Vintage Archtop Comparison: 2 Gibsons, 1 Epiphone, 1 Eastman

**omphalopsychos** · 01-03-2018, 06:59 PM

I hope everyone has enjoyed the holidays and had an opportunity to spend time with those close to them. Some family came to stay with me over the holidays, but I finally had some free time to record a comparison video I've been wanting to make for some time. In the video, I compare 3 vintage archtops and an Eastman. I recommend watching it in HD, through headphones or hi fi speakers, and with your eyes closed the first time. It's nice to put aside prior beliefs and respond purely to the recording. I can comment on the acoustic differences of the guitars, but I want to hear others' comments first.

Some things to note: yeah, yeah I'm kinda playing the wrong music on these. I probably should have included some swing comping, but it didn't cross my mind until I was nearly done editing. Also, the takes are really rough, so forgive my mistakes and hesitations. Just editing this thing took me a long time (I don't have much editing skill and some things came out wrong, such as the scrolling description), so I knew I wouldn't have time to record anything perfectly. Oh well.

Finally, in the description of the video, I included links to where each clip starts. You can use that to click through the links and listen "blindly". The true labels are revealed at the end of the clip.

I hope you can get something out of this. I certainly did. Sometimes, the player has the worst seat in the house to hear and compare instruments. Recording this was helpful to learn to appreciate the differences.

I wish I had more mics. I think some the differences would be more apparent if I had record in wide stereo.

Anyway, enjoy and please comment. I'm curious about people's thoughts about tone bar vs x bracing, 17 vs 16, scale length, age, wood type, and general observations.

**omphalopsychos** · 01-03-2018, 07:10 PM

Also, I apologize for not including the Epiphone Triumph in this video. I have that guitar set up with flatwounds and a DeArmond FHC and it just sounds so good that way that I don't want to set it up like the others. Because of that, it didn't make sense to include it in this comparison.

**Frank67** · 01-03-2018, 07:11 PM

Nice,

my favorite tone is no 1. it is the most mellow, but it carries the music nicely.

thanks for posting!

**NSJ** · 01-03-2018, 07:32 PM

#2 and #3. I actually have a 1937 L7. I love it, sounds way different than parallel braced 25.5" L7's. There's nothing like 1930s Gibsons.

#1 sounds the most dead.

(I posted a short "electric" video today of my 37 L7 with a Bitloff suspended CC through a Quilter Mini Reverb elsewhere on the forum.

I''ll never give up that guitar. As I said, there's nothing like 1930s Gibsons.

**Stringswinger** · 01-03-2018, 07:59 PM

I listened blind. I liked number 3 the best, followed by number 2, then 4 and number 1 last. I felt number 1 was too "nasal" (I did not like the tone) and number 4 was too bright (though still acceptable to me). I liked 2 and 3 almost as well, but felt that 3 was somehow 'sweeter".

Playing it again while watching it confirmed a few things:

I have no regrets about selling my vintage Epi's (I did not like the necks and there is a sound that I prefer)

I have no regrets that I never bought an Eastman (I have only played one that I liked and it was an oval hole)

I understand why I am a Gibson/D'Angelico guy. I think that if I were to go with a modern luthier, Trenier or Campellone would be my choice. I like the sound of those Kalamazoo acoustic archtops the best. John D'Angelico chose to go for that sound as well.

**mwcarr** · 01-03-2018, 08:04 PM

Gotta wonder what that Eastman will sound like in 70-80 years. Nice job.

**Max405** · 01-03-2018, 08:08 PM

Omph,
great job!
I like #3 and #4 is equally. Then #2.
Joe D

**electricfactory** · 01-03-2018, 08:13 PM

Boy this was tough. In my opinion all four guitars have a fairly distinct tonal character though I'd be hard-pressed to call any one of them better. That being said I personally liked the 'warmth' of #2 ( now there's a word that means different things to different people), and I also liked #3, these two being my choices.

**citizenk74** · 01-03-2018, 10:04 PM

I'm pretty much with Joe D on this. I liked #3 the best, followed very closely by #4 ( a toss-up, really), then #2, and #1. Really, they all sound nice. And as mwcarr suggests, a half-century or so of playing is likely to really open up the Eastman, which as Frank67 points out, is already a darn fine guitar. Thanks for taking the time to do this, and for posting the results!

**rio** · 01-04-2018, 12:58 AM

I recognized 1 right away - it is similar to my Eastman, which is a 2005 805ce. There is not as much midrange in the sound and the upper end is more prominent. It has sounded better and better the older it has gotten but due to the construction differences I don’t expect it to ever sound like an old Gibson even at the same age. Since it is so different I have a hard time rating it next to the others but I like the sound. Between the other three I like 4 and 3 the most. Hard to choose between them but guessing from what it might sound like in real life I might choose 4 as the favorite.

Thanks for your time putting together the video - I like comparison videos with guitars I will never play or hear in person.

Sent from my iPhone using Tapatalk Pro

**omphalopsychos** · 01-04-2018, 02:09 AM

Thanks, everyone, for your input. I don't have a favorite among these, but I pick up the Epiphone the most lately because it's the one I got most recently. I feel like we're still dating. I get butterflies.

It's kind of tricky to describe in detail how we hear these, especially since we don't apply our descriptors in the same way. Here's a stupid analogy, but it might make sense to some of you.

If these guitars were pickups, the Eastman would be a telecaster neck pickup. Modern sounding, lots of sparkle but plenty of low end too. Lots of high-order harmonics. Lots of dynamic range and requires conscious technique to get a jazzy sound. By the same token, extremely versatile.

The 1934 Gibson would be a Rhythm Chief. Sparkles like a telecaster (through a clean amp) and has a very clear acoustic tone, but with a fat bottom end. Maybe the most romantic of the bunch. Like the Eastman, extremely versatile. It can go from jazz to country and back happily. If I were to finger pick an archtop, it would be this one. I think the Baden Powell song sounded best on this one.

The 1937 Gibson would be a p90. The most mid-forward of the bunch. Can clean up easily but can also get a really gritty, brassy tone when pushed. The 4 wound strings on this one just sound incredible. It has a plunky sound to it, in a good way.

The Epiphone would be a CC pickup. Very clear, woody tone. Not overly forward in the bass, and not muddy, but also not shimmery. Dialed back highs, and very clear bass. Upper register single notes are loud and reedy. Plenty of harmonics, but of the lower order. Enough to vivify complex chord voicings and create a sense of saturation, but not enough to be metallic sounding.

Each of these guitars has a unique sound. The 1937 Gibson L7 has the most dynamic range. You can play it delicately or really drive it. What makes it the warmest guitar also makes it potentially the muddiest. The best sounding solo-guitar isn't necessarily the best guitar in a band. The 1934 L7 and the Epiphone do the best in louder situations. They have the most cut, especially the Epiphone. I don't think it owes as much to brightness as it does to focus. For example, a flat top is bright, but it might not cut through a band like these do, and not just because of the volume.

For rhythm the Epi and the 34 Gibson are the best, unsurprisingly. The Gibson isn't as loud but it projects very clearly.

The Epi has some weird magic going on in it for sure. I don't know how the trebles sound so fat on it. I have a Rhythm Chief mounted on it, but I have to turn the amp up pretty high to hear it because the acoustic voice of the guitar is so loud.

I could ramble for quite a while, but I'll shut up.

**Duffy Pratt** · 01-04-2018, 02:38 AM

I thought the Eastman sounded best for the first piece, and that number 2 was best on the last two. I thought the Epiphone was second best on all three. If you were to offer me one, I would pick the Epiphone. Moreover, I thought all four sounded excellent. Not like there is a bad one in there.

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**jzjazz** · 01-04-2018, 03:52 AM

Great video and nice playing. I couldn't resist to look so I didn't like the Epi too much because it's black

But after another try I think I like #2 and then #3/4 most. They sound vintage, #1 doesn't - it's too hi-fi, almost like a flattop sometimes. It's just a different sound.

Sorry that the Triumph didn't make it into this comparison, it might have a chance of winning

**GNAPPI** · 01-04-2018, 04:17 AM

IMO, there's no "wrong" or "right" music to play on an archtop (OK maybe rap and death metal are wrong) just music that brings out character. To that end your selections were just fine.

Originally Posted by mwcarr

Gotta wonder what that Eastman will sound like in 70-80 years. Nice job.

+1

I was attracted to #1 because it had a more flat top type of acoustic tone, a bit tighter / brighter whatever. Then #3 which had a mellow more middy tone. As far as sound goes without a SxS comparison, I wouldn't mind owning any of them.

**Rob MacKillop** · 01-04-2018, 04:29 AM

Horses for courses. Quite frankly you need one of each, as they're all different.

**electricfactory** · 01-04-2018, 09:31 AM

Great news, am starting a new death metal/ jazz combo, everyone on black archtops- who's with me !
Kidding aside I just realized #3 is the Epiphone. This makes me very happy, reaffirming my confidence the Epi archtop line.

Originally Posted by GNAPPI

IMO, there's no "wrong" or "right" music to play on an archtop (OK maybe rap and death metal are wrong) just music that brings out character. To that end your selections were just fine.

+1

I was attracted to #1 because it had a more flat top type of acoustic tone, a bit tighter / brighter whatever. Then #3 which had a mellow more middy tone. As far as sound goes without a SxS comparison, I wouldn't mind owning any of them.

**Max405** · 01-04-2018, 10:47 AM

No. Don't stop explaining. Its amazing to me how you, the player, can articulate the differences between these guitars so well.
I always hear what I hear, but I cant put what I hear into words like you can.

Originally Posted by omphalopsychos

Thanks, everyone, for your input. I don't have a favorite among these, but I pick up the Epiphone the most lately because it's the one I got most recently. I feel like we're still dating. I get butterflies.

It's kind of tricky to describe in detail how we hear these, especially since we don't apply our descriptors in the same way. Here's a stupid analogy, but it might make sense to some of you.

If these guitars were pickups, the Eastman would be a telecaster neck pickup. Modern sounding, lots of sparkle but plenty of low end too. Lots of high-order harmonics. Lots of dynamic range and requires conscious technique to get a jazzy sound. By the same token, extremely versatile.

The 1934 Gibson would be a Rhythm Chief. Sparkles like a telecaster (through a clean amp) and has a very clear acoustic tone, but with a fat bottom end. Maybe the most romantic of the bunch. Like the Eastman, extremely versatile. It can go from jazz to country and back happily. If I were to finger pick an archtop, it would be this one. I think the Baden Powell song sounded best on this one.

The 1937 Gibson would be a p90. The most mid-forward of the bunch. Can clean up easily but can also get a really gritty, brassy tone when pushed. The 4 wound strings on this one just sound incredible. It has a plunky sound to it, in a good way.

The Epiphone would be a CC pickup. Very clear, woody tone. Not overly forward in the bass, and not muddy, but also not shimmery. Dialed back highs, and very clear bass. Upper register single notes are loud and reedy. Plenty of harmonics, but of the lower order. Enough to vivify complex chord voicings and create a sense of saturation, but not enough to be metallic sounding.

Each of these guitars has a unique sound. The 1937 Gibson L7 has the most dynamic range. You can play it delicately or really drive it. What makes it the warmest guitar also makes it potentially the muddiest. The best sounding solo-guitar isn't necessarily the best guitar in a band. The 1934 L7 and the Epiphone do the best in louder situations. They have the most cut, especially the Epiphone. I don't think it owes as much to brightness as it does to focus. For example, a flat top is bright, but it might not cut through a band like these do, and not just because of the volume.

For rhythm the Epi and the 34 Gibson are the best, unsurprisingly. The Gibson isn't as loud but it projects very clearly.

The Epi has some weird magic going on in it for sure. I don't know how the trebles sound so fat on it. I have a Rhythm Chief mounted on it, but I have to turn the amp up pretty high to hear it because the acoustic voice of the guitar is so loud.

I could ramble for quite a while, but I'll shut up.

**Tommy_G** · 01-04-2018, 12:27 PM

I agree with the idea they all had a tonal signature that was pleasing.. Fantastic group of guitars.. Nice tasteful playing. I suppose my preferences migrated depending on the piece being played...but I felt it was mostly leaning and cautiously uncertain rather than a forthright opinion.

Interesting that tonally, some samples almost sounded like nylon string guitars. Mellow...round.. Subtle.

Nice... I enjoyed this!

**vinnyv1k** · 01-04-2018, 10:29 PM

4,3,2,1 for me. The Epi has a special sweetness IMO. The 37 Gibby a close second. Nice post....thank you !

**ccroft** · 01-04-2018, 10:54 PM

My take on this is that I need to buy at least 3 more archtops so I can fully appreciated all the nuanced voices these lovely instruments have to offer us.

Or, as Rob put it:

Horses for courses. Quite frankly you need one of each, as they're all different.

Somehow not unexpected from a guy who plays everything from ukulele to theorbo!

Thanks for doing the work Omph.