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Amazing tone and projection for an archtop.
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02-13-2019 06:40 PM
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Thanks for sharing. A strikingly gorgeous modern Archtop interpretation from Chris Mirabella.The design elements, sunburst finish, sound holes , pickguard and appointments blend so cohesively.....just beautiful.
I particularly liked how this example of playing showcased the wide dynamic range of this instrument. Pure balance across the fingerboard , and the soft round sweet timbre of the trebles are just exquiste.....very D'Aquisto-ish.
This might be the finest example of a Chris Mirabella Archtop I have seen on You-Tube. Wow!! A big congrats to Chris M on this one for sure.
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Bravo! Beautiful!
How was that recorded?
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That is one amazing sounding archtop!
Talk about clarity and a huge sound.
I'm not sure how an archtop could possibly sound any better!
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According to his YouTube information it was recorded on a Microtech Gefell KEM 970. Amazing clarity and dynamic range.
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I played one of those that a friend bought. I couldn't stop playing it. He had to ask me to give it back to him.
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That guitar is a masterpiece with strings on it. I haven't heard a acoustic archtop sound that good in a very long time.
It would be a sin to amplify that axe. Acoustic Heaven for sure.
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I have his 17" Jazz Moderne Noncut model. It's a masterpiece in design, build and sound. There is something very special about the instrument. He's quite a builder.
Albert
Originally Posted by sgcim
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Originally Posted by vinnyv1k
The pickup was made by a friend of Kris' on Lawnguyland- forgot his name.
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Keep in mind that Fabio is playing in Robert Fripp’s New Standard tuning (C-G-D-A-E-g). Any guitar I’ve ever played in this tuning had so much life to it.
I saw Fabio and Bert Lams (of the California Guitar Trio) perform on a matching pair of these guitars in a house concert a couple of years ago. From a few feet away, the tone was heavenly.
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What a beautiful and amazing sounding acoustic archtop. Wish I can play guitar like this guy one day.
Last edited by Musgo Real; 02-16-2019 at 02:04 PM.
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Wow.
That guitar shares Cris’s personality. Bright, Deep, well spoken and kind.
They ain’t cheap, but you absolutely get what you pay for.
The strings and the tuning has a lot to do with it but my God that guitarist can play. Oh my goodness.
That was quite a treat this beautiful morning. Even my coffee liked it!
Joe D
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Great playing, a beautiful guitar and a great sounding guitar. All of that said, this guitar sounds very different from the traditional archtop sound that one hears from a great vintage Gibson, Epiphone, Guild, D'Angelico or Stromberg. The sound to my ears of Mirabella's guitar is very similar to a high quality, small bodied flattop and I think that this sound was pioneered by Jimmy D'Aquisto and continued by Bob Benedetto and his clones.
If I was asked which sound is better (between the traditional archtop sound and this more "modern' archtop sound), I would reply "neither, they are simply different." (though I have a preference for the more traditional sound myself) I have heard the work of many of today's luthiers who make great guitars with the more modern sound. But so far, the only luthier working today (whose work I have heard) that nails the best "traditional" sounding archtop is Bryant Trenier (his Broadway model) . Listen to QAman playing his Trenier Broadway on the video on this page to hear the difference:
https://www.facebook.com/trenierguit...2677408463814/Last edited by Stringswinger; 02-16-2019 at 01:01 PM.
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Originally Posted by Stringswinger
Your observations are so true. These modern Archtop guitars produce a different sound - which was the intent of Jim D’Aquisto and other post 80’s Luthiers.
Jim D wanted a more versatile acoustic guitar which bridged the gap between Archtop and flattop, and even classical to some extent.
As for your reference to Bryant nailing the Traditional sound - you are spot on - and that’s my attraction to his builds.
For those interested - to see the video of my Broadway in the link posted - simply go to videos , and it’s the last one that is disguised with the “ artifact”. I was actually speechless at the time of this video - the guitar is incredible and sounds like my DA snakehead.
But getting back the original post. Chris Mirabella makes a fine instrument and his goal is similar - to recreate the past with a modern interpretation.Last edited by QAman; 02-16-2019 at 01:35 PM.
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Those of you who are interested in auditioning Cris’s instruments, he will be exhibiting @ The Artisan Guitar Show in Harrisburg, PA (The Artisan Guitar Show) April 12-14. Along with Cris are a number of other top archtop luthiers (see below) + some great players are performing - Jimmy Bruno, Steve Herberman & Sean McGowan.
American Archtop Guitars (Dale Unger)
American Archtop Guitars and Nazareth Guitar Building Institute
Borghino Guitars (Mirko Borghino)
Borghino Guitars - Home
Comins Guitars (Bill Comins)
Home | Comins Guitars
Ken Parker Archtops (Ken Parker)
Ken Parker Archtops
Lehmann Strings (Bernie Lehmann)
http://www.lehmannstrings.com/
Mirabella Guitars (Cris Mirabella)
http://www.mirabellaguitars.com/
Monteleone (John Monteleone)
http://www.monteleone.net/
Pfifer Guitars (Woody Pfifer)
https://www.phiferguitars.com/
Ribbecke Guitars (Tom Ribbecke)
http://www.ribbecke.com/
Tim Bram Guitars (Tim Bram)
https://www.timbramguitars.com/
Trenier Guitars (Bryant Trenier)
http://www.trenierguitars.com/#trenier-home
Zimnicki Guitars (Gary Zimnicki)
https://zimnicki.com/
Henriksen Amplifiers
https://www.henriksenamplifiers.com/
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The sound of the guitar is great and I do agree as far as tradition it moves a bit in to the flattop guitar but you get the brightness and sound of an archtop. In listening to the facebook recording of Steve the guitar seems to have a huge acoustic voice with plenty of power in terms of loudness. The only thing that I might say it that for my ears an 18 inch guitar would bring a deeper bass presence and this is my preference. Bryant's guitars have caught my fancy I would love to have a traditional 18 inch guitar of his but I am guess they are not around and I am not going to order one unless my fortune changes.
It is like hearing an original Gibson L5 16inch non-cut. These guitars can be very powerfull and ringing but I must admit I perfer the deeper bass response and so the Super 400 gets this for sure. To get a deeper bass response the builder can also make the top thinner but you can only go so far with that before you get too thin. When building an archtop it is all a compromise between the variables and sometimes for whatever reason a guitar just has the "magic sound." Certainly the carving and the wood selection, size, and even the bridge and tailpiece, can be adopted to produce reasonabley consistent sound. However, every once in a while a guitar comes out that just is amazing and everyone knows it...……
I might make an analogy that sometimes we see and really beautiful lady and we all just say...……...wow she is gorgeous. No need to explain because it is so apparent.
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Originally Posted by iim7V7IM7
I haven't had the opportunity to play the kind of instruments you guys have, but I bought one of his 16's and really love it.Last edited by ccroft; 02-16-2019 at 04:00 PM. Reason: apologies for going off topic
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Yes, Bernie will be there! Bernie is a luthier’s luthier. He makes all types of guitars along with a number of other types of stringed instruments. He also happens to be a gem of a guy.
I have a gypsy grande bouche that he built for me about 5 years ago now that is fantastic...
Originally Posted by ccroft
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Bob: That's very nice indeed! I kinda know that one. When I was trying to figure out if I should buy a guitar from Joe V by an 'unknown' luthier, I found a thread in another forum where you posted your build step by step. It was a major reason I decided to take the leap. Thank-you for that!!!
And now that we've thoroughly hi-jacked this into a Lehmann thread here's mine, a 2013:
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I have a Mirabella Crossfire New Yorker. SGCIM referred to my guitar in his post.
In the Crossfire model, Cris has, to my ear, nailed the traditional sound.
My guitar is a 16" model with volume and bass response that rivals anything I have played, including larger guitars. It is lush, warm, balanced and articulate.
With respect, I feel that it would not be correct to leave people with the idea that Cris's guitars have a modern/non-traditional sound and that is the end of the story.
Some of his guitars might fall into that category; mine does not, nor do the Crossfire guitars I played that convinced me to have one built.
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Originally Posted by ccroft
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Oh my Gawd!! How embarrassing is that?! Good eye Hammer. Took me a while to find it. I can only say it's right now and couldn't have been like that for any longer than the photo session. I really can't remember. My Lord...
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Chris Mirabella apparently had a top reputation with the "Boutique '59 Les Paul Burst Replica" cohort before he stopped doing that.
Originally Posted by grandstick01
I grew up playing violin and mandolin so I could make it work OK. But for me a lot of the idiomatic things in fourths tuning are chromatic -- one finger per fret, mostly. In contrast, the standard fifth tuning / violin / cello methods call for whole-steps between fingers, and/so things that fall idiomatically in fifths tuning are scalar. Phrased otherwise, playing chromatically in fifths tuning calls for a ton of extra one-finger-plays-two-chromatic-notes shifts. It can be done but it reminded me about the inherent strength of standard tuning. I've stuck with standard ever since both on bass and guitar.
(FWIW it also highlighted why Red Mitchell's playing has never sat right with me, but I'm waaay in the minority on that.)
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Great playing and a terrific instrument. Chris makes a superb instrument - a dream to play, drop dead gorgeous and a sound that is, to my ears, a cut above the rest. I had the privilege of playing one of his guitars at the yearly Woodstock show and to meet Chris as well. He's not only a master luthier but a nice guy.
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Originally Posted by Sam Sherry
Kalamazoo award $17,000.00 pickup Rockford mi....
Yesterday, 06:24 PM in Getting Started