The Jazz Guitar Chord Dictionary
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  1. #51

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    The floating pickup height can be adjusted where it attaches to the pickguard. I doubt it makes any difference in sound that the felt under the pickup is touching the guitar, especially since it's a laminate, not a carved top. A built-in pickup requires a hole in the body which does make a big difference.

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  3. #52

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    Thanks for the 2 new replies. Can I make that a chocolate cream filled jelly donut ? Doh !! To hear they did the same thing on the originals is quite a surprise !! Even if true, I can't understand why they couldn't get around that. Seems to me that the side of neck mounting would suffice. Leave alone the idea that I'd think the original builders could have had a pickup designed for them which too didn't touch the top. Why then does my Ibanez have a completely floating pup ? ! Well at least I know now it's not an individual foul up on mine; that it's normal...So, in conclusion, I know now I have a completely correct EXL-1. No need reply. You all have labored over my little tantrum enough. But you certainly may..M
    Last edited by MarkInLA; 04-30-2016 at 10:01 PM.

  4. #53

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    Pickup touching the top and padded with felt is normal for pick guard mounted 'floaters'. My Heritage Johnny Smith and Guild Artist Award are the same (as is my EXL-1). The up-side is you can use more felt pads to adjust the pickup closer to the strings if you desire a fatter tone.

    Enjoy the guitar, they are beautiful and great players.

  5. #54

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    Hey guys, thanks again for all the extra input and sense of humor about things. Boy, I am in a dilemma ! I now have the 2 boxes; the D'Angel and the ArtStar.. Here's yet another anomaly: On the short list of why I wanted the EXL, is the box being larger than the Ibanez's which I naturally assumed would give me louder acoustic volume. But, maybe because the Ibanez is a bit smaller, it has more punch/volume, acoustically than the EXL ! Crazy, absolutely crazy !

    After all your help and insight I must be honest by saying I may refund the D'Angel. Another factor is, if I were wealthy I'd simply keep them both. And if I were a gigging player I'd certainly stay with the D'An. I am pushing 70 (is that possible !! How did this come about ?!!), and whichever one I keep will not create or hinder any future gigs, to boot.

    I am going to go home later and make my final decision. Sorry, I just had to get it out of my system; to actually have an EXL at home in order to really experience what owning one would feel like. As I said before, the neck, board and frets are exquisite. Tuners are A1. Still, the AF151f is quite a nice piece, too (+ black ebony). I certainly bugged you guys over that one a couple months back. I wouldn't blame you for ignoring me now...at least on this topic...So once again, much appreciation to everyone.......Mark


  6. #55

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    Paula, just mark the bridge with tape, blue painters tape, in 2 opposite corners.

  7. #56

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    The EXL 1 uses rosewood not ebony.They should use ebony and I think perhaps the very first ones did or at least the previous company that built them used ebony, but I noticed mine was a closed or filled grain rosewood. I stained it black. But yeah, they are using rosewood.


    • Body
      3" Hollow
    • Body Shape
      Single Cutaway
    • Top Material
      Laminated Spruce
    • Back Material
      Laminated Flame Maple
    • Size
      17 1/2" Wide, 3" Deep
    • Pickup
      Floating Humbucker
    • Binding
      7 Ply
    • Pickguard
      Stairstep
    • Bridge
      Satin Stain Rosewood
    • Tailpiece
      D'Angelico Stairstep
    • Controls
      1 Volume / 1 Tone
    • Hardware Color
      Gold Plated
    • Tuners
      Grover Super Rotomatic - Gold
    • Nut
      1 11/16"
    • Neck Material
      Hard Maple 2-Piece Walnut Center
    • Scale
      25.5"
    • Fretboard Material

      Rosewood

    • Inlay
      Mother of Pearl
    • Output Jack
      Switchcraft USA
    • Case
      Hardshell Black Tolex
    • Truss Rod Cover
      D'Angelico Stairstep

  8. #57

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    Painter's tape, huh. Cool. The Godin's strings get changed regularly (by me.) I'm loving these Chrome Light Jazz 11's on the Godin and am going to put them on the EXL-1. I have pretty big hands for a woman, but the strength is not as great as your average guy, so slightly lighter usually works. I've got 9's on my Strat and Tele and Music Man; 10's on my Les Paul; and 11s on the Godin.

  9. #58
    joaopaz Guest
    Hi guys,

    I've been 'gasing' since long for one the "new" D'Angelico guitars - I don't have any realistic clue about pre-60s models' price or availability.

    As far as I know recent models started coming out around 2010..
    ..so do you have any experience with these? What do you thing about their price/quality ratio, and also how would you compare them with other guitar brands/models on the same range?

    This one's the culprit of my current gas attack

  10. #59

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    I can't speak for the current Korean made models. The Japanese made Vestax D'Angelicos are fantastically well made though.

  11. #60

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    AFAIK, there are two Korean generations, easily identified.

    The first have split fret markers with abalone separaters between them on ebony fretboards, abalone inserts in the bridge base, and gold like plated knobs with pearlite tops.

    The newer current models have no abalone on the bridge, the markers are solid like a Les Paul Custom in rosewood boards (afaik), and most I see have plastic knobs.

    The first models I can talk about, all mine are fully hollow.

    Some had HB's others had Kent Armstrongs. Some had TP's like the Vestax (diamond in the center design) models but they were changed early on. Some believe they were removed from a Vestax, I say it would be idiotic to put a $500 TP on a thousand dollar git and ruin a $2500 git in the process, nah, I have seen too many.

    Playability, sound, and build quality are superb, easily on a par with my 175, CS330 or Tal Farlow.

    Action straight out of the box was like an old Les Paul, low and fast. Sound is (some HATE this term) warm and smooth not at all biting and sharp like Gibson's burstbuckers.

    IMO, the first gen Korean made models DESERVE the name on the head.

  12. #61

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    I spent some time with one of the split marker versions and thought it was really heavy and had a thunk ( but not in a good way). Just my opinion/experience, but I was not impressed. Could have been a dud; you really need to try a few out to make certain it's the sound you want. You just might find that gem.

  13. #62

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    Good u brought up the weight, the 2 pup models I have are all EXACTLY 4 ozs. heavier than my 175, and 5 ozs. lighter than my Tal Farlow, neither get complaints about weight.

  14. #63

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    To the OP, others know more than I about the relative merits, but the 'original' D'Angelicos made by John D fetch between $10,000 and $50,000 when they appear. They are still the gold standard of acoustic archtop jazz guitars. The reissues, as is clear from the pricing, cannot and do not try to equal this quality of build and sound. Having said that, it is really all about what works for you.
    Good luck.

  15. #64
    joaopaz Guest
    Quote Originally Posted by GNAPPI

    IMO, the first gen Korean made models DESERVE the name on the head.
    That's a bold statement, but also what I was looking for.
    Also thanks for the very detailed info, precious stuff!

    Funny that (after having read the other replies above already) no one has had yet contact with the newer MIK models.

    Also, you mentioned "setup out of the box" .. how important is that for you? Just because I never really care about that... I find it so sensible - and also as I change strings right before even play them.... but I notice that a lot of people always mentions it as an important thing.

    Thanks again!

  16. #65
    joaopaz Guest
    Quote Originally Posted by bananafist
    To the OP, others know more than I about the relative merits, but the 'original' D'Angelicos made by John D fetch between $10,000 and $50,000 when they appear. They are still the gold standard of acoustic archtop jazz guitars. The reissues, as is clear from the pricing, cannot and do not try to equal this quality of build and sound. Having said that, it is really all about what works for you.
    Good luck.
    I figured they cost a small fortune, the original ones.... still it's very curious to compare with new jazz boxes being made by current luthiers; some go into those same price ranges. It's funny ... "buy an original D'Angelico .... or a new (put name here) ?"

    I wasn't of course trying to compare the new MIK models with the vintage ones, but rather with other brands like Ibanez, Hofner, Eastman, etc.. that may produce guitars in the same price range.

    Thanks, too!!

  17. #66

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    Also, you mentioned "setup out of the box" .. how important is that for you?

    Well no, I can do a decent setup to suit me, but it goes to show you a certain pride in the hands of the maker, a willingness of the D'Angelico purchasing agent to pay a bit more to have them setup overseas.

    Also it sort of minimizes the excuses people freely give to Gibson claiming that "shipping, and temperature changes" cause the shitty setups on 100% of the gits I have played from them that were sent barely 1500 miles in mild temp changes.

    So yes, I do respect the out of box consistency the D'A reproductions offer.

  18. #67

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    Quote Originally Posted by joaopaz
    That's a bold statement, but also what I was looking for.
    Also thanks for the very detailed info, precious stuff!

    Funny that (after having read the other replies above already) no one has had yet contact with the newer MIK models.

    Also, you mentioned "setup out of the box" .. how important is that for you? Just because I never really care about that... I find it so sensible - and also as I change strings right before even play them.... but I notice that a lot of people always mentions it as an important thing.

    Thanks again!
    There are many threads here about just about every aspect of the Korean D'Angelicos, including differences between generations, so try a search. Some say the current ones aren't as nice as earlier ones and there's at least one about a defective nut slot on a new one. I have a first gen semi-hollow. FWIW, it has solid (not split) block position markers. I like it as much as any other semi I've played. I played a new one recently. I don't know if my sample is reoresentarive, by and I thought the new one's finish was a bit thicker and more plastic-y feeling and the tone a bit brighter/thinner than mine.

    John

  19. #68

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    The current Korean D'Angelico line started in 2013. I have four of them including a D'Angelico EXL-1 and think they are the best guitars in the price range. I had a few newer guitars briefly in the past 10 years or so and prefer the D'Angelico guitars. I had a 2000 Guild X-150 that was dead as a doorknob with no resonance and it didn't have a deep enough tone, it was too bright. A friend gave me an Ibanex AF105 that was okay but it started developing neck problems. I also had an Eastman 145 for awhile but felt it was too thin and delicate. The D'Angelicos all arrived with a good setup and in perfect condition. They are well made with excellent attention to detail and play and sound good. I was used to playing my 1951 Epiphone Zephyr Regent since 1970 which has a bigger neck than all the other guitars mentioned. It was easy to adjust to playing the D'Angelico necks which are thinner than the Epiphone but not too thin. They are as well made as guitars costing two or three times as much.

  20. #69
    joaopaz Guest
    Thanks!

    I was about to pull the trigger so many times now

    Your EXL-1 is what color, if I may ask? I'm interested in the natural tint, if there's a significant difference for the natural one - one the video I posted on the 1st post above, the EXL-1 is almost yellow and I kinda like that.
    The black is also a thing of beauty!

  21. #70

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    Mine has a natural finish. It's darker than the one in the video. Guitar finishes are hard to capture on film. I've seen the same guitar look darker or lighter in different photos. I tried to upload a photo but the forum is not letting me select a file from my computer, although it's worked before. I replaced the stock Kent Armstrong floating pickup with a Guild reissue DeArmond 1100 pickup. The sound has a lot more personality now. I have an EX-DH with a black finish and it's beautifully done, I'm sure a black EXL-1 would be the same level of quality.

  22. #71

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    I have a 2013 EXL-1 - wonderful guitar . The stock pickup ( a basic Kent Armstrong I think) really didn't do a very good job of communicating the rich acoustic tone I was hearing with Thomastik Infeld Jazz Swings unplugged- it added too much pickup color very thin and weak to my ears. I took it off and replaced with a Shadow Attila Zollar AZ 48 and it turned the guitar to the deep tonally rich amplified sound I was looking for. The neck has a nice radius I think around 16" which I find very comfortable versus the Ibanez guitars which I find too curved/small a radius 12-14" I think. The scale is also long at 25.5" which I also find very comfortable versus shorter scale guitars I tried. Finish and craftsmanship is top notch for a factory guitar. Hope that helps.

  23. #72

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    If I was looking to spend $1500 on a GREAT jazz guitar, I'd take a look at the beautiful Antique Natural Heritage H575 in our for sale section. That's the real deal. Nothing against the knockoff DA's but that's what I would do.
    My opinion of the guitars you are asking about is that they are nice looking because they copy the greatest design the guitar world has ever known.
    D'Angelico guitars will unfortunately never "return". John passed away. His legacy was carried on by many great luthiers, building hand carved masterpieces that paid homage the great master. 3 opportunistic businessmen buying his trademarked name and printing it on the headstock of way too many mass produced guitars is only "returning" money to there pockets.
    Whatever you buy, I hope you enjoy it and I sincerely hope that it is everything you expected it to be.
    JD

  24. #73

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    There are pretty much four kinds of D'Angelico guitars.

    1. The real ones made by John D'Angelico (10-50K)

    2. The hand carved replicas made by Art Valdez, Michael Lewis, Heritage (JP Moats and Marv Lamb), Jim Triggs, Gene Baker and Victor Baker (4-20K)

    3. The pressed top replicas made in Japan (3-4K)

    4. The Korean made stuff (800-1.5K)

    You get what you pay for. The Korean guitars are Okay (I have owned a couple), but there are better guitars to play for sure. At the end of the day, it is all about getting a guitar that inspires your playing. The Korean made DA's did not inspire my playing (Mine were the first generation). YMMV

  25. #74

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    You are a more generous man than I! To me there are two kinds of D'Angelico guitars: the real ones (made by in New York by D'Angelico with DeSerio and/or D'Aquisto) and the imitations, the latter varying widely in quality from superb to... not. There is really no relationship between the two.

    That said, I have played a couple of the Japanese ones and they were quite nice instruments in their own right. Well crafted, nice to play sounded good. Just shouldn't have had the D'Angelico name on them. Leo Fender and Orvile Gibson set up companies designed to do mass production and to outlive them. John D'Angelico did not. But I may be the only one with that particular bee in my bonnet.

  26. #75

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    Cunamara, Very well said.
    That really is the reason I feel the way I feel about it.

    To the gentleman who started this post..
    i really don't mean to rain on your parade. A lot of fine folks, like yourself see these guitars as a way to own a D'Angelico. "Wow, $1,500 for a D'Angelico, with a cutaway!?!? I'm in!!!" And then you find out that you really didn't buy a D'Angelico. You actually bought a nice guitar, that mimics what they looked like, but they shouldn't have the D'Angelico name on the headstock.
    There were 1,164 D'Angelico's. That's were it ended.
    Incidentally, I don't feel the same about D'Aquisto. Jimmy agreed to have his name On a mass produced instrument. John D'Angelico never did. Nothing wrong with what Jimmy did. I respect Jimmys decision, just as I respected John's. Perhaps if John had a family to feed after he was gone, he might have done the same thing that Jimmy did. But he didn't. And other people shouldn't capitalize on John's brilliance.

    Put the name "Pisani", "Ferolito", or "Cohen" on the headstock.

    if you want to be a part of the lineage, then there are some very nice Fender D'Aquisto's for sale. And they were authorized by Jimmy. And Jimmy's family got a piece..

    I promise, I'll keep my mouth shut about this from now on. Good one Cunamara.
    JD