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I believe the blonde L5 shown on the white leather sofa above _is_ an unusually short-scale version. Here is the normal L5-CES Wes:
Notice the difference between the two pictures as to the distances from the tailpiece and the bridge, and the bridge and its relationship to the f-holes?
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07-24-2019 01:15 PM
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The guitar must've been made by the Custom Shop to be like one of Lee Ritenour's personal guitars. Here is one of his personal L5 Lee Ritenour 15" that had the old-style tailpiece (not fingers) and set pickups. Notice the similarities with the nice, blonde sofa guitar that was posted.
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I have played many archtop but the most versatile and best sounding jazz guitar I've ever played was a Chinese made Tele with a fake peavey logo on it!.
It was my friends guitar which he bought it for INR 8000 new. 115 us dollar today. It was probably more than 10 years ago. I put 11 earnieball round wound on it. It has a humbuker neck, but it sounded more like a mini bucket.
I even record a simple jazz blues. I wish I could upload the sound. But it's in my Computer..and I'm a noob here and dont know how to upload audio at the moment.
I do know how to upload YouTube ved tho. Lol
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Originally Posted by gravyTrain
I see the 137 as a reduced cost 135, which was a surprisingly well built guitar in the 90's and early 00's.
That said, a good used 135 is a bargain in the $800-1500 price range. And it is a versatile guitar. It handles club rock volumes just fine. String it with .011's and it will be quite responsive to touch dynamics...not as much as a carved archtop, but more than most solid bodies.
But with Gibson's, I'd only purchase an older axe that I have play tested. The brand name only means more $$ than a comparable axe from another brand (e.g., Guild, Yamaha) and it certainly has no relationship at all to quality expectations.
My $.02.
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Aside from the 137 seeming to be a later version of the 135 to a reduced price point, they "should" be about the same in construction. They both come in various P/U and bridge configurations so the variations within one model are probably greater than those between the models. e.g., My 135 has P100 stacked humbuckers where others have P90's or PAF types. They all have a big fat solid block from heel to end pin like a 335, but deeper since the body is deeper. I like the geometry of the guitar very much. But I think the sound of an apples to apples 137 vs 135 should be about the same, general quality issues aside. Less sustain than a Les Paul, but more resonance and greater response to pick attack. More sustain than a 175 but less picking dynamics and greater feedback resistance. I would not expect the neck P/U to be deeper or bassier on a 135 than a 137.
For your 137, just make sure you play test it first and, if it passes inspection, then go for it. But I would not ever buy one off the web because I have seen too many junk examples. The 135's between '95 and '05 are more reliably of good quality.
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If only two. Gibson 175 and Gibson 335. I like my old Ibanez Johnnie Smith and reissue Gretsch synchromatic. They don’t really do it for me, but they are great chordal chunka chunkas.
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Take a "short neck" 330, put only one P90 in neck position, add one inch to the body depth, give it a beefy mahogany neck and also mahogany back and sides. Color it blonde or sunset burst.
I'll certainly buy it.
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Originally Posted by Tatayoyo
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Originally Posted by TheThunder
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Gibson got very close to perfection at least three times: ES-175, ES-350 (original style, before short-scale and PAFs), and the L5-CES.
I realize that one has a shorter scale, but it is SUCH a sweet jazz guitar. I played one for 30 years, for goodness' sake. At this point, it's like a marriage.
Still, the 17" archtops, i.e., the L5 and the ES-350, are virtually unbeatable for getting it done on the job. I will, without regret, sub a Fender in there on the band stand--but it is a substitute for what I truly have in mind.
I am always imagining, "How would things sound, right now, if I were playing an L5?"
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I would settle for a Gibson Johnny Smith single pick-up for my ultimate Jazz guitar, but of course, it would have to be a "good one", meaning not all guitars are created equal, even if they are the same make and model.
What I have to be happy with is my 1988 ES-175 (mahogany back and sides), an Unsung 1989 MIK Epi Sheraton, and a 1992 MIK Epi Emperor Regent.
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I've had and currently have many archtops, solid bodies and a semi hollow. My ES 175 remains my favorite. I recently acquired a Byrdland. It sounds really good. I briefly thought it could be my main guitar. ES 175 fought back. Regained her crown. As she always does.
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If you ask a visual artist to draw a jazz guitar from memory
(I'll bet). they'll draw an L5ces with a Venetian cutaway
its the Iconic shape for a Jazz box
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The ES-125 is the perfect jazz guitar, because:
- it has only pickup, so one does not become tempted to use the devilish bridge pickup that sounds no good for jazz;
- it has no cutaway, so one has to become creative in the 0-14 fret range, which sounds much better anyway;
- it is fully hollow and will feedback on higher volume levels so one is not tempted to play too loud;
- it has no thrills and no fancy ornaments so one is not tempted to show off with a fancy guitar but can only show off with good playing;
- it has a P90 which is THE ultimate jazz pickup and is not affected by the dreadful and utterly useless PAF-hype;
- it was only available in sunburst (not counting the early hog versions), so one is not tempted to have a mine-looks-better-than-yours contest;
- it does not cost 5k;
- Martijn van Iterson plays one.
End of discussion!
;-)Last edited by Little Jay; 11-05-2019 at 09:58 AM.
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For me, for the moment, it is my 1983 Made in Japan IBANEZ FG100 (right). I love the neck shape! I love how it looks! I love the originality! The untouched condition! I love the unplugged sound so much as the plugged in sound. That is very important for me, because I play very often just a short session with out an amp. It doesn’t sound like an acoustic Archtop if you play unplugged. Of course... it’s an laminated electric hollow body, made for plugged playing and for high resistance against feedback. But it has a nice balanced sound between high and low frequencies. So I enjoy my short unplugged sessions as well.
It’s a very nice “player-friendly” guitar. The old original super 58 Japanese PAF pickups are just amazing in my opinion. If you look exactly at the picture, you will recognize that the FG100 (right) has the neck PU in a different position than the newer AF200 (left). That is one of the most interesting difference between these guitars. The FG100 is similar to the IBANEZ Joe Pass Signatur model in this case. These two beauty’s has more than 33 years of life between each other.
The AF200 (left) is also a Made in Japan IBANEZ. It has different woods, it’s newer, it’s a bit more an exclusive model I guess. It’s similar great as the FG100. I just prefer the older one, because of it’s age and it looks a bit more simple and pure to me. I like that a lot!
I know the AF200 (Prestige) is a newer model... But I really don’t care about “Voodoo”... it’s still one of the best playable and good sounding electric Archtop guitars I owned, so I love both of them. Until now, I owned several different and nice Archtops. I’m not a professional player and I don’t use guitars in a very high price segment, just because I don’t need them. These two beautiful guitars are also not the cheapest one... but they are worth every penny you pay for them. That’s true! ... at least in my case
So I just love the good high quality Japanese stuff! Don’t get me wrong, Gibson guitars are also great. They are just a bit to expensive for that what you get. In this case, you always pay a part just for the name on it. But they are great, of course
Sooo... I’ll proceed with my Japanese guitars and who knows... there is always a free place for a new one ... who knows... what guitar will next become a part of my life
Best regards for Munich
Last edited by Seven; 12-28-2019 at 06:32 AM.
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Originally Posted by Alter
Here are some more pics, taken from the same session (it's more flamey in person):
It is a great playing and sounding guitar. I have it strung with TI 13 flats and I can cop tones from Wes-esque to Grant Green-esque depending on my attack and varying the tone control. It is an electric guitar. The acoustic tones are OK, but not close to my old Guild/Benedetto Artist Award (which was the second best acoustic archtop I've ever played; the first was a 30's L5 which was an orchestra).
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Attachment 63685
Ha, look who showed up!
I have had the pleasure of playing this guitar and it's pretty darned swell.
But, Jay, we've got to do something about that pickguard.
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Originally Posted by Hammertone
In the future I hope a custom single pickup natural/blond ES-275 P90 hollow body with rosewood/parallelograms will join this guitar.
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I own two of the nicest jazz guitars I've ever played, and I think I can honestly say that I haven't yet met the nicest jazz guitar there is. Maybe someday. I probably wouldn't be able to afford it anyway.
That's the key, isn't it? We buy what our budget will allow for. My first nice jazz box was an Ibanez 2455NT, built in 1977. It was a copy of the Gibson L4CES -- I think I have the alphabet soup right. And it was a gorgeous guitar, sounded as good as it looked, too. I owned it for about 10 years and sold it about 10 years ago, in a moment of too many guitars and not enough cash. I regret selling it.
To make up for the loss, I bought an Ibanez AG85 about six years ago. This guitar was built in 2004. It is a smaller body size and not as deep as the old 2455NT, but it has a wonderful sound, and plays like a dream.
A few months ago, I was in a local guitar shop and spied another Ibanez -- a 1977 2355M. I couldn't resist, so I bought it and took it home. This guitar is a sort of deluxe looking ES-175 with its flame maple wood all over. Like my other 1977 Ibanez, this one also is a wonderful player. It has that larger box and has a great jazz sound. This is the 2355M with the pickguard removed (who needs one of those things anyway?).
I have more pics of my guitars but they're on another computer, so I'll have to add them later.
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I would say something like dual humbucker mahogany guitar.
Since everyone is saying hollow body.
I say next are; dual humbucker mahogany body guitars.
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Perfect jazzer for me is the L5 but I’ve been toying with a Fender Jazzmaster hardtail that has been a lot of fun lately and my first non hollow body. It has 13 Tomastik flatwounds, with a P90 soapbar in the neck position. I’ve also changed the pots and caps to give it a darker sound and it’s a blast. I originally purchased it to turn into a Fender xii but I may just keep it like this since a reissue of the Fender xii just came out and it has a cool sound.
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Yap, mahogany dual humbuckers jazz guitars are underrated by hollow bodies.
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For now I found my perfect tool for our blend of jazz, funk and soul with this little japanese guitar.
It is super versatile, can be played loud and it is very easy to play. I had an Eastman carved from solid woods before, but the howling drove me so nuts that I played telecasters for like 10 years. Only recently I rediscovered a desire for hollow guitars – it came with the new band I'm in. ;-)
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Originally Posted by guavajelly
And the best thing with them is:
They’re worth every penny you pay for them.
With your GB-10 you have one of IBANEZ best guitars they ever build in my mind
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A beautiful guitar. I've wanted one since the late 70s. I get by these days with an AG85, which I love. Got a question, though -- which model is that in the background? Looks a little bit like my AG85, but different.
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