-
A magnificent instrument of historic significance that will continue its' life as a fondly played companion. Congratulations, and play it in good health!
-
10-26-2015 01:31 PM
-
Silly problem: I am having a hard time not looking at the guitar while I am playing it. It is quite striking--so much flame in the maple and bearclaw in the spruce. Goodness. I need to keep my eyes closed.
-
I am sorry that I've never recorded anything on the 'net...no clips. The sound, though, is terrific. The body is the same dimension as an L-5. The neck is huge--wide and deep. I think all this contributes to a very vibrant, full-bodied sound. I think it was John D'Angelico who believed that the neck of the archtop guitar was pivotal in the sound of the guitar. The bridge of the guitar is very well carved and fitted to the guitar, too. All this, of course, was done by Aaron Cowles himself. The body was tap tuned by him, too.
The Shadow 48 pickup was a huge surprise to me. When the guitar is plugged in and it has just enough amplification to add body to the acoustic sound, things are pretty magical sounding. The guitar, IMO, sounds more inherently in tune and fully "pianistic" than even my Super Eagle. Chord melody stuff is just magical. The Zoller pickup, by the way, is able to hear harmonics in a way that is closer to a DeArmond pickup than, say, a Gibson Humbucker in the neck position. I like that.
-
Congrats that is a VERY pretty guitar !
was that one of Patricks ?
-
fws6
It wasn't one of Patrick's guitars. His son, Chris, still has Patrick's two Unity guitars. Patrick had Aaron Cowles make an extra-deep 17" guitar, otherwise like the one I have--although it doesn't have the extra engraving. Patrick swore it was his best and favorite guitar. He also had Cowles make him a 3" depth 18" wide Unity in the same basic configuration as his 17" guitar. The two Unity guitars were the centerpieces of his collection.
They are still for sale. I was interested, of course, in Patrick's guitars...but the historical significance of Kuz's guitar--to someone like me who is a fan of Cowles' work--just tipped the scales.
-
I have always wanted to try one of those Zollar pickups. Let us know how it sounds down the road after you've played it through enough amps.
-
Re: Patrick's guitars...Chris D'Amato, Patrick's son, is responsible for disposing of all of Patrick's guitars--so far as I know. Marty Grass has some more insight into this.
Chris offered the Unity guitars to me, but I was already in conversations with Kuz and went ahead with the purchase of the Unity that I ultimately bought. I would add that Patrick's Unity guitars would make two people on the forum incredibly happy, as they did Patrick. Aaron Cowles was a consummately great craftsman, when it came to making archtop guitars and mandolins. (He was responsible for tap tuning all of the F-5 mandolins that came out of the Kalamazoo factory, as well as the top-of-the-line guitars.)
-
Groyniad,
Ha! Yeah, those bearclaw marks in the fine-grained spruce are a constant distraction. :-)
You'd think they could have found an unmarked piece of maple, too, for the back, while they were at it.
And there's all these lines all over the neck! Gosh!
-
Another picture of the front. The bearclaw pattern in the spruce looks different from different angles.
-
Joe
i still have the Unity. It's a keeper. I think the Zoller Shadow 48 pickup is truly outstanding. I believe Marty Grass installed it, replacing the first pickup...which may have been a Zoller, too. Anyway, it is an excellent, quiet acoustic-electric pickup. You can hear Jimmy Raney use it on his Hofner. Jim Hall also had it in his D'Aquisto for awhile. It floats on Raney's (and my) guitar. It was set into Hall's.
-
Greentone,
Thanks for checking in.
Ive only seen Patrick's Unity guitars in real life. Oh my god are they beautiful. Truly, Citation level guitars. I'm sorry missed the original post about it. I did a search on the Zoller and your post came up. I was like, where did this come from...
The Zoller will just about fit. I would have to move it back a hair. I am seriously considering getting one and a dedicated pickguard for it. With all the controls (stealth pots and Jack) mount underneath. That would seal the deal with this guitar. I love it so much, I want to play it under all conditions. I think the Zoller is the ticket.
The only problem is the under pickguard mount. I see they come with a remove able u bracket for the neck. I'd have fashion a piece underneath the pup that can glue to the pickguard. That requires space that I don't have..
Thanks again buddy. I love your guitar.
Joe D
-
Thanks, everyone. Cowles' anniversary guitar is playable art. It sounds fabulous. ..both as an acoustic and electric guitar.
-
MartyGrass,
It's still the honeymoon. The "Do Not Disturb" sign is still on the door of the hotel suite. I'm playing the guitar all the time and I am still fascinated with electric/acoustic, "Johnny Smith" qualities of the instrument.
I have played scores of 17" acoustic/electric guitars. This is the first one, however, with the Shadow 48 Zoller pickup. The combination of Cowles carved body and the Zoller pickup is outstanding. Dare I say it? I might like the Zoller better than the DeArmond unit.
FWIW, the neck carve on the Unity Anniversary is the deal maker for me. The neck that Aaron Cowles carved on this guitar is ample in the hand. I suspect, playing this guitar, that Cowles liked a big neck on his guitars. I know that I do on mine. (I play a boat neck on my Fender-style guitars.) The full, D-neck plays especially comfortably and fast, for me.
Overall: I suspect I feel about this guitar the way that Joe D feels about his D'Angelico. This is the guitar that gets it done, for me.
Thanks for asking.
-
Aaron Cowles is known by many of us. His most famous jazz archtop series is the 100th Anniversary. It commemorated 100 years of serious luthiery in Kalamazoo.
There were 7 made plus a prototype. I got some pics of #3. It belongs to an excellent guitarist who got it new in 1996.
I'm posting this because this guitar is unusual in that it has 22 frets. The current owner almost certainly used all of them in his recordings. Some may not like the longer fretboard because it displaces the pickup toward the bridge.
Pics to follow soon.
-
-
I am interested in comments on the longer fretboard. Access to the highest frets is helped by the way Aaron flattened the heel of the neck and the depth of the cutaway. The pickup position may be like that of a ES-175.
-
No. 3 has a 22-fret neck. Yes, Aaron Cowles' cutaway and neck heel would greatly facilitate access to the upper frets.
I own No. 2 (that Kuz bought from Marty Grass; I, in turn, bought it from Kuz). It is an exceptional instrument. I spent years tracking down just the right Kalamazoo Award or Citation (both built by Aaron when he was a Gibson employee), only to luck into the chance to get this Unity.
I had, of course, been watching Thom Bresh play his Unity Super-400 Special (a tribute to his father Merle Travis' Gibson Super 400 Special) for years, so I had researched Unity--and wanted one.
No. 3 looks pretty spectacular to these eyes...but I confess to being a guitarist biased in favor of K-Awards, Citations, Unity guitars, etc.
By the way, if the neck carve on No. 3 is anything like No. 2... No. 2 has my favorite neck of any guitar I have ever owned or played. It is a big, graceful carve that fills the hand. I can play for hours without fatigue.
-
I don't know much about this subject. (and many subjects for that matter...) But during my short experience with the 18" Unity that Patrick owned, taught me that these guitars are simply among the most elite instruments ever crafted. Absolutely Citation level guitars. I wish the 18" never left my house. In fact, the thought crossed my mind when I shipped it.
I've never seen a guitar with the workmanship, wood, bindings and design of the Unity. Never. And its sound was the most different sound I've ever heard in a guitar. The body made chords sound like a swirling symphony.
The headstock can make volute haters into volute lovers. Its a guitar, a jewelry box, a piece of art and an expensive piece of furniture all in one.
I wish I had the hands for the neck. It was a little too wide for me. Only because I have small hands.
The 22 frets are a little peculiar. Im not sure of the usefulness of the frets, particularly how they are placed on the top. Like there is room for a 23rd fret. The neck could have been shortened a little and the pickup could have been moved up a little. I don't think the harmonic placement of the pickup would have been compromised, but what do I know.
Joe D.Last edited by Max405; 05-09-2017 at 09:43 AM.
-
Owning Patrick's 17 and 18 inch Unity's I can attest to what Max says about swirling sound inside. The only other guitar that I have that does that is American Eagle #19, and I bet Aaron Cowles carved the top and back on that baby too... I count myself Blessed that I have those, and that I am in the company of you fine gentlemen...
Big
-
You can hear this Unity in this piece.
-
Terrific sounding guitar. Puts me in mind of some of the stuff that Joe Pass recorded on his D'Aquisto acoustic and on an Epiphone acoustic. (not the style of playing, but the tone) Very nice.
-
Amazing!
That 22 fret Unity does not have the typical Cupid's Bow at the end of the fretboard. Does that enable the neck pickup to be set a bit closer to the harmonic?
Overall it is such a beautiful work of luthier's art!! Thanks for posting.
-
nice guitar!!! spectacular wood on 2 piece back and neck...
a lot of makers (especially in europe) had that little bit of extra fretboard end sans the fret like that...looks like unity 3 gets the virtual 24th fret harmonics directly over the polepieces...classic positioning
cheers
-
It makes sense that placement of the pickup a little bit more toward the bridge would enhance brightness when amplified. This can be offset to a large degree by plucking a little closer to the nut.
I know that the design of the ES-175 has been discussed before. I don't know what the thinking was in the neck pup placement there.
Originally Posted by Bluedawg
-
BTW, probable incoming! We're working on the driving part.
Here's a little more info on the guitar. It's made with Eastern (Michigan) maple. The spruce is tight grained Engelmann. I don't know where the ebony came from, but it is jet black. Aaron Cowles used the same wood sources from his Gibson days.
I don't know what the pickup is, but it looks like a Heritage Jazz #3 but could be a Kent Armstrong. The jack is in the rim.
Here's a pic of the case. It looks to be in good shape for 21 years old. The 100th Anniversary cases are built like vaults, too.
Reply With Quote
John McLaughlin and Joe Zawinul duet Zawinul’s...
Today, 10:50 AM in The Players