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  1. #1

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    My dog woke me up at 6am as usual. After our walk, I played my Benedetto.
    After I was done playing it, I wondered..
    "Why the hell do I have any other guitar?"


    But seriously.. The feel of a Benedetto can not be equaled. There is a solidness to it that defies logic. You feel like while your playing it, if your wife attacks you with a frying pan when she learns how much it cost, you can use it as a shield. And then you put it back on your lap and continue playing.. There is nothing in the world that feels like a Benedetto. When you have one in your hands on a gig you feel privileged. All the interconnected parts form a guitar that is almost impossible to explain.


    Nothing beats a Benedetto. Nothing comes close to the feel of a Benedetto.

    (Sorry, I couldn't resist)
    Attached Images Attached Images The Benedetto Feel-cafe-1-jpg 

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  3. #2

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    The Benedetto's that I have played that were actually built by Bob have been superb guitars. ST, you are indeed fortunate to own one.

  4. #3

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    A La Venezia is on my list of dream guitars

  5. #4

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    Benedettos are so rare here in Switzerland, i never even saw one in real life. Wish i had a chance ...... .

    But one thing i'm sure of: if i had a wife who would attack with a frying pan i'd keep the guitar and let the wife go, no matter what brand the guitar is.

  6. #5
    Quote Originally Posted by JazzNote
    Benedettos are so rare here in Switzerland, i never even saw one in real life. Wish i had a chance ...... .

    But one thing i'm sure of: if i had a wife who would attack with a frying pan i'd keep the guitar and let the wife go, no matter what brand the guitar is.
    The likelihood of my lovely spouse attacking me with a frying pan is as preposterous as Joe D's runaway train allegory in the "Gibson Feel" thread. She encouraged me to obtain the instrument. All in good fun.
    Last edited by SierraTango; 09-02-2016 at 02:43 PM.

  7. #6

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    Best playing guitar I ever had was a '90 Manhattan

    this post could also go in the "guitars you wish you hadnt sold thread"

  8. #7

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    Quote Originally Posted by SierraTango
    My dog woke me up at 6am as usual. After our walk, I played my Benedetto.
    After I was done playing it, I wondered..
    "Why the hell do I have any other guitar?"


    But seriously.. The feel of a Benedetto can not be equaled. There is a solidness to it that defies logic. You feel like while your playing it, if your wife attacks you with a frying pan when she learns how much it cost, you can use it as a shield. And then you put it back on your lap and continue playing.. There is nothing in the world that feels like a Benedetto. When you have one in your hands on a gig you feel privileged. All the interconnected parts form a guitar that is almost impossible to explain.


    Nothing beats a Benedetto. Nothing comes close to the feel of a Benedetto.

    (Sorry, I couldn't resist)
    Nice! Your writing style is Pulitzer Prize worthy.. Love it.
    I have to admit, I've never actually played a Benedetto. Well, one built by Bob anyway. I've seen a couple hangin in Guitars n Jazz, but never played one.
    Joe D

  9. #8

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    Question to all Benedetto advocates:

    What makes a Benedetto worth the extra money it costs?

    Can one say that an average Benedetto is better than a good Gibson which costs probably about 60% of the Benedetto?

    (no sarcasm in this post ;-))

  10. #9

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    joe D, you might have to remedy that one day!!

    The Benedetto Feel-johnny-smith-1922-2013-news-jpg

    cheers

  11. #10

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    Quote Originally Posted by Joe DeNisco
    I have to admit, I've never actually played a Benedetto. Well, one built by Bob anyway. I've seen a couple hangin in Guitars n Jazz, but never played one.
    Joe D
    Probably best you don't. Stay in your happy space, its a cruel world out there! LOL!!

  12. #11

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    I was close.. I like the shorter scale. They are beautiful though.
    JD

  13. #12

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    Great photo of Johnny! ...now I have a hankering to take up pipe smoking!

  14. #13

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    Quote Originally Posted by neatomic
    joe D, you might have to remedy that one day!!

    The Benedetto Feel-johnny-smith-1922-2013-news-jpg

    cheers

    Don't make things more confusing than they already are! The GBJSAs are very well executed archtops with a fabulous feel, but they are not like other Johnny Smiths and not full fledged Benedettos.

    If I can speak for Joe, he likes a shorter scale length. 25 9/16" is too much of a stretch for him, literally.

  15. #14

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    Absolutely MG.
    They are beautiful though. Especially yours though..
    Joe D

  16. #15

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    js with bennie cremona

    js- "In my opinion Bob is the finest guitar maker alive today"


    fr- iBreatheMusic.com - Johnny Smith Goes Full Circle

    CC: I know you own a Benedetto. What model is that?

    JS: I own the Cremona model and it's just exquisite. I have owned it since the early 1980's and have only played it for myself, but it is a joy to behold.

    The Benedetto Feel-js_cremona-jpg

    cheers

  17. #16
    Quote Originally Posted by Joe DeNisco
    Nice! Your writing style is Pulitzer Prize worthy.. Love it.
    I have to admit, I've never actually played a Benedetto. Well, one built by Bob anyway. I've seen a couple hangin in Guitars n Jazz, but never played one.
    Joe D
    Glad everyone is up for some good natured humor before the Labor Day weekend here in the U.S. And yes, I'll be gigging with my Bob built 90 Cremona Sunday afternoon. What can I say Joe, I cut and pasted from the master.

  18. #17

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    I'm pretty sure my telecaster could feel it's way right through any of y'all's archtops.



  19. #18

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    Quote Originally Posted by mr. beaumont
    I'm pretty sure my telecaster could feel it's way right through any of y'all's archtops.


    If a dustup between me and an angry woman with a cast iron pan is going to happen and I can only have a guitar for defense, I would want it to be a Telecaster. And preferable a Squire.

  20. #19

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    you could even up the odds with a rickenbacker frying pan

    The Benedetto Feel-4633001070_aedf3140af_o-jpg

    cheers

  21. #20

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    As the proud owner of a Benedetto Bambino Standard for the past 5 years, I can say it's a keeper!

  22. #21

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    Quote Originally Posted by Stringswinger
    If a dustup between me and an angry woman with a cast iron pan is going to happen and I can only have a guitar for defense, I would want it to be a Telecaster. And preferable a Squire.
    can't be wrong to use a tele:

  23. #22

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    Quote Originally Posted by mr. beaumont
    I'm pretty sure my telecaster could feel it's way right through any of y'all's archtops.
    maybe with you playin it..

  24. #23

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    Quote Originally Posted by SierraTango
    My dog woke me up at 6am as usual. After our walk, I played my Benedetto.
    After I was done playing it, I wondered..
    "Why the hell do I have any other guitar?"


    But seriously.. The feel of a Benedetto can not be equaled. There is a solidness to it that defies logic. You feel like while your playing it, if your wife attacks you with a frying pan when she learns how much it cost, you can use it as a shield. And then you put it back on your lap and continue playing.. There is nothing in the world that feels like a Benedetto. When you have one in your hands on a gig you feel privileged. All the interconnected parts form a guitar that is almost impossible to explain.


    Nothing beats a Benedetto. Nothing comes close to the feel of a Benedetto.

    (Sorry, I couldn't resist)
    I have to agree. The one in the middle in this pic, is my 1989 Fratello. It's an amazing guitar.
    Keith
    The Benedetto Feel-image-jpg

  25. #24

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    My turn to weigh in. I had a Cremona built by Bob in 1987. George Gruhn told me it was one of Bob's earlier ones before he made the better ones. I loved the guitar but I put GHS .013 flats on it and it just didn't sound that good. Once I changed the strings to a better set, the correct sound came right up. I sold the guitar because I wasn't playing out anymore and that kind of guitar needed to go to someone who could do it justice. Plus, I needed the cash at the time. I made some good money on that deal. Benedetto are great guitars right up there with the best of them. The finish on them both outside and inside the body was flawless.
    Last edited by hot ford coupe; 09-02-2016 at 09:49 PM.

  26. #25

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    I feel like I want one. Does that count?

  27. #26

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    Joe,
    If it's any consolation, I had a Benedetto Bravo Deluxe last year(Used )
    after 3 months of everything going wrong with it :-
    ( the push pull pot needed to be replaced, and the wiring harness ,and
    then the pickup needed to be replaced after continually switching off
    after 20 minutes of use ) I grew tired of it , it also lacked in sustain in
    comparison to other Archtops,. Needless to say it was replaced with
    another Gibson.
    No offence ST... c'est la vie.

  28. #27

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    Quote Originally Posted by silverfoxx
    Joe,
    If it's any consolation, I had a Benedetto Bravo Deluxe last year(Used )
    after 3 months of everything going wrong with it :-
    ( the push pull pot needed to be replaced, and the wiring harness ,and
    then the pickup needed to be replaced after continually switching off
    after 20 minutes of use ) I grew tired of it , it also lacked in sustain in
    comparison to other Archtops,. Needless to say it was replaced with
    another Gibson.
    No offence ST... c'est la vie.
    I have found that there is a real difference in the Benedettos made by Bob and the ones made by Guild or by Howard Paul's crew. Just as there is a real difference in a Guild made in Westerly/Hoboken/NYC and the ones made in Korea/Corona/Tacoma (truth be told, I have read that the New Hartford Guilds were pretty strong, but by that time, the damage to the brand was done).

    I'll bet that ST's guitar is a dream guitar in every way.

  29. #28
    Quote Originally Posted by Stringswinger
    I have found that there is a real difference in the Benedettos made by Bob and the ones made by Guild or by Howard Paul's crew. Just as there is a real difference in a Guild made in Westerly/Hoboken/NYC and the ones made in Korea/Corona/Tacoma (truth be told, I have read that the New Hartford Guilds were pretty strong, but by that time, the damage to the brand was done).

    I'll bet that ST's guitar is a dream guitar in every way.
    After watching Joe D's OP on the "Gibson Feel" grow to 4 pages, I had to have a bit of fun starting a parody. Guess I created a monster, however, hey, what else are we going to do-practice? And BTW I love Gibson guitars and have owned a L-5CES, a Howard Roberts oval hole, and several Les Pauls in the last 45 years.

    Of course the Bravo series is totally different animal than the Bob built carved instruments. IMHO he really hit his stride as a builder in the late 80's into the Fender-Guild-Corona Custom Shop era. I've played about four of the early archtops which were excellent instruments but didn't float my boat. I was lucky enough to play three of Jimmy Bruno's Benedettos in the mid nineties and they were on a whole other level. I truly think the Custom Shop concept was the only way Bob could go-demand was high and even with high prices ordinary guys like me were lining up to order one.

    Keeping in mind that most of the instruments were custom ordered during that time (some were built on spec and sold to dealers like Mandolin Bros.), the individual guitars had different nuances built into them based on what the player was looking for out of the instrument-so it may be a big fat zero to someone else.

    I attended NAMM the year the Fender deal started. I didn't find the same soul as the instruments Bob built, although they were very nice guitars. I've not played many of the Savanna built models-one was a Bravo Deluxe that just didn't inspire me.

    Sorry the Bravo Deluxe wasn't the right guitar for you Foxx. As you know, it's a laminated guitar designed as a giging workhorse and built on a production line-very much like Gibson but on a smaller scale. And judging by all the threads on this forum about Gibson QC, I'd say I've heard very few complaints about any model Benedetto.

    C'est la vie. And yes, Marc-she's everything I want in a archtop. BTW your Dupont is calling my name....

  30. #29

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    I can't even afford to look at a Benedetto!

  31. #30

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    Bob started to make Archtop guitars in the late 1960s in New Jersey. In the mid-1970s he moved to Florida and finally to Pennsylvania in the 1990s. Bob stopped being an independent luthier 17-years ago. He made archtop guitars from 1968 to 1999 in three different shops (NJ, FL and PA). He was an independent luthier for >30 years. He had a number of assistants across these years as well. Like John D'Angelico before him, Bob got many of his guitars in the 1980s and 1990s into the hands of some of the best contemporary jazz guitarists. The combination of making an excellent guitar, getting them in the hands of talented players and making a name as a guitar-making teacher (plus an Italian last name:-) put him ahead of his peers.

    For seven years after that (1999-2006) he was under contract to supervise Guild's production of archtops bearing his name for Fender. Ten years ago in 2006, the small shop venture with Howard Paul began using his name, designs and supervisory input. This is not uncommon. Luthiers such as Dana Bourgeois, Bill Collings, James Goodall and Michael Millard once were once independent luthiers as well and all developed high quality small shop operations that they supervised. Bob lives in Florida about 300 miles from the Savannah shop that bears his name. Today, he signs labels and guitars, sits on the board of the company and acts as a namesake luthier ambassador (and plays out at some local Florida gigs!).

    The guitars coming out of Savannah are fine guitars, built by a trained team implementing Bob's designs but they are missing the touch of the master's hand.

  32. #31

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    My Benedetto has the nicest finish I've ever seen on any guitar. Opulent brown. The clear looks like a piece of glass without looking thick. Perfect burst.

    The overall aesthetics (body shape+binding+headstock shape) is also up there along with my Triggs St Croix, Guild AA, and Trenier Broadway as the most attractive guitars on the planet to me (the 2 pickup L5 is also up there). I'll keep one out sometimes to just look at.

    The build quality on my Triggs and Trenier is tad higher than my Benedetto.

  33. #32
    Just curious-what year and model is your Benedetto?

  34. #33

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    Quote Originally Posted by sierratango
    just curious-what year and model is your benedetto?
    2011 16-b

  35. #34

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    I get the impression people in general must like their 16B guitars. It seems it's a rare event when a used one comes up for sale.

    I find I am having difficulty with the Bravo. Playing live it seems to work OK and I get plenty of positive comments from friends and listeners. However, when playing it home, I often find resonance (that changes with humidity), at the G on the 2nd and 4th strings is distracting. I am getting the impression from previous posts I have seen on the forum that others have found this with this model. I sometimes wonder if this contributes to the signature sound I seem to hear on You Tube videos.

    I can't find any 16B demos on You Tube. Anyone compare the Bravo to the 16B? I am wondering if the 16B has a more consistent response and sustain, for different notes, with less undesirable resonance points.

  36. #35

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    Quote Originally Posted by HeyNow
    My Benedetto has the nicest finish I've ever seen on any guitar. Opulent brown. The clear looks like a piece of glass without looking thick. Perfect burst.

    The overall aesthetics (body shape+binding+headstock shape) is also up there along with my Triggs St Croix, Guild AA, and Trenier Broadway as the most attractive guitars on the planet to me (the 2 pickup L5 is also up there). I'll keep one out sometimes to just look at.

    The build quality on my Triggs and Trenier is tad higher than my Benedetto.
    don't tease...let's see that Opulent Brown in all her majesty bro!

  37. #36

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    Quote Originally Posted by 2bornot2bop
    don't tease...let's see that Opulent Brown in all her majesty bro!
    We don't all have the photo skills you have! I need a DSLR or such to probably get anywhere close to capturing the burst transition.

    I think phones do a terrible job of capturing Burst's. The color of the binding on the Guild AA picture I posted recently was all wrong.

  38. #37

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    Quote Originally Posted by HeyNow
    We don't all have the photo skills you have! I need a DSLR or such to probably get anywhere close to capturing the burst transition.

    I think phones do a terrible job of capturing Burst's. The color of the binding on the Guild AA picture I posted recently was all wrong.
    You might use color correction software on the pics. Most computers or tablets or smartphones have that provided with the software that comes with it.

  39. #38

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    Quote Originally Posted by HeyNow
    My Benedetto has the nicest finish I've ever seen on any guitar. Opulent brown. The clear looks like a piece of glass without looking thick. Perfect burst.

    The overall aesthetics (body shape+binding+headstock shape) is also up there along with my Triggs St Croix, Guild AA, and Trenier Broadway as the most attractive guitars on the planet to me (the 2 pickup L5 is also up there). I'll keep one out sometimes to just look at.

    The build quality on my Triggs and Trenier is tad higher than my Benedetto.
    What about comparing the sound quality of the Triggs and Trenier with the Benedetto?

  40. #39

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    I don't have one of those super nice Benedetto's, just a Bambino. I am delighted to pull it out of it's case everyday to play or learn something new. I doubt I will ever own another guitar, let alone a more expensive Benedetto (as much as I wish I could), but it is a special guitar. I've never played a guitar with a nicer neck, or better fretwork. It's not the most attractive archtop no doubt, but I can't believe I am fortunate enough to own something that to me, is perfect. I hope my playing can some day do the guitar justice.

  41. #40

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    Quote Originally Posted by JazzNote
    You might use color correction software on the pics. Most computers or tablets or smartphones have that provided with the software that comes with it.
    I use Photoshop about 3 days out of the week. I just assumed my camera pics wouldn't have the correct information to correct. My Les Paul sunburst pics look like clownbursts in photos.

    I can play around with it.

  42. #41

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    i tried an old classic manhattan once a long time ago and it did seem crazy-good

    floatingpickup - forum member - has recorded a you tube video that shows very clearly what is special about his fratello

    that video is particularly helpful because you can compare it to a number of others he's done with L5s and campellones

    there is something about the fratello that sets it apart - but i'm not sure its my thing.

    ----

    for me in general i want to hear how something sounds when it is in the heat of actual battle - played and recorded properly - on a cd sort of thing - before i can form a judgment about how good the guitar is.

    that is why certain gibson models seem practically irresistible. its so hard to get to hear comins or buscarino guitars being played etc.

    i've heard benedettos sounding really good (e.g. howard alden) - but not ones that sound good in a way that makes me want to use one. just not jazzy enough.

    this may well be because of nothing more or less significant than the fact that almost all my jazz guitar 'records' feature gibson guitars.

    you can compare say mark whitfield playing a stupid L5 (late fifties floater) and him playing a stupid marchione (is that right? - small, red - expensive). and - it seems to me - the L5 sound has something important going on that the marchione does not. something that has to do with jazz

    i think that's why people can easily go nuts for gibson guitars. its not just that they look this way or that - its also that they somehow consistently manage to generate hip - cool - hot - jazzy - sounds. that's a kind of miracle. lots of 175s have this sound - almost nothing else does. how do you build that? etc. etc.

    that's why its not silly to rave a bit now and then about this 'feel' that they often have.

  43. #42

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    Quote Originally Posted by Groyniad
    i tried an old classic manhattan once a long time ago and it did seem crazy-good

    floatingpickup - forum member - has recorded a you tube video that shows very clearly what is special about his fratello

    that video is particularly helpful because you can compare it to a number of others he's done with L5s and campellones

    there is something about the fratello that sets it apart - but i'm not sure its my thing.

    ----

    for me in general i want to hear how something sounds when it is in the heat of actual battle - played and recorded properly - on a cd sort of thing - before i can form a judgment about how good the guitar is.

    that is why certain gibson models seem practically irresistible. its so hard to get to hear comins or buscarino guitars being played etc.

    i've heard benedettos sounding really good (e.g. howard alden) - but not ones that sound good in a way that makes me want to use one. just not jazzy enough.

    this may well be because of nothing more or less significant than the fact that almost all my jazz guitar 'records' feature gibson guitars.

    you can compare say mark whitfield playing a stupid L5 (late fifties floater) and him playing a stupid marchione (is that right? - small, red - expensive). and - it seems to me - the L5 sound has something important going on that the marchione does not. something that has to do with jazz

    i think that's why people can easily go nuts for gibson guitars. its not just that they look this way or that - its also that they somehow consistently manage to generate hip - cool - hot - jazzy - sounds. that's a kind of miracle. lots of 175s have this sound - almost nothing else does. how do you build that? etc. etc.

    that's why its not silly to rave a bit now and then about this 'feel' that they often have.
    At the end of the day, most of the jazz guitar sounds that I love has been recorded by guys with Gibsons or D'Angelicos.

    That said, Bucky's sound on his Benedetto 7 string wows me, George Benson's sound on his Guild or Ibanez works for me and Ted Greene made a Telecaster do the trick. But, along with many others, I remain a Gibson fanboy.

  44. #43
    Quote Originally Posted by Groyniad
    i tried an old classic manhattan once a long time ago and it did seem crazy-good

    floatingpickup - forum member - has recorded a you tube video that shows very clearly what is special about his fratello

    that video is particularly helpful because you can compare it to a number of others he's done with L5s and campellones

    there is something about the fratello that sets it apart - but i'm not sure its my thing.

    ----

    for me in general i want to hear how something sounds when it is in the heat of actual battle - played and recorded properly - on a cd sort of thing - before i can form a judgment about how good the guitar is.

    that is why certain gibson models seem practically irresistible. its so hard to get to hear comins or buscarino guitars being played etc.

    i've heard benedettos sounding really good (e.g. howard alden) - but not ones that sound good in a way that makes me want to use one. just not jazzy enough.

    this may well be because of nothing more or less significant than the fact that almost all my jazz guitar 'records' feature gibson guitars.

    you can compare say mark whitfield playing a stupid L5 (late fifties floater) and him playing a stupid marchione (is that right? - small, red - expensive). and - it seems to me - the L5 sound has something important going on that the marchione does not. something that has to do with jazz

    i think that's why people can easily go nuts for gibson guitars. its not just that they look this way or that - its also that they somehow consistently manage to generate hip - cool - hot - jazzy - sounds. that's a kind of miracle. lots of 175s have this sound - almost nothing else does. how do you build that? etc. etc.

    that's why its not silly to rave a bit now and then about this 'feel' that they often have.
    At the end of the day, it's horses for courses. I have no problem with players raving about their particular choice of instruments. It's a frequent subject matter on this forum.

    That was not the point of my parody on Joe D's OP on the Gibson feel. It was that someone could plug in just about brand/builder in place of Gibson, as many have, and express the same emotion.

    As for me I'm playing this afternoon with my BC and it's a joyful experience.

    Cheers and enjoy your Gibson.

  45. #44

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    I think Benedetto guitars are further refinement of many of Gibsons finest creations. The Bambino Std. I own improves on the ES-175 design by making the body more comfortable (smaller), extending the scale to 25" adding an Ebony figerboard, simplifing the knob arrangement to 2 and adding a coil tap, attaching the Ebony pick guard to the p/up rings, much nicer neck profile as well, compared to most 175's, etc.
    The Benny seems to be a more adult version of a Les Paul. But have not played one so can't comment first hand.
    I will say the Manhatten I tried some years back didn't impress me that much. But in fairness there are a lot Gibsons that don't either. I'm sure there are some stellar Benedetto archtops out there. And quite spendy as well,LOL!

  46. #45

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    Sierra Tango
    Whilst i do not wish to bash this issue to death. I must point out that
    when I discovered the numerous faults with my Benedetto Bravo Deluxe, I
    researched on-line, and found a whole host of complaints regarding the pickup
    failure and the ,known (by Benedetto ), failure with the push pull tone pot to the
    effect that its feature was subsequently discontinued. To say also this model
    is a working horse model is rather condescending considering the cost of it,
    only today I saw a 2014 model at an asking price of 8.5k USD, one can get a
    very good Gibson, infinitely superior to it for that figure I suggest.
    I am sure the more expensive Benedetto's are a delight. But in the real world
    there are few players who are willing( or can afford ) to pay their prices.
    You are obviously one of the very fortunate ones.
    I'll just stick to my Gibson Archtops and very good value Ibanez guitars as I
    have done for a very long time.

    Kind regards
    Silverfoxx

  47. #46

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    ST,

    I appreciate your post. My old guitar teacher, Cal Collins, owned a Benedetto Fratello. I'm not sure, but I expect it was his pride and joy. It makes me want to own one. Many of the great players have as well. I guess the first step would be to feel one, which I have not. If I had 10k to plop down on a guitar, Benedetto would definitely be on my list. But so would a lot of others. You obviously have a love affair with your Cremona, which I understand. Enjoy it while you can Bro. I enjoy that you enjoy it. Very cool.

  48. #47
    Quote Originally Posted by silverfoxx
    Sierra Tango
    Whilst i do not wish to bash this issue to death. I must point out that
    when I discovered the numerous faults with my Benedetto Bravo Deluxe, I
    researched on-line, and found a whole host of complaints regarding the pickup
    failure and the ,known (by Benedetto ), failure with the push pull tone pot to the
    effect that its feature was subsequently discontinued. To say also this model
    is a working horse model is rather condescending considering the cost of it,
    only today I saw a 2014 model at an asking price of 8.5k USD, one can get a
    very good Gibson, infinitely superior to it for that figure I suggest.
    I am sure the more expensive Benedetto's are a delight. But in the real world
    there are few players who are willing( or can afford ) to pay their prices.
    You are obviously one of the very fortunate ones.
    I'll just stick to my Gibson Archtops and very good value Ibanez guitars as I
    have done for a very long time.

    Kind regards
    Silverfoxx
    From the Benedetto website:
    The Bravo was designed to gratify the player’s need for a tastefully–detailed, rich and full–sounding thin–body that they could travel with—the next generation archtop guitar.

    So I don't feel that I am being condescending when I refer to the Bravo line as a workhorse if one of the design goals was something the end user could travel with. Although I travel with and gig with my Cremona quite frequently.
    Also, as much as I adore and cherish the instrument, there are certain performance situations that it is not well suited for. It is not a "Swiss Army Knife" guitar-and for those situations I am quite happy to use my Eastman John Pisano 880 with a built in pickup. So I'm no snob when it comes to who built or where the instrument was made.

    As many will agree, obtaining a instrument that may be a challenge financially is a personal choice. In my case, I had been saving for a new vehicle and had a substantial amount in my account. When the opportunity arose, my decision was to drive my current vehicle for a few more years and get the BC. No regrets there.

    I am happy for your passion for Gibson instruments Foxx, however the issues that you have outlined and found other complaints about online seem to be centered around electronics. Certainly read much on this forum about Gibson electronic short comings and chasing the perfect tone. Benedetto did address this by discontinuing the push-pull pot as you mention.

    Again, it amuses me when I read comments complaining about the cost of a upper end guitar-I have several colleagues that gig and make a living with 50K violins, 10K bows, 25K bassoons. We guitarists have it easy!
    Last edited by SierraTango; 09-05-2016 at 12:01 PM.

  49. #48

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    Quote Originally Posted by JazzNote
    What about comparing the sound quality of the Triggs and Trenier with the Benedetto?
    The Benedetto 16-B and my Triggs, Trenier are in different categories.

    The 16-B has a smaller body and a set-in pickup. It's also strung with round wound electric strings. I believe the design aim was for a musician to have a carved guitar that doesn't feedback easily. The Benedetto is less than 5 lbs.

    The Triggs, Trenier are fully acoustic with floating pickups and bronze strings. The Trenier is a very balanced sounding guitar. Not a bad sound to be found. The Triggs is also balanced but more of everything. It's kind of like the Trenier on steroids.

    Acoustically, the Benedetto doesn't ring out like the Triggs, Trenier.

  50. #49

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    Quote Originally Posted by HeyNow
    2011 16-b
    Quote Originally Posted by 2bornot2bop
    don't tease...let's see that Opulent Brown in all her majesty bro!
    https://new.liveauctioneers.com/item...benedetto-16-b

  51. #50

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    Quote Originally Posted by JazzNote
    ...What makes a Benedetto worth the extra money it costs?

    Can one say that an average Benedetto is better than a good Gibson which costs probably about 60% of the Benedetto?...
    Resale is pretty sucky on both if this auction is anything to go by:

    https://new.liveauctioneers.com/item...lin-collection

    https://new.liveauctioneers.com/item...e-robert-yelin