VINTAGE acoustic Archtop for Chord-melody

[DMgolf66]

.......and some single note playing.

Lately I've been doing some day dreaming about vintage acoustic archtops. It seems like the main characteristics that everyone discusses and is looking for is a strong comping voice. Is it a cannon, does it bark, Freddie Green, etc, etc. I don't hear as much about how warm they are and how good they would be for acoustic chord melody and some light single note work. This is what I would potentially be interested in down the road. I've played an L-7 from the 50's I believe, but it seems like the older ones are a bit different.

ANyway, was wondering what are some of the models that you guys like that fit the description I mentioned above. Again, VINTAGE only. Not interested in Eastmans, customs etc. at this point.

Thanks!

[mr. beaumont]

Budget?

I'd be after a 16" L5.

D'Angelico's would probably be just perfect too.

[Stringswinger]

Budget?

I'd be after a 16" L5.

D'Angelico's would probably be just perfect too.

I have three non cut DA's and a friend has a 1927 L-5. I can report that all 4 of our guitars are perfect for chord melody work and everything else. They don't come cheap, but imo, Jeff's post is spot on.

[wintermoon]

if money is an issue, an old Epi Triumph or Broadway would fit the bill.
heck even some of the lower line vintage Epi's sound great.

[DMgolf66]

UPDATE:

Budget is less than an L-5, D'angelico, etc. Let's say under 4k.

[deacon Mark]

UPDATE:

Budget is less than an L-5, D'angelico, etc. Let's say under 4k.

A Gibson L7 fits the bill and personally I generally find Gibsons to have a more refined sound that Epi’s. Not always but some Epi’s can be loud but loud does not equal better sound. Response and warmth are what I like usually it is an even sounding guitar.

[Longways to Go]

My '34 L-7 is perfecto. Maybe not the prettiest guitar out there, but . . . mmmm.

[Hammertone]

I just remembered that I have an extra and lovely Advanced Gibson L-12 guitar from '37. I really don't need two of them. They both sound great - you can have one for under 4k. I was planning to put it up for sale here, but January was kind of busy for me, and I haven't gotten around to it yet. Hmmm.. I'll send you a note.

[John A.]

I recently heard a guy playing an Epiphone Blackstone (don't know what year, but my guess would be late 40s- early 50s based on looking at some pictures). It sounded beautiful. He was using a DeArmond RC1100, so I didn't hear the pure acoustic sound, but you could tell it was a good one. Prices seem very reasonable on these.

John

[lawson-stone]

I have a 1966 (?) Gibson L50. I haven't so far fully developed its potential. I should pull it out and make a clip. I like the guitar overall. And I really don't care for the "bark" tone others love in acoustic archtops. Chord melody is my main overall interest.

[Dennis D]

I just remembered that I have an extra and lovely Advanced Gibson L-12 guitar from '38. I really don't need two of them. They both sound great - you can have one for under 4k. Hmmm.. I'll send you a note.

....." Now you tell me - - -"

......16 or 17 in. ? Teaser photo maybe ??

Thanks...

[Hammertone]

17" Advanced Gibson, meaning:
- x-braced
- 24 3/4" scale
- carved top, carved back, solid sides
- super-comfortable C-shape neck carve - not too big or small

These guitars are renowned specifically for how warm they are and how good they are for acoustic chord melody and light single note work. It's a superb sounding, playing and feeling instrument.

I have a pickguard for it that is off because it's beginning to gas.
I also have a new Allparts pickguard that I was going to install, which is still in its package
The guitar has a hardshell case as well.
It has original, functional tuners, but I have replacement Waverlys I was planning to install, which are a direct retrofit and vastly superior to the originals.
It has a replacement rosewood bridge and a replacement tailpiece.
Frets are in great shape.
It's a '37, according to the serial #.
Currently string with a set of Pyramid polished nickel roundwound strings over a round core.
Happy to provide you with lot more details.
Here are a few quick pix to give you a general idea:

[Hammertone]

More quick pix (w/adjusted bridge intonation/position):

[citizenk74]

if money is an issue, an old Epi Triumph or Broadway would fit the bill.
heck even some of the lower line vintage Epi's sound great.

I have a '45 Epiphone Zenith that sounds marvelous (the tone, not my playing).

[SierraTango]

Even though Lou at Guitars n Jazz is known for Eastman and Peerless instruments, he also stocks Vintage Epiphone, Gibson and Guild. I'd sure be spending time there playing as many guitars as I could-they are what? An hour away from you?<br><br>Are you looking for a cutaway or non-cut? Or no preference? Cutaways are a easier sell if you decide to upgrade.<br><br>I'm in the Epiphone camp, my 53 Triumph Regent does fingerstyle very well, however really shines on four to the bar swing material. Lots of folks prefer the L-7, like Deacon Mark says, perhaps more refined. And build quality is probably better. Be aware some Epiphones have a deep V neck profile-some can't get along with it.&nbsp;<br><br>Happy Hunting!<br><br>

[Dennis D]

More quick pix:

Sorry HT I started out looking for a 16 in. w/ those picture frame inlays. That's how I ended up having Mark C build one.

Thanks.

[campusfive]

I'm late to the party because I spent all this time typing a response, and the closed my laptop while the post was still being submitted, so it got lost.

Ok - so the question is whether you're going to play at home, or in (very) small groups, or in otherwise quiet acoustic environments... or not.

I love playing my 1932 L-5 at home, and in places that are relatively quiet, but it's been quite a while since I've taken it on a gig, instead opting for my 1939 L-5. The 1932 is super sensitive, rich and smooth, perfectly balanced, however all of that lovely tone kinda gets lost when I'm playing in a loud room (say a bar with people talking). My 1939, by comparison, is lovely sounding, but it's definitely got pronounced mid-range peak and lot of extra high end, so it's not as perfectly balanced by itself. But in a loud room, the thing cuts through like a knife, so much so that I almost always bring it instead.

I had an x-braced 1935 L-12, and I loved playing it at home for solo chord melody stuff, but it's scooped-midrange meant it disappeared in a band context.

If you're going to play alone, you should totally get Hammertone's L-12. But if not, that "bark" is actually something you'll want even if you're not playing 4-to-the-bar rhythm on it.

[Bahnzo]

More quick pix:

Guitars strung but not clipped make me antsy. Do you have both your eyes? Because I would think at least one would've been poked out by those!

[DMgolf66]

Jonathan,

Thanks so much for reply!

Should've mentioned for everyone that this would be for home use for the distant future. I would submit anyone to the "shot show" of my playing.

[Hammertone]

Guitars strung but not clipped make me antsy. Do you have both your eyes? Because I would think at least one would've been poked out by those!

I usually clip the strings, or wear a Hazmat suit when I play. This particular guitar came to me this way and I haven't quite gotten to the strings yet, heh. [ed: OK, I was very concerned for your mental health, so, I trimmed the strings and posted new pix.]

[oldane]

More quick pix:

On Gibson archtops, the bridge is normally placed at the middle of the F-holes. On this one, it's placed higher up, almost like on a Birdland / 1950s ES350T. Is the bridge just misplaced here, or is the scale length shorter than normal?

[gitman]

On Gibson archtops, the bridge is normally placed at the middle of the F-holes. On this one, it's placed higher up, almost like on a Birdland / 1950s ES350T. Is the bridge just misplaced here, or is the scale length shorter than normal?

The F-holes on this particular guitar are of a somewhat unique shape (compared to the later Gibson shape) and therefor the bridge-placement looks like it's "wrong" - I'm sure the owner has it placed correctly
and the guitar plays in tune .

But still, is this the original finish ? If not, maybe the repair-person who did the re-fin also worked on the f-holes and widened them a bit in the center, for reasons unknown.....

[Patlotch]

there is a whole history of relative placement of bridge compared to the F-hole, but it is certain that this is not how it is positioned to have the right pitch

I think it's more of an aesthetic issue since the lutherie in the violin and strings family

[Zina]

DMgolf66, I'm in my solid gold private jet right now beating you to Hammertone's door, so hurry... No, but it's a lovely instrument, and you can save yourself lots of head-/heartache if you buy from a member, no?

[DMgolf66]

What are the differences between the L-12 and the L-7?

I kinda dig the aesthetic of the smaller L-7 with the funky inlays. But thats just my eye talking.