The Jazz Guitar Chord Dictionary
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  1. #76

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    It's a Hiscox Pro-II-Gj, Jabber.

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  3. #77

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    Quote Originally Posted by Rob MacKillop
    Hi Rob. 85mm. Here are the figures:

    Model Excalibur Special 18” noncutaway
    Body size 45,7cm (18”) measured across lower bout
    Body depth 85mm
    Scale 63,5cm ( 25”)
    Neck width at nut 45mm
    Top Solid handcarved and tuned European spruce
    Top bracing patern X
    Back Hand carved solid flamed European maple
    Rims Solid flamed European maple
    Neck Flamed maple
    Fingerboard Ebony
    Headstock Pickguard Ebony
    TailPiece Ebony
    Adjustable Bridge Ebony
    Binding top 7 ply celluloid binding
    Binding back 1 ply celluloid binding
    Binding fingerboard 3 ply celluloid binding
    Binding f holes 2 ply celluloid binding
    Binding headstock 3 ply celluloid binding
    Binding pickguard 1 ply celluloid binding (pickguard shape see figure 1)
    Inlays block inlay on fingerboard
    Tuners Schaller gold with ebony buttons
    Floating pickup non
    Finish Taditional nitrocellulose lacquer (high gloss)
    Colour Tobacco sunburst (see figure 1)
    Case Hiscox case

    cool!! great specs...the all solid maple back and sides..and maple neck..with the ebony fb, etc..really make it snap! such a large voice

    an 18" isn't always the loudest guitar around...the big box pushes out a lot of low end, that doesn't necessarily always translate to volume...why little parlor type guitars can be so loud..because they are all midrange!! straight boom

    but the design of robs guitar along with the bosset strings really make for a full, but loud and clear tone...i.e. beautiful..

    and of course the player!!

    cheers

  4. #78

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    Truly amazing. I don’t see a mic. How is that being recorded? Am I somehow not seeing a pickup? If so what kind?


    Sent from my iPhone using Tapatalk Pro

  5. #79

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    No pickup. This guitar was intended and designed from Day 1 to be fully acoustic. I'm definitely an acoustic player, and my technique does not cross over very successfully to electric. So, there is a mic (Rode NT4 stereo) about twenty-four inches from the lower bout.

    Mic placement is something I haven't had time to experiment with, and it can radically change the sound. But what I hear in this video is very close to how it sounds in the room.

    Neatomic - cheers. It could be louder than it is, with a higher action and heavier strings. But life's difficult enough already!

  6. #80

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    Quote Originally Posted by Rob MacKillop
    It's a Hiscox Pro-II-Gj, Jabber.
    That’s interesting, because the PRO-II-GJ is spec’d for a 17” lower bout instrument like a Gibson J-200. How tight of a fit did you end up with? Also, is the guitar truly 18” or did Frans come in slightly under (it happens)? With the guitar removed can you kindly measure the lower bout portion of the case interior?

    Thanks

  7. #81

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    Done. Both 18". I'll ask Frans where he got the case.

  8. #82

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    Quote Originally Posted by Rob MacKillop
    Done. Both 18". I'll ask Frans where he got the case.
    Thanks Rob

  9. #83

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    Regarding the case, Frans tells me it is the 17" model, which he has doctored. I'm surprised, as there is still padding at the edges. Seems absolutely fine to me, and you can't see that it has been worked on.

  10. #84

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    Quote Originally Posted by Rob MacKillop
    Regarding the case, Frans tells me it is the 17" model, which he has doctored. I'm surprised, as there is still padding at the edges. Seems absolutely fine to me, and you can't see that it has been worked on.
    That makes sense Rob. He needed to find an extra 1/2” per side. Finding high quality cases suitable for traveling musicians has been difficult. Most builders go with Calton which is an expensive solution. Jeff Hoffee does not have a mold and the need is so rare to justify it. It sounds like Frans found you an economic and practical solution with modifying the Hiscox. However, I do his suspect alteration does void the Hiscox warranty.

  11. #85

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    Almost certainly. It's not a problem for me, as my gigging days are behind me.

  12. #86

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    That really is the nicest, most pleasing tone that I have ever heard come out of an acoustic archtop (at least online). It really is. It takes a special instrument played by a special player. Congratulations to Frans and to you, Rob.

    dave

  13. #87

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    I seem to recall a new guitar day some time back. So let us in on your secret. How do you get them past the wife? Nice playing as always and congrats on a great guitar. I have a Peerless Cremona that I love but after seeing your vid I may have to make room for one more. (hence the wife question). Good luck and enjoy the ride. Cheers!

  14. #88

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    Hi Rob, nice playing! I'm gonna be controversial about the guitar this guitar sounds too good to me in a way - I'm a fan of vintage acoustic archtops because of their often short sustain, mid-rangy frequency response, etc. (e.g. Epi Triumph) - this is what makes them interesting to me.

    Your new guitar sounds nothing like that - long sustain, nice tonal balance, with closed eyes someone would easily say that it sounds like a flattop and there is the question - why not get one, if looking for a similar sound. In my opinion such an archtop will always be a bit of a flattop wannabe and though it sounds like one, I would say that a 1500$ Larrivee will sound better in many ways (longer sustain, more ring, fuller bass etc.).

    That's just me but isn't that a very expensive archtop made by a great luthier, which comes just close to a average flattop sound? :-)

    Jakub

  15. #89

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    I suspect, @jzjazz, that if you were in the same room you would never think that guitar sounded like an average Larrivee. Perhaps... I'm not in the room. I can't say for certain. But I can say that whenever I've played a GOOD acoustic archtop and then picked up a flat top, the flat top sounds muffled and uninspired by comparison. The difference is like someone stuffed the archtop with socks and called it a Martin.*

    I don't think that carries over in a recording, especially not without a direct comparison. It is very very hard to make an archtop that retains that massive presence AND has a full rich acoustic sound. It is much easier to make a cutting archtop that sounds big but harsh. Likewise is very hard to make a flat top with that kind of presence. It is easy to make a flat top that sounds loud but indistinct and thin. Larrivee comes to mind. Really hard to make a flat top that is a cannon AND retains balance and clarity. That too will likely come from an expensive boutique luthier.

    Rob, I suspect, has owned and played many flat top guitars for many decades. I'm sure he can tell you why this is no Taylor, Laravee, Seagull, etc.

    *No disrespect to Martins. I am a big Martin fanboy, despite the obvious hypocrisy of teasing the resident Gibson fanboys.

  16. #90

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    DaveLeeNC - glad you like it. Thanks for the comment!

    Al Br - no secret: I have to sell in order to buy. I sold a cello, a banjo, and a guitar. Three in, two out. Keeps the boss happy!

    Jzjazz - I have a Taylor 322e, which is currently cowering in a corner, scared to come out. Poor thing. There is a big difference. I appreciate your comment, though, and understand where you are coming from. The Elferink can sing sweetly, for sure, but it also has a terrific bark ready to call on at any moment. That's something I can't get out of a flat top. It was never intended to be a recreation of the early parallel-braced canons, or a flat top, and I'm delighted how it turned out, and judging from the previous comments others like it too. That said, you can only please some of the people some of the time, so I'm particularly pleased that you spoke your mind, and I thank you for your honesty.

    Rirhett - thanks for your excellent comments!

  17. #91

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    Quote Originally Posted by Rob MacKillop

    Jzjazz - I have a Taylor 322e, which is currently cowering in a corner, scared to come out. Poor thing. There is a big difference. I appreciate your comment, though, and understand where you are coming from. The Elferink can sing sweetly, for sure, but it also has a terrific bark ready to call on at any moment. That's something I can't get out of a flat top. It was never intended to be a recreation of the early parallel-braced canons, or a flat top, and I'm delighted how it turned out, and judging from the previous comments others like it too. That said, you can only please some of the people some of the time, so I'm particularly pleased that you spoke your mind, and I thank you for your honesty.
    Thanks Rob, I admit that my post has been a little provocative. But I'm happy that the guitar gives you something else than a flat top or vintage arch top - I'm probably not experienced enough to need something in between those two. But as most here I like the sound in general all the best!

    Jakub

  18. #92

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    Thanks, Jakub. I hope you have your dream guitar too. Everybody should.

  19. #93

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    Quote Originally Posted by Rob MacKillop
    Thanks, Jakub. I hope you have your dream guitar too. Everybody should.
    Still looking. But a fresh Tal Farlow is already waiting for my return from vacation - maybe this is the one? you'll of course receive a NGD post soon

  20. #94

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    Wow, I look forward to that! Are you sure a tele wouldn't be a better choice? Only kidding!

  21. #95

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    Beautiful baby there! I ordered a G&L a few years back, and they would post photos on their site while it was being built.

  22. #96

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    Quote Originally Posted by Rob MacKillop
    Wow, I look forward to that! Are you sure a tele wouldn't be a better choice? Only kidding!
    Tele is a great guitar... not kidding!
    I have 3 Teles.

  23. #97

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    Good for you! Beautiful guitar! You sound great! Congrats!

  24. #98

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    Thank you!

  25. #99

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    Oh ! New video besides the NGD one ! (well, new for me at least, 26th feb.)

    Villa-Lobos ... nice eclectic repertoire, as always !

    Confirmation from the 1st video, the top strings sound really good. No harshness and full body.
    This guitar is definitely wonderful. Such a balanced sound.

    And of course, the playing !

    ... Downstrokes, downstrokes ... (which is for me a kind of discovery, as stupid as it might sound,
    since i seldom use a pick. I was until recently squarely thinking that "all downstrokes" is a poor technique and i discarded too hastily this "naive technique" -as ChristianM77 would say- though it sure yields the best sound.
    Last edited by xuoham; 03-04-2018 at 02:24 AM.

  26. #100

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    Quote Originally Posted by Rob MacKillop



    just rewatched...it's a wonderful excursion... one can tell you are really enjoying the sound that's coming out of the guitar...& wonderful bit of playing..that brindle piece is fantastic


    cheers