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  1. #51

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    Quote Originally Posted by jads57
    Sorry but for me pissing on D'Angelico and D'Aquisto is personal, I'm Italian LOL!
    Seriously it degrades a great legacy of building great instruments. And it's preying on an individual, not a company.

    There is something wrong about it, so disrespectful and I get that business is business. But all of you players here should know better,and have higher ethic level. Instead of just acquiring the most instruments,etc.

    Reminds me of when Kenny G put himself on a Louis Armstrong recording. That is totally unacceptable in my book!
    So we shouldn't buy Gibsons because Orville got pushed out of the company, or Fenders because Leo's real legacy is G&L, or a Tesla because Nikola never built a car and hated DC current? Etc., Etc.

    I mean the thing is, people die and their names become brands subject to what others choose to do with them. Are we all really unethical because we buy from someone other than blood heirs carrying on in the same way as the founder? That's a pretty tough standard.

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  3. #52

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    Not saying that,and again I understand business can be really ruthless most of the time. Im saying claiming these guitars have any real DNA other than looks is crossing the line in my book.
    The specs are pressed tops,sides,backs,etc not carved by a person. The finish is probably poly,not nitro,etc. The parts are probably cheaper imports to originals.

    At least Gibson followed the same basic formula with their archtops.And actually tried improving them with their last Crimson series. But their price reflected hand crafted instruments as well.

  4. #53
    Quote Originally Posted by zephyrregent
    These are all cosmetic differences except the Seymour Duncan pickup in place of the Kent Armstrong "Jazzy Joe" pickup that is on almost all the D'Angelico and Eastman guitars. The Style B is a nice guitar with a thinner top and more resonance than their other guitars but I prefer their original version, also the sunburst finish. The F-holes aren't right for a guitar trying to represent the 1930's. The price difference of $1999 vs $1559 is not justified. You could get a standard Style B and add a better pickup and come out paying less.
    Hey, just wanted to clarify a few points here! The idea of the Throwback series was to pull various design characteristics from different points in D'Angelico's career— not pinning it down to just the 1930s specifically. In fact, John D'Angelico didn't build his first cutaway EXL-1 style model until 1947. Obviously certain details are associated with certain eras of D'Angelico's career— the full fret blocks are indeed very 30s, while the headstock is more later-period D'Angelico style. And yes, the F-holes are very D'Aquisto inspired— John in fact never built with this style F-Hole so I totally understand why traditionalists take aim there. We just feel it's a nice point of differentiation from the standard models.

    The price point increase is due to the Ebony fingerboard and pickguard, the Macassar headstock and the larger MoP inlays. The guitar also has extra binding, particularly a multi-ply binding on the F-holes. Some of these details are subtle, but they definitely amount to some nice upgrades.

    Hope this clarifies some points, we appreciate all of the feedback and don't take it lightly.
    Last edited by D'Angelico Guitars; 02-28-2020 at 09:29 PM.

  5. #54
    Quote Originally Posted by jads57
    I think the underlying intention of the D'Angelico videos with both Rodney Jones and Mark Whitfield is to compare the new imports to the original D'Angelico guitars legacy.
    And while I understand these players accepting money to do these videos,I'm basically offended by it. Both these players and the current owners are being disingenuous at best,by drawing any comparisons between these imports and the originals. At least Eastman doesn't claim to be a Benedetto.
    Hey, just want to clarify your suggestion here. Mark and Rodney are both D'Angelico artists who we've worked with for quite a while and collaborate on these videos with us because they genuinely play the stuff and love it. Everything that they reference in the video is honest with no intention from the brand other than to have great artists share their opinions on the models.

    Our intention here is not to directly compare these models with the older D'Angelico's, but rather to show how various design elements from John D'Angelico have inspired our current designs— and you see this with guitar brands across the board. The original D'Angelico's will always stand on their own pedestal and be the kingpin of archtop guitars, we will always honor that as a brand. But we feel that the modern D'Angelico's are a way to expose D'Angelico's legacy to people who may not be able to afford the originals— especially the younger generation. What's amazing to see is how the newer D'Angelico's have generated so much interest in John D'Angelico's history and his original designs. We will always strive to improve and update our instruments but to me, there is no better way to keep that legacy alive. All the best!

  6. #55
    TBH, until recently recently never heard of D'Angelico the luthier, or the Korean brand. I'm new to jazz and to jazz guitars. I did however buy Excel SS because I really loved the sound, the huge discount and I took the Art Deco stuff (which I don't like) for granted.

    If I ever will be able to perform in a combo with this guitar and somebody will be offended by my faux D'angelico, I'll just kindly ask him to close his eyes and listen to the music.

  7. #56

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    Quote Originally Posted by citizenk74
    THE. Tailpiece of all Tailpieces. Of all. Ever.


    I beg to differ...

  8. #57

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    Here's my two cents worth.
    1/ I suspect most of the younger dudes that buy other DA models really don't know or care who John was or his legacy.
    2/ DA sells so many other styles of guitars to so many different types of players I really can't see how the F's are piggy-backing on the DA name/brand all that much anymore. (See comment above)
    3/ Personally, I think the F's have done an amazing job in expanding the line of guitars and pulling in so many big names now that from a business perspective they can't be faulted.
    4/ Most players can't afford a real DA or one of the Masterbuilt ones so this is as close as they can get.
    5/ If the quality and playability is there and guys buy them, that's fine. If they were complete pieces of garbage then I could see the point about exploiting the name.
    6/ I've played many DAs and some of them were really fantastic. Others, so so. The prices - even though the virus might really ding the guitar market - are really silly since DAs are super tough to move. Just go to Rudy's and see the ones for sale, still. Maybe he doesn't want to sell them for anything that matches overall demand, who knows?
    7/ I think keeping the arch top flame alive, as it were, is great. Gibson isn't doing it, that's clear.
    8/ I chatted with Whitfield in NYC in Feb during a break at the Carlye and he was playing his blonde Ibanez lawsuit guitar. It sounded fine. We spoke about the DA line and the custom work Ric was doing for DA out of his shop in Tribeca, and the conclusion was really whatever worked. The jazzers from a by-gone age sure wouldn't be having this typical 'corksniffer' discussion. They'd be practicing their chops!

  9. #58

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    Quote Originally Posted by John A.
    Sure, I promise not to buy a $1000 guitar because it offends people who own $30,000 guitars. Oops, too late.

    I mean seriously guys.

    John
    Probably the best way to sum up this entire thread. The OP would appreciate it.
    If you like it and it gives you pleasure, who cares.

  10. #59

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    There was only one reason I bought my first NYL-2 and that was strictly because of the look. I had no idea what it would sound like but I knew there was no way it would sound like a real D'A the way it's built. I put it on a guitar stand after I played it, looked at it and enjoyed all that Art Deco glitter for hours. Plus, I could take it out to play, look like one of the old school players and not worry that someone would mess it up on me. I still play it but it in no way sounds acoustically anything like the real thing.