunningham are discoveries for me. Thanks!
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Wow! Originally Posted by backdrifter
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PSA currently at Gruhn's:
AR4461 The Cunningham L-5 new
AR4461, The Cunningham L-5, new, red spruce top, beautifully figured maple neck, back, and sides, French polish finish, excellent tone and volume, HC, a superb hand crafted instrument by Jackson Cunningham of Rugby, VA ...$9,500.00
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I wonder if these makers use a more modern neck profile?
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From the pics, it looks like that Cunningham has a soft v-profile. I believe that the girth and the mass of the neck contribute to the sound of the 30s guitars. Originally Posted by Woody Sound
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Michael Viteri has added a 16" L5 to his model list. I don't think any pictures have gotten on his website yet, but a few are floating around on Facebook.
Viteri Guitars
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Seeing Bryant Trenier's last Broadway examples online, I'd definitely say he needs to be added to this list.
Obviously, he's got D'A influences along with the Loar-ones, but it's definitely in the same ballpark.
Also, I visited San Francisco last weekend with my '32 L-5, also played three different Loars. Of course, they weren't same as the real thing, but each one (a 700, a 600 and even a 300) was well played-in, and had a great acoustic voice. Man, if Loars had been available when I started...geez, man, it would've saved me a bunch of time and money.
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I have owned many guitars from this period including a current DA snakehead - and I can confidently state that my Trenier Broadway is the best sounding of them all ( that I've owned) . It has the sweetness of the D'Angelico with enormous volume and sensitivity. It is an incredible instrument - the best of my 35 plus years of owning high end guitars ..... period .
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Steve, I just noticed how wide that spruce grain is, especially towards the edges.
bet that gives it a lot of bark. is it Adirondack?
just a killer looking guitar too.
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05-24-2016, 04:07 AM #42destinytot Guest
Great thread, with some stunningly beautiful guitars.
I'm interested in a Loar, but I'd need a pick guard. Does anyone have any suggestions/advice as to which, please? Thanks!Last edited by destinytot; 05-24-2016 at 06:49 PM.
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Wintermoon, Originally Posted by wintermoon
Yes, you are very observant . The top is Adirondack and it has tremendous bark , yet the tone is fat and thick, not thin and bright like some Ive had from that early period. The guitar is a Canon on steroids. It vibrates your entire chest and sounds like an organ at time s. I wish you guys could play this - it's that good.
Bryant was actually restoring a 20's L 5 for Rudy Pensa during my build and he applied the finish by hand just like the early Gibson process. The bridge is typical D'Angelico style and the bass is fitted precisely - with zero gaps.
Compared to my Snakehead DA, which is an incredible guitar - this one is slightly warmer and louder with tremendous resonance and sustain. The DA is a little brighter sounding and less sustain - but enormous bark.
The day I picked up the guitar I was just blown away with emotion. Bryant is so passionate about these " old brown" loyd / early DA period guitars - as he states- and the final results are just amazing. He builds one Broadway per year. Here is a full pic of front.
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Why in the H. E. double hockey sticks did I click on this thread!! It is a bit GASy in here don't you think?
Exquisite instruments!!
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Michael Viteri
Viteri Guitars
16" with a floating Charlie Christian pickup:
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I just found a builder I didn't know about and the guitar I saw (online) may qualify as an early L-5-clone.
Flammang SA-45
Flammang SA-45 | Acoustic Music
15-1/4" lower bout though, and 1-13/16" nut. And a price tag of $3,250. quite low compared to to other prices in the list of guitars above.
If we look not only at 16" L-5 replicas, pastiches, or hommages, I have a guitar luthier Paul Lestock (Arrow) built like a 1929 L-5 except the body is scaled down to 14" at the lower bout, while the guitar has a 24.9 scale length and a 1-3/4" nut. Oh, and a venetian cutaway. The neck was copied from one of Tony Marcus' late-20s L-5.
Here is the Lestock Arrow archtop 14:
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I thought it worth resurrecting this thread after seeing this video of one of Paul Duff's builds that is for sale at Carter's Vintage. I would really like to hear what it sounds like picked and strummed further away from the bridge, but it still sounds awfully stunning.
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I believe one reason this size is not as popular is the bass response. This Duff certainly sounds fine but just listening it lacks the bottom end of a 17 or in 18 guitar. It really is whatever your ears hear but most 16 inch guitars just do not quite have the bass response I am looking for and they do no feel as comfortable to me to play.
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Well, and many larger archtops don't have the crisp but sweet single note articulation of that 16" box. He's playing it like a flattop, which is exactly what a guitar built to mimic a 1920s L-5 should be able to achieve. I think it sounds great! Originally Posted by deacon Mark
Also, to be fair, he's playing the top 3 strings almost the whole time. We get one open G chord at the end, and you can hear the balance of the instrument, if only briefly.
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$10K for the Duff
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