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Originally Posted by Joe DeNisco
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09-30-2016 02:44 AM
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At a loss for words.
Beautiful & congrat.s to all parties!
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Follow up to my original posts (Part 3 if you will):
I made contact with Stuart Deutsch, the New York Collector who owned this guitar from 2008 until 2013. The Guitar was found in Hawaii (not Florida as was reported by Steve Stein, Tony Marcus and Darren Hippner, the Classical luthier who sold it to Joe D.), so it has traveled even more than I thought! The guitar was owned by a gigging Hawaii musician who died and it was then sold by his daughter. The Guitar was found without a case in a plastic bag.
The restoration work was done by Manny Salvador in New York Manny reset the neck, made a new nut, repaired the inlays, re-fretted it, made a new bridge, made a new pickguard and did a relic refinish. Stuart located a period correct Grover tailpiece and purchased the Gotoh tuners.
Manny Salvador
Tony Marcus had Bill Reinhard refinish the guitar and had the Grover tailpiece replated.
Stuart bought the guitar as a project guitar from Island Guitars in Honolulu
Also to note: The 50's Dearmond that Darren Hippner included in the sale to Joe (and Joe included in the sale to me) did not fit the guitar very well (a bit too thick). I have a 60's Dearmond 1000 that fits the guitar like a glove. The guitar is now finally ready to gig again.
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One more thing. I measured the rim thickness. 2 3/4 inches. This is possibly the thinnest acoustic DA ever. Amazingly comfortable in the lap and an awesome neck profile. This guitar is all set for her new life as a player. And after all of this guitar trading, you can stick a fork in me, I'm done.
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SS,
Hawaii? And now Santa Cruz? No wonder the spirits inside of it coaxed me to get it the hell out of Jersey!
My goodness. Well, some of the mysteries are solved. And I can tell with complete confidence, I NEVER would have known all of that. From now on, you are Magnum...
What did you think of the condition of the 50's D'Armond? It looks like it was never used, right? I'm sorry you found it to be too tall.
The neck is kind of amazing huh? And I would have bet big money on that nut being original.
Joe D
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manny salvador!...one of my nyc fave players -brad shepik- uses a manny salvador custom build
he's been around a long time...some client list!
cheers
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Originally Posted by Stringswinger
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Originally Posted by neatomic
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Originally Posted by Stringswinger
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More twists and turns than the plot of " The Red Violin" . I'm glad you are both happy. I don't understand how that can be but the world works in mysterious ways. I'm glad archtops are getting on, violin life spans can be measured in hundreds of years so there is some catching up to do but if anything does it will be the D'Angelico's.
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Originally Posted by Cavalier
Last edited by Stringswinger; 10-03-2016 at 08:13 AM.
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Originally Posted by ingeneri
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Originally Posted by Stringswinger
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Originally Posted by hot ford coupe
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But what about a 12, nylon, solids (takes a few to cover the bases) semi hollow, etc.... then some have to have electric and acoustic versions. When creating a palette for the art of tone it is best to prepare for the pallet and forklift it will take to move them.
And hang on in CA and put the guitars in good spots, just saw the news where they say things could start shaking in the south.
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"just an art collection" ?!? easy on that. Us painters are as easily offended as the guitarists. And we rely on the enthusiasm of collectors
However, I do agree with the idea that many guitars becomes too many very easily. I have too many already and I only have 9 or 10. But I try to figure out what to sell, and it quickly becomes "which of my children to goes first" sort of scenario . . .
But there is not such thing as too big an art collection --that's called a museum
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Originally Posted by Stringswinger
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Originally Posted by Cavalier
I hear you about the palette thing. I am down to 18 guitars and have put the brakes on the sell mode.
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Originally Posted by Longways to Go
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Originally Posted by Plectrum
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Originally Posted by ingeneri
I studied for a time with Milt Norman back in the 70's. Milt had been one of the top LA Studio guys and was Bobby Darin's guitar player throughout Darin's big years. At the time I was taking lessons from Milt, he was still performing and had only three guitars, a classical, a 335 and his Stromberg (Which I think he kept mostly as a memento of his big band days, that one never left his house). And he had one amp, a Twin.
Barney Kessel pretty much played only one guitar (though I would bet he had more than one) throughout his career.
No guitarist "needs" a plethora of guitars to make music. But let me be the first to say that having a bunch of great guitars is a very cool thing. No matter where you live.
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Absolutely. Jimmy took what John did and didn't try to duplicate it (except in the beginning). He took John's concepts and improved on them. Now John Monteleone has the scepter. It's time for me to research his sound.
Originally Posted by sgcim
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Originally Posted by Stringswinger
Guitars do follow the contours of a beautiful woman..
That's why I just cant warm up to a guitar with a Bigsby on it. Just not right.. Kinda throws me off...
JD
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Wow, up till now I never associated a wang bar with anatomy before. Is my Floyd Rose a rose in name only, hermaphrodite in application? Will we need therapy after this to feel good about the shimmy and shake of grabbing a bar? Uh..... thanks Joe. My favorite is the Vibrola on my SG for its gentle shimmers and soft cries. I won't give it up!
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Originally Posted by Cavalier
pauln program
Today, 04:14 PM in Ear Training, Transcribing & Reading