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For those who are interested in Bryant’s work - here is a link to his Facebook page .
Check out the photo of the hand rubbed finish on the back of the 16” cutaway in progress .
Trenier Guitars - Home | Facebook
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09-12-2018 04:38 AM
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Love Bryant's work. Such a gifted artisan. Thanks for sharing, Steve!
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?Thanks for sharing..l
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Bryant's Facebook link.
Originally Posted by BigMikeinNJ
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As a SB man I've never seen a nicer burst! Hope Bryant is really enjoying himself in France. Lucky man!
Last edited by 2bornot2bop; 09-13-2018 at 05:56 PM.
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I'm in a quandary...
On one hand....
I love Bryant Trenier and all that he does, spectacularly crafted guitars with the voice of Angels
On the other hand...
I'm an Old Guy with an Attitude about FB... I see MZ playing the role of "Lola" in Damn Yankees
So, do to my paranoia, I am missing seeing BT making a sweet hand-rubbed finish..
On top of that... FB now does some exclusive MLB games,
so yesterday I wasn't allowed to see my Giants lose their record-tying 11th game in a row!
I would make up a fake name and start a FB account...
but I know they would then employ a secret algorithm in order to hunt me down...
And remember kids... "Just because you are paranoid, doesn't mean people aren't out to get you"
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What Zucker wants, Zucker gets .... Originally Posted by Papawooly
I always get what I aim for
And your heart and soul is what I came for
LOL
I've been doing IT for decades and what I know about internet security keeps me away from most social media sites like FB
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But OHHHH am I GASSING for a Broadway! I need a whole container of Beano!!
Almost pulled the trigger on the one Joe had at Archtop.com, but it was a cutaway...
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Awwww- the Broadway - easily one of the finest guitars I’ve owned . Originally Posted by Papawooly
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Hi Papawooly,
Trenier's FB photos are set to "global", so you should be able to view them at the above link without a Facebook account. As such, the "global" posts can be shared and embedded in other websites/blogs etc but not with this forum's software. Anyway, here's a couple of shots from the Facebook post above, shared out of admiration for Bryant's work:
All photos (c) Bryant Trenier.
Last edited by David B; 09-14-2018 at 03:03 PM.
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A friend here in London has an order in for one of Bryant's 16" laminate guitars, so I look forward to trying a Trenier soon!
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Originally Posted by David B
That’s great - a wise choice for those D’Aquisto enthusiasts ! My Jazz electric is played everyday- the 7 ply thin laminated plates create this warmth that is really special.
Bryant is making some fine instruments in the tradition of John D’ Angelico and Jim D’Aquisto. On his carved instruments - he leaves the outside surfaces of top and back plate full, glues up the body assembly , then hand planes and scrapes to achieve the voicing. This practice takes years to develop and is exactly how Jimmy D’Aquisto made his guitars - thus the similarity in sound.
His Broadway model is parallel braced like the DA snakehead, and with the Adirondack/ red spruce top is a powerhouse of tone. The hand rubbed finish is reminiscent of Gibson Loar period and really brings out the figure in the wood. My Broadway is one of those guitars that will never be sold - if you know what I mean.
Here’s a pic of my Broadway’s back.
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I spoke with Bryant last week and he will be beginning the design of my archtop next month. He is targeting to deliver it (and another client’s commission) at the Artisan Guitar Show in Harrisburg, PA on April 12-14, 2019. Those of you in the US and Canada who want to sample Bryant’s (and many other builders) work should consider attending. I will try to share images if Bryant shares them with me on this forum.
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Bryant just finished that hand rubbed 16” cutaway - it’s a parallel braced powerhouse , very reminiscent of a Loar period L5 .
If your interested - he just posted a video of him playing the guitar on his Facebook page.
You don’t need a Facebook account to play this video - just click the link above to his Facebook home page and you can access all the videos of his guitars.
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Gorgeous guitar that sounds as good as it looks. Maybe one day...
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?So what do you fellas think about the 17 inch Trenier that's on eBay and Reverb for just over 6k ?? Yeah it's got a "mineral streak" in the spruce of the top but otherwise GOSH DANG... So seriously. What do all you gassy enabler types have to say about it ???
Seriously
Big
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I have been looking at it but probably need to moved the Elferink to get real serious.
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Thanks Mike for the heads-up. One of the prices even starts with a " 5 ". Originally Posted by BigMikeinNJ
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Last thing I need is another guitar. Joe's spoken very highly about the Treniers saying if I wanted a guitar that was as close to a real D'Aquisto that the Treniers are it. Seeing the photos posted it appears Trenier will be one of the big famous builders of this era. What gorgeous work...
That mineral streak in that one guitar is slightly off putting, but doggone it's beautiful otherwise. If Trenier used it for the top it's gotta be a tonally awesome piece of wood, mineral streak and all...
Big
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Bryant is actually able to recreate Loar period L5's, D'Angelico
guitars from the mid to late 30's and D'Aquistos from late 70's through late 80's which in my opinion were Jimmys best sounding Archtops. Ive had Jimmys guitars from each period, and while the later modern styled (Avante Garde, Centura , Solos) guitars command the most money, it was his early period instruments that are arguably the best sounding - which is also the opinion of my good friend Larry Wexer , who has handled many guitars from each period.
Private collectors and discriminating players are buying his guitars for good reason. My Trenier Excel and Broadway are both comparable in every way to my 35' DA snakehead and 91' DAquisto. Bryants the real deal guys - and he keeps getting better , listen to the tone of the hand rubbed 16" guitar he just finished. Another point, he gets this tone with 12's . If you dont see what you want , just order one- payments are spread out. Rudy Pensa refered to Bryant as " Jimmy is back", and said he should be charging a lot more for his guitars.
I was just playing my jazz electric and its so sensitive to the slighest touch , and exudes this warm rich quality thats just spectacular. Cant say enough good about this builder.
Sent from my GT-N5110 using Tapatalk
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I have no doubt that what you say is very true regarding the quality of Bryant Trenier's guitars. As Mr. Wexer had spent many years at Mandolin Brothers, he of all people would have had the opportunity to pretty much evaluate every archtop under the sun, and thus hone is level of discernment. I just couldn't bring myself to pony up $7000 for one of Mr. Trenier's 16" laminates. There may be no equal of it's kind, but it was a line in the sand I was unable to cross. This is in no way a criticism, just out of reach for me personally. Originally Posted by QAman
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I understand and respect your position. These guitars certainly do require significant investment as do real D'Aquisto's or D'Angelico's. My point was that a Trenier guitar will set you back a lot less than the later two - and will provide a similar playing experience. Originally Posted by helios
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One thing that struck me reading Steve’s earlier comments regarding Jimmy D is that some folks tend to look at a particular luthier’s work as being static (e.g. all guitars made by a builder are equal). In my experience, this is not the case; all builders work evolves with experience on the bench. For example, I had an interesting conversation with Bryant on how he is approaching voicing the guitar he will be making for me shortly based on my desired goals. I am not sure that 10-15 years ago (i.e. > 100+ guitars ago), he would not have the same command over manipulating elements in his building system.
Last edited by iim7V7IM7; 09-30-2018 at 11:00 AM.
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Well said. After spending 30 plus years hanging around Luthiers shops , there comes a point where they develop the ability to create a specific sound with some consistency. Originally Posted by iim7V7IM7
I’ve witnessed this with Jimmy D’Aquisto John Monteleone ,Bob Benedetto ,Jim Triggs and now Bryant Trenier. It takes years of building to understand the variables of wood, bracing , carving , neck joining and voicing - to predict an outcome.
I was fortunate enough to play nearly every Trenier build between 2012 and 2017 and I noticed a transformation from excellent builds to incredible builds. For an acoustic Archtop Luthier - the goal of achieving that great bass response with fat trebles is somewhat elusive until you have that “moment “ or epiphany.
For Bryant - it was pushing the boundaries of getting the back plate frequency to work in unison with the top plate. When this is done properly the guitar develops a magical responsiveness to the slightest touch. In fact , when you pluck the open strings ( with the guitar facing you) you hear the note and not the string. No one does this better than Monteleone - who is world renowned for his instruments and incredible sense of voicing the guitar.
Just before Bryant left for France he had that “moment “ where he said to me “ I can reproduce this sound “ - which described the perfect balance between lows and fat thick trebles. He proceeded to do so on every instrument since then. This is not to say that early examples of Treniers are not excellent ( they are) , but merely to point out his ability to consistency apply that profound knowledge which has enabled him to continuously improve over time.Last edited by QAman; 09-30-2018 at 04:14 PM.
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"For Bryant - it was pushing the boundaries of getting the back plate frequency to work in unison with the top plate. When this is done properly the guitar develops a magical responsiveness to the slightest touch. In fact , when you pluck the open strings ( with the guitar facing you) you hear the note and not the string. No one does this better than Monteleone - who is world renowned for his instruments and incredible sense of voicing the guitar. "
What you are saying may be very true, and I'm no luthier, but if I recall correctly when reading Mr. Benedetto's book years ago (Making An Archtop Guitar) it was his feeling that getting the top carve correct and properly tap-tuned was paramount to the sound and voicing of an archtop guitar, and the back and sides (with the exception of side depth) were a secondary consideration to the point that the materials (solid carved or laminate) were somewhat irrelevant. I was as surprised as anyone to read this, so I must conclude that there are many points of view as to how to contrive a great sounding archtop. I wish I could afford one of Mr. Trenier's works BTW (Or Mr. Benedetto's or Monteleone's for that matter).
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