Anyone regret not getting a cutaway?

[Stringswinger]

I seem to recall a story that Johnny Smith broke off his tie with Guild because they did not make the cutaway to his specifications; he wanted the guitar maker to build it as a non-cut, and then saw off the cutaway portion, and that this was because a guitar made the other way would sound plinky in its upper register. Do I have this right?

Johnny Smith was adamant about the way he wanted it built because he had seen John D'Angelico do it that way and thought that was the right way to do it. The luthiers at Guild said it was foolish to do it the D'Angelico way and Al Dronge, the owner of Guild stood by his luthiers, much to Johnny Smith's chagrin.

Years later when Jimmy D'Aquisto heard the story, Jimmy laughed and said that the only reason D'Angelico did it the way he did was that D'Angelico was too lazy to make a new mold for the cutaway models. D'Aquisto said that the Guild luthiers had it right.

AFAIK, it has nothing to do with plinkyness in the upper register.

[drbhrb]

Maybe it's just because I've always played cutaway guitars but I would never get a non-cutaway. I find it's pretty essential to be able to finish phrases in the 13th-17th fret range both when soloing and comping when the situation calls for it.

[BigDaddyLoveHandles]

I really like the easier upper fret access my Tele has, even compared to a cutaway-style archtop. And that's with a bolt on neck! A set neck guitar like a 335 has even easier access.

When ever I play (er, noodle) on my cheap classical guitar, I curse its 12 fret neck.

[Bluedawg]

I picked up a non cut away acoustic Campellone about 1.5 years ago ..

when I play it I do miss the cut away ... sometimes ... but not always

since I have too many guitars and most of them have cutaways I actually enjoy having the non cutaway as an option for my playing pleasure.

[Cavalier]

I'm good either way. Going around is a good skill to develop, traditional for violin and cello players. I thought about putting a cutaway into my ES125 in the rebuild years ago but didn't because I liked the look without one. Funnily enough I prefer a cutaway on solidbody violins. Now if anybody needs one of those non cutaway D'Angelicos exercised....

[Donnie]

Nope; I can still get chords on the 12-13 fret on my Tenors. I owned one cut away, way back in 1974; it was an Epiphone Semi Hollow 12 string ( I wanted one as close to the Gibson David Crosby played), my parents bought me for High School graduation. I played it in my first serious money gig in a Soul group, filling in for the Guitarist till he came back in the Fall. Back then, for me, the cut away was more for looks than anything else; so I just got used to guitars without them.

[Max405]

Johnny Smith was adamant about the way he wanted it built because he had seen John D'Angelico do it that way and thought that was the right way to do it. The luthiers at Guild said it was foolish to do it the D'Angelico way and Al Dronge, the owner of Guild stood by his luthiers, much to Johnny Smith's chagrin.

Years later when Jimmy D'Aquisto heard the story, Jimmy laughed and said that the only reason D'Angelico did it the way he did was that D'Angelico was too lazy to make a new mold for the cutaway models. D'Aquisto said that the Guild luthiers had it right.

AFAIK, it has nothing to do with plinkyness in the upper register.

I can tell you with 1000% certainty, the strings on the 35 D'A Excel had exactly the same sound balance on frets 10-14 than it did on any other frets.
Forget about lazy. John D'Angelico, in his sleep could build a better guitar than anybody could - wide awake.

Johnny Smith knew what an Elite instrument did, because he demanded more from a guitar than mostly anybody did. I played a very expensive guitar 2 weeks ago at a music store and I tuned it down to a drop D, fully expecting it to sound like the D'Angelico did or even my Johnny Smith. I was shocked how muddy and undefined the sound was through this guitar. It could not push the wider gamut of sound made possible by a drop D. It sounded like garbage. I will never say what it was out of respect for other people who may have one. That night I came home and hugged my Johnny.

Oh, crap.. I'm sorry. Back to guitars with cutaways.

Joe D

[mattblair]

I thought I would update you guys on what I decided on. Ultimately I needed something a bit more all purpose than a non cut loar with a CC pickup and when this Eagle classic turned up on eBay I had to jump on it!

There will definitely be a non cut 150 style CC guitar in my future when the savings have recovering from buying this beauty...




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[Hammertone]

The answer is simple enough, despite the moronic antics of Photobucket:

Solomon-Phidelity-SBC1 by Nate Lamy, on Flickr

Solomon-Imperial-SBC1_7809 by Nate Lamy, on Flickr

Solomon-Imperial&Phidelity_7793 by Nate Lamy, on Flickr

Solomon-Imperial&Phidelity_7794 by Nate Lamy, on Flickr

[Little Jay]

I played an ES-333 for years before I got an ES-125 too. I'm using both guitars in the same band (depending on how I feel) and had to re-learn some heads. The upper access of the 333 is unprecedented, but the restrictive access of the 125 has it charms. I dunno, I kinda like both and manage with both without problems. When I play the 333 I automatically go into the upper regions and get more rocky and fusion-y. On the 125 I become more traditional. Both works :-)

[Cavalier]

I played an ES-333 for years before I got an ES-125 too. I'm using both guitars in the same band (depending on how I feel) and had to re-learn some heads. The upper access of the 333 is unprecedented, but the restrictive access of the 125 has it charms. I unno, I kinda like both and manage with both without problems. When I play the 333 I automatically go into the upper regions and get more rocky and fusion-y. On the 125 I become more traditional. Both works :-)

I find for high access I go for a solid body like a SG to get 22 frets and nothing in the way. Playing my cutaway 20 fret It is a bit easier but not the night and day difference of using the electric. I'd like to try a Hofner Jazzica some day.

[Hammertone]

I find for high access I go for a solid body like a SG to get 22 frets and nothing in the way. Playing my cutaway 20 fret It is a bit easier but not the night and day difference of using the electric. I'd like to try a Hofner Jazzica some day.

I'd be happy to provide you with a nice shiny new Jazzica.
And if you don't want a shiny one, I can provide with one that is not-so-shiny.

[Cavalier]

Ha, Stephen. There is a difference between try and buy! But you know me, less shiny or a wreck is more my style so I satisfy those project urges. Send me a pm, you know what I like in semi hollows too.

[lumena]

What are these?
who has these?
small fortune or?

The answer is simple enough.

[Hammertone]

What are these?
who has these?
small fortune or?

Well, one has bronze-wrapped strings, no cutaway, and no pickup, and the other has nickel-wrapped strings, a cutaway AND a pickup. Solves the whole question about cutaway/no cutaway - just get both.
These were built by Erich Solomon.
Small fortune? No, as is the case with many independent luthiers, they are cheaper than similar Gibsons, whether buying new or used. And, as is also the case with many independent luthiers, way, way nicer.

[omphalopsychos]

Yes: Eastman AR905CC Custom Edition Archtop w/ Lollar Charlie Christian Pup!! #40169 | eBay

It's more expensive than a 1970 ES 175 CC.

Sorry to revive a dead thread, but I just got a chance to play this guitar at Rudy's (not the exact one, but one of the 4 currently in existence). In summary: it's a great guitar. It has a great acoustic voice too; very warm. It sounds much more modern than any recordings I've heard of an es 150 cc. Some people consider that to be a bad thing. I don't. The Eastman has good note separation and a ton of sustain. If you're looking for something to play swing or early bop, it may not be the best for you, but it's great for clean, solo playing.

[skykomishone]

Absolutely not. My two non-cuts are the pride of my pride. I absolutely love my non-cut '44 L7.