-
I have a Triggs 18", 3" depth. Thinner waist than a 400
Me: 5'11", shorter arms - no problems playing it, but it's definitely not as comfortable as, say, a Stratocaster
I'm on the younger side though (compared to the demo here). No shoulder, back issues.
-
12-30-2020 12:31 AM
-
What sort of Super 400 variant is that - it looks amazing!
Originally Posted by Dennis D
Danny, could you tell us more about it?
-
The Western Sky...I missed out on a used one in Natural sold by Kloppmann Pickups in Germany. I did not know how to arrange for it to be packed and shipped.
Still think about it wistfully every now and then. The Gibson Custom Shop was a lot more adventurous under Henry J..
-
I'm a little guy (height wise) and I play a Heritage ghost built Gretsch eldorado that is 18" wide. I don't hold it without a strap. I play it more upright similar to what Joe Pass does. That lets me drop my right arm so my right elbow doesn't wind up in my right ear. The only problem I have is that I'm used to a 24 3/4 inch scale and the Eldorado is 25 1/2 inches. No big deal.
-
Some 12 or 13 years ago I chanced upon this guitar by Roger Borys, an 18" B-420 Behemoth - a great sounding and breathtakingly beautiful instrument made with finest woods and flawless workmanship BUT ---- with rims almost 4" deep. That made it just too uncomfortable for me to play for any longer stretches, impossible for any normal gig. Surely it would look golden and most impressive in a TV show but unfortunately that kind of gig is most rare in my neck of the woods... so this taught me a lesson : the girth of these 18" models does not pose any problems for me, the DEPTH is the deciding factor re playability/comfort and sound, too. Later I learned that this guitar also went by the nickname "The Vermonster" since Roger was working in Vermont at the time. There was an even larger model at the time, a 19" Stromberg copy.... ordered by
The Incredible Hulk ?
-
I only had a '34 L5 so I don't have much experience comparing an L5CES against a S400.
I'm 6' and don't have an issue with the size. My Campy and the New Yorker I just acquired are also 18" at the lower bout and I don't notice any numbness.
-
Glad to help. Originally Posted by Dennis D
As said by Jabberwocky it's a Super400 Western Sky. Available also in white, it was an interesting take on the S400. Mine sounded like a cross between a mid-size Martin and a really loud archtop. It was a lot of fun to have. Originally Posted by cmajor9
It just so happens that I have photos of the 19" Vermonster. Disclaimer: Not my guitar, not my photos, sent to me by original owner when he received the guitar, posted without permission. I never saw the guitar in person. Originally Posted by gitman
Danny W.
-
I don’t think anyone on God’s green earth had nicer Gibson’s than Danny W.
-
Thank you Vinny--the operative word is had. Originally Posted by vinnyv1k
Danny W.
P.S.: Happy New Year to all!Last edited by Danny W.; 12-31-2020 at 10:12 PM.
-
I like them in black:
-
I think you meant you like it when they “paint it black”. Originally Posted by Hammertone
-
Figure his tech would clean up the fretboard a little, no? Originally Posted by Hammertone
-
Don't I recognise this guy from Market Street, S.F.? Originally Posted by Hammertone
-
I had a new Super 400CES blonde in 1996. It was so full and rich sounding, it was the best sounding Gibson. But, yes, it was too big and heavy feeling.
However, it's the combination of 18" and 3 3/8" depth that makes it feel uncomfortable.
That's why Heritage gave it 3" side. I had the Super Eagle and played a few gigs with it. It measured 18x3, and it was no problem to hold and play seated on a bar stool.I am (was?) 5' 9".
Of course, asking Gibson to make a slimmer version as a custom order at that time (or any time) meant a 100% increase in price (or penalty!!) so I eventually bought the Heritage Super (CES style).
Also notice the waist on these 18" guitars is a factor. The Epi Triumph and Emperors have wide lower bout 17 3/8 - 18 3/8 and they are easy to hold. My 46' Triumph has 3 1/4 depth.
I wish still had that Heritage Super guitar. (wish!)
-
Sadly, in today's San Francisco we have criminal junkie vagrants all over town. Things were much better when their ilk was confined to the Tenderloin (including that part of Market street that connects to the Tenderloin). Originally Posted by Jabberwocky
-
Do most Super 400s have the narrower nut? I saw one at a local shop, used, and it was fantastic looking and sounding, but the nut seemed narrower than what I was used to by a noticeable margin.
-
Only mid to late 60s like other Gibsons. Probably had the illusion of being narrow as you're probably not used to holding 18" archtops Originally Posted by lawson-stone
-
>>Only mid to late 60s like other Gibsons.
Right. The 1 11/16 appears again in late 1969. I agree the feel of neck is also a factor.
The first Super 400 I played was In Chicago while taking guitar lessons. 1979-80. The teacher had a 1960 Super400C.
He let me play it and I still remember the feel of the neck. It was really flat (the slim neck profile came in 1960) but very sturdy. Completely different level of excellence to the junk I owned!
About 10 years ago I played a sharp cut '61 in blonde. I remember having to adjust the vol/tone to 5, to get that classic 60s jazz guitar sound. The neck profile was a little fuller. Oh what a joy that thing was.
About 15 years ago I played 64 ice tea burst (also with sharp cut) which I was offered to buy for $6500. I knew it was a bargain, but I thought it rather too large and awkward for me. It's the depth.
Again, a really bright sounding guitar until I rolled the tone off to 5/5. But, the vol and tone control worked so well on those 60s Gibson.
-
As usual with Gibson the narrow nut is just the general rule. They still did alternatives. My 68/69 Super 400 has a full 1 3/4” nut.
-
Other than Johnny Smith's which are all 1 3/4" I've yet to see a mid '65 to mid '69 Gibson w/a wide nut unless special ordered. But in mid '69 when they were widened you'll see some 1 3/4" nut widths. My late '69 L-5 is a hair shy of 1 3/4"
-
I play a 38 acoustic and a 90's CES and I'm 6.6". No problems playing all day. I think it's less tiring if the upper part of your body is long enough and you change position regularly.
No problems with the 1 11/16 nut width. I'm currently playing with a GA-50 and sometimes a Polytone. Great sound, more orchestral than an L5CES although the L5 remains the reference point for many jazz players.
Thinking of obtaining a RI ' 57Tweed Twin (purely for cleans, also at low volumes). Any experience with this amp and the S400CES?Last edited by RudolfR; 02-17-2021 at 05:24 AM.
-
This may be apples to oranges, but I built a Marsh amp kit of the LPTT and I use it, as Leo designed, with 12AY7 preamp tubes. It is a great clean circuit in that configuration, and gets a lot of use by me at home.
I use various Telecasters, a lovely Aria Pro Herb Ellis (175 type) and a Collings SoCo most of the time with an addition of various reverb pedals as the amp doesn't have onboard reverb. I do have a Super 400 type (custom built) with a Benedetto floater but I have not tried that guitar with that amp. I think it can be something for you to try, but the Fender 57 Tweed Twins usually come configured with 12AX7, so it is a way higher gain configuration.
-
Thanks Capnrory for your remark.
The LPTT RI has two 12AY7 and two 12AX7 (so I read) but from what I gathered I could replace one additional AX for an AY. Somehow I don't think a floater and an S400 would be great with an amp like this, perhaps an acoustic amp would be better.
It is comforting, however, to read that you're using it at home presumably to play jazz (hence this forum). I've played the LPTT twice with my guitar (next to my GA-50) and it seemed to be a very nice sound to the Polytone and the (octal) GA-50 sound that I already have.
It's just that it seems slightly 'overkill' for home use.
The one down, the Custom Pro's 15" speaker does cover an interesting tonal spectrum but I think the highs are thinnish and I'm not convinced about the mids either. I'm not too keen on 15" speakers I guess.
Somehow, the other alternative, the Tweed Deluxe, with a possibly better wattage, doesn't appeal to me. It doesn't not have enough cleans (too bluesy of a particular kind). Nonetheless, quite a number of forum members cannot seem to live without one.
Despite the overkill, I'm seriously considering the LPTT.
-
not that you can't use tweed amps w/a humbucker Super 400, it wouldn't be my first choice for cleans.
but run that thing through a blackface Fender Twin and it'll really shine.
-
Thanks Wintermoon, Let me start by saying that I'm not necessarily interested in extremely clean cleans (tried a 2 rock once and it wasn't a great succes to my ears). This is not because the guitar or my playing wouldn't be able to handle it but it's more that my experience with the BF reissues is that they tend to be rather aggressive both in loudness as in pick attack. Perhaps I haven't been very lucky with the amps I tried but so far it hasn't been too pleasing for my ears.
And I also would think that an 80Watt BFTR be over-overkill? Would you be able to recommend a YouTube clip with a representative BFTR & Archtop recording?
Reply With Quote
Peter Sprague & Leonard Patton "Can't Find My Way...
Today, 07:47 PM in The Songs