-
great stuff Hammertone - amazing detail
thanks man
-
11-06-2020 04:58 AM
-
Originally Posted by Groyniad
-
there are more obviously musical issues here too - of course
I've had a number of boutique archtops - campellone, Andersen, commins
they were all super-light (the commins less so than the others - but still very light)
my guess - which will offend people I'm sure - is that the vast majority of d'aquisto/benedetto inspired instruments are not made for the stage but the living room
for stage guitars you need gibson, guild, heritage, Ibanez and....????
this sweet 16 with the apparently very thin top must have very fat braces - it has a moderately 50's style neck. it's much heavier than you would think - and I'm sure this will make it much more useable
the gb10 is super heavy - amazingly heavy. the Eagle Classic is the heaviest guitar I've ever had and it amplifies like a dream.
-
there are more obviously musical issues here too - of course
I've had a number of boutique archtops - campellone, Andersen, commins
they were all super-light (the commins less so than the others - but still very light)
my guess - which will offend people I'm sure - is that the vast majority of d'aquisto/benedetto inspired instruments are not made for the stage but the living room
for stage guitars you need gibson, guild, heritage, Ibanez, Sadowsky, Collings and....???? (that's not to say, of course, that it's impossible to get a one-man-shop to make you a stage guitar!)
this sweet 16 with the apparently very thin top must have very fat braces - it has a moderately 50's style neck. it's much heavier than you would think - and I'm sure this will make it much more useable (I have no amp. where I am so I haven't tried it out yet). R. Severson has remarked that he has found gigging with sweet 16s a very different business (feedback wise) than with other floating pickup guitars.
the gb10 is super heavy - amazingly heavy. the Eagle Classic is the heaviest guitar I've ever had and it amplifies like a dream.Last edited by Groyniad; 11-06-2020 at 07:13 AM.
-
I am curious; were any of your luthier made archtops made for YOU and your needs or did you buy them second hand? I ask, because most of the luthiers that you cite usually ask their clients about the intended use of their instruments and adjust their work to suit.
-
that's absolutely right 251
they were all second hand - and I did allow for the possibility that you could get them to make the guitar any way you want
I wish I'd understood these things a long time ago
in fact I think the reason I came to this wonderful forum was to try to get the relevant info - before buying my first (second hand) boutique archtop
I couldn't find the relevant generalisations anywhere (about what boutique guitars TEND to be like - and how they TEND to contrast with e.g. gibson, guild, heritage, Sadowsky, Collings etc.)
I could just about reconcile myself to second hand boutiques - but never considered paying the price for a new one
but - in the end - I certainly paid the price
-
when I get back home to Addis and see how this sweet 16 amplifies I'll tell you all all about it
-
Originally Posted by Groyniad
-
Groyniad, so you bought the blonde Sweet 16 posted above? Sorry, I didn’t read a confirmation about that. Beautiful guitar, and I like the finger style tailpiece which I found on a few modern built Heritage guitars.
And could you post photos of that Eagle Classic you’re so fond of? I somehow missed them. I’m a big Eagle fan! Thanks.
-
Originally Posted by GroyniadOriginally Posted by iim7V7IM7Originally Posted by Groyniad
IMO, Heritage is a good example of a company that made the same carved archtop models (SE, SKB, GE, Rose, Sweet 16, etc.) within a range from very acoustic response to feedback-resistant electric response, based (I hope!) on customer requests - some of them are highly acoustic instruments, some are tanks. Campellone does the same thing, and my guess is that some others do as well.Last edited by Hammertone; 11-08-2020 at 02:54 AM.
-
hey Marty - is this picture more conclusive? thanks again for your help
-
Id like to comment on the CNC comments. I recently sold and retired from a CNC millwork, casegoods , industrial enclosures and subassemblies business. For background I was a traditionally trained cabinetmaker at the bench for 50yrs. A CNC in wood based manufacturing (guitars or other) while capable of high precision machining is generally used for roughmill operations. At parsons st automation in the old days would have been a carving machine from what i can glean, all things being equal going from carving machine to CNC would be an improvement. This removes excess material and performs initial shaping and cutting operations. This has always been done by either hand or machine, when your training you started at roughmill. BUT!
in instrument building or fine woodworking the rough parts are finished at the bench. The reason is that for my generation we were trained in hand tools. If you hand me a part that is roughed in I can have it ready for finish with a scraper and a little sanding faster and better than can be done with any machine. This is why the old hands at Heritage were so pissed. In the US this culture of craftsmen is gone forever. Properly implemented a CNC could be the salvation of domestic manufacturing but in the case of guitar making or high precision wood crafting there is no substitute for an experienced builder. Without our CNC our business wouldnt be viable in 21st century however without us (now old fart craftsmen)The product we built our reputation and success on, would also not be possible. If I were having a guitar made I wouldnt care how roughmill was performed, but I sure as hell would care who put their hands on it next right thru to the shipping dept. That should all be done by hand.
Hope that wasnt to boring or instructional but I must say I feel better getting that off my chest, Rick
Video: The Harmonic Minor Scale in Jazz
Today, 10:47 AM in Improvisation