Vestax D'Angelico NYL-2

**vinnyv1k** · 05-30-2021, 12:28 PM

When they were making EER’s I bought one brand new for $600.00
A lot of guitar for that price.
Around the same time I bought a new VDA for $3200.
Also a lot for the money.

Bottom line the only time you can compare is when 2 guitars are of equal value.
Both were absolutely worth their price but cannot be compared.
Both winners in their price range but of course the VDA is a better guitar.

Bro the EER just needs all its electronics replaced with USA parts and it will vastly improve.
Remember the pu, jack, and pots are not high end. Actually the tuning pegs aren’t too bad on that guitar. That guitar has great potential. Just needs some upgrades.
Let your buddy Brian work his magic.

**pilotony** · 05-30-2021, 12:59 PM

WOW!

Gorgeous guitar Joe. It looks and plays (at least in your expert hands) beautifully.

I remember a Monday night guitar lesson about 1961 or so in a local storefront music school in Brooklyn. My teacher was Ernie Bracco, who was in his early twenties at the time and was wearing a tux and was playing his blond D'Angelico New Yorker through a Fender Tweed amp during the lesson.

Seems he had an engagement later that evening and was afraid to leave his guitar and amp in his car so he toted both into the store. He was also afraid of having me sit too close to him so, in an effort to avoid a guitar collision between my flattop Harmony and his New Yorker, he moved his chair further away from me.

Nervy kid that I was, I asked him how much he paid for the D'Angelico guitar and he said $550. He then told me about the guitar and amp (floating DeArmond pickup, fingerboard inlays, etc.)

From then on, I knew about the holy grail of archtops!

Play your beautiful guitar in good health my friend.

Tony D.

**deacon Mark** · 05-30-2021, 04:38 PM

Pilotony's story reminds me of mine. In 1979 I bought my Barker guitar used with the help of Bill Barker and Fred Rundquist. I went to pick it up and his house in Chicago and he showed me a few of his guitars. He took out an 18 inch Cutaway New Yorker that to me at age 17,was IT! From the moment I saw the guitar and him play it I wanted that guitar or dreamed of one just like it. Bill Barker always called it Fred's big New Yorker, as Barker liked 17 inch guitars for himself.

The long story short I took a few lessons from Fred over my years in college drove up to Chicago. In 1985 I had my first real job ( not a musician), and I called Fred and ask him if he would sell it to me I would pay him cash. To my surprise he said yes and I went to the bank had some money saved and borrowed what I needed to get the guitar. I feel blessed to be its caretaker these last 36 years. Even found the widow of he guy it the guitar was made for and I posted something on this awhile ago.

The interesting thing is when Vestax came out with the copy in the late 90's it struck me just how well they manage to pull it off. The Vestax has all the bases covered without being carved by someone of note and a huge price. The guitar just is meticulous in set up and detail. The binding, hardware, fingerboard, and bridge are all top of the line. Ebony for wood and well plated gold parts. The only thing is the top is solid formed and not carved as such but has excellent volume. The case is super nice and cool looking. Finally the price is really good.

Joe's in particular I like the red it just is very much a looker and gives a bit of the nod being red to Jimmy D'aquisto. Jimmy did some nice transparent red finishes. Joe has the touch playing and that really makes for the killer combination.

**Max405** · 05-30-2021, 07:21 PM

Originally Posted by citizenk74

Back when I was a ceramic artist, I learned that the Japanese had a tradition in all craft work that the areas inside or under an object that would never or seldom be seen were to be finished to a level equal to that of the outside, visible parts. Also, that a piece that would otherwise be perfect was designed to have one tiny flaw as human perfection was regarded as an offense against the gods.*
* Perhaps this underlies the aesthetic of Raku ware, where the "happy accidents" provide the uniqueness of the piece.

C74, I never know that. I’ve yet to find the hidden part you speak of. I somehow get the feeling that I’ll never find it!
JD

**Max405** · 05-30-2021, 07:24 PM

Originally Posted by vinnyv1k

When they were making EER’s I bought one brand new for $600.00
A lot of guitar for that price.
Around the same time I bought a new VDA for $3200.
Also a lot for the money.
Bottom line the only time you can compare is when 2 guitars are of equal value.
Both were absolutely worth their price but cannot be compared.
Both winners in their price range but of course the VDA is a better guitar.
Bro the EER just needs all its electronics replaced with USA parts and it will vastly improve.
Remember the pu, jack, and pots are not high end. Actually the tuning pegs aren’t too bad on that guitar. That guitar has great potential. Just needs some upgrades.
Let your buddy Brian work his magic.

All true, you are right bro. I think pots and a Handwound KA and Chromes might wake the EER up!
JD

**Max405** · 05-30-2021, 07:31 PM

Originally Posted by pilotony

WOW!
Gorgeous guitar Joe. It looks and plays (at least in your expert hands) beautifully.
I remember a Monday night guitar lesson about 1961 or so in a local storefront music school in Brooklyn. My teacher was Ernie Bracco, who was in his early twenties at the time and was wearing a tux and was playing his blond D'Angelico New Yorker through a Fender Tweed amp during the lesson.
Seems he had an engagement later that evening and was afraid to leave his guitar and amp in his car so he toted both into the store. He was also afraid of having me sit too close to him so, in an effort to avoid a guitar collision between my flattop Harmony and his New Yorker, he moved his chair further away from me.
Nervy kid that I was, I asked him how much he paid for the D'Angelico guitar and he said $550. He then told me about the guitar and amp (floating DeArmond pickup, fingerboard inlays, etc.)
From then on, I knew about the holy grail of archtops!
Play your beautiful guitar in good health my friend.
Tony D.

great story Tony. I love hearing stories about the good old days, especially when D’Angelicos are New Yorkers are involved!
Thank you Buddy,
Joe D

**Max405** · 05-30-2021, 07:36 PM

Originally Posted by deacon Mark

Pilotony's story reminds me of mine. In 1979 I bought my Barker guitar used with the help of Bill Barker and Fred Rundquist. I went to pick it up and his house in Chicago and he showed me a few of his guitars. He took out an 18 inch Cutaway New Yorker that to me at age 17,was IT! From the moment I saw the guitar and him play it I wanted that guitar or dreamed of one just like it. Bill Barker always called it Fred's big New Yorker, as Barker liked 17 inch guitars for himself.
The long story short I took a few lessons from Fred over my years in college drove up to Chicago. In 1985 I had my first real job ( not a musician), and I called Fred and ask him if he would sell it to me I would pay him cash. To my surprise he said yes and I went to the bank had some money saved and borrowed what I needed to get the guitar. I feel blessed to be its caretaker these last 36 years. Even found the widow of he guy it the guitar was made for and I posted something on this awhile ago.

The interesting thing is when Vestax came out with the copy in the late 90's it struck me just how well they manage to pull it off. They Vestax has all the bases covered without being carved by someone of note and a huge price. The guitar just is meticulous in set up and detail. The binding, hardware, fingerboard, and bridge are all top of the line. Ebony for wood and well plated gold parts. The only thing is the top is solid formed and not carved as such but has excellent volume. The case is super nice and cool looking. Finally the price is really good.
Joe's in particular I like the red it just is very much a looker and gives a bit of the nod being red to Jimmy D'aquisto. Jimmy did some nice transparent red finishes. Joe has the touch playing and that really makes for the killer combination.

Thank you Deacon. That is also a nice story. People who care for the widows of fellow musicians will always have a place in my heart.
The more I read your posts, the more I know, we really have a special one here. Thank you for joining into my threads. You bring some grace to the place!
We’re are lucky to have you Deacon.
JD

**Woody Sound** · 05-31-2021, 07:34 AM

Is that one of the 16", or 17" guitars? Can't quite tell.

**Max405** · 05-31-2021, 09:02 AM

My guitar measures;
17-1/2” lower bout
3” deep
25-1/2 scale
1-11/16 nut.

**jim777** · 06-01-2021, 03:17 PM

I had an NYL-2 back in '03 or so, bought it from Mandolin Bros. on Staten Island after playing every guitar in the archtop room. Honestly, I was, and largely still am an awful guitarist, but I thought it was the best guitar in the room, from it at $2200 to the ones they had that were 6 figures. I only sold it because I became afraid of screwing it up or scratching it

I guess in hindsight I never felt I deserved something so nice. It was spectacular though.

**Max405** · 06-01-2021, 04:18 PM

Great Story Jim777. And thank you for verifying what I have been learning.
Let me add to it.. I bought his guitar from John Reynolds. He was a manager at Mandolin Brother's and left a little bit before you bought your guitar there..
How Ironic is that!
I am glad you liked the NYL-2.
The more I play this one, the more I am convinced that I dont need anything else. Seriously.
JD

**citizenk74** · 06-01-2021, 04:28 PM

Joe, I was wondering if you could enlighten me on a couple details on that iconic tailpiece - my number one favorite - as to its thickness and manufacture. In my mind, I see it as perhaps 1/8 of an inch in the long part, and maybe 3/8 of an inch in the cross-bar and either cast or stamped. And do you know what the original D'A's were like in that regard? Thank you very much!

**jim777** · 06-01-2021, 04:31 PM

Originally Posted by Max405

Great Story Jim777. And thank you for verifying what I have been learning.
Let me add to it.. I bought his guitar from John Reynolds. He was a manager at Mandolin Brother's and left a little bit before you bought your guitar there..
How Ironic is that!
I am glad you liked the NYL-2.
The more I play this one, the more I am convinced that I don't need anything else. Seriously.
JD

I think it's VERY telling that a guy who managed Mandolin Brothers, which was literally coming down with every kind of archtop you could imagine, owned a VDA NYL-2.

I'm very happy for you, and thinking about possibly going down that road again myself!

**sgcim** · 06-01-2021, 04:39 PM

Originally Posted by pilotony

WOW!

Gorgeous guitar Joe. It looks and plays (at least in your expert hands) beautifully.

I remember a Monday night guitar lesson about 1961 or so in a local storefront music school in Brooklyn. My teacher was Ernie Bracco, who was in his early twenties at the time and was wearing a tux and was playing his blond D'Angelico New Yorker through a Fender Tweed amp during the lesson.

Seems he had an engagement later that evening and was afraid to leave his guitar and amp in his car so he toted both into the store. He was also afraid of having me sit too close to him so, in an effort to avoid a guitar collision between my flattop Harmony and his New Yorker, he moved his chair further away from me.

I met Ernie Bracco a long time ago on a club date at some catering hall. I couldn't believe it; he was playing his blonde D'A on the gig.
I talked with him on the break about my '35 D'A, and we bonded as members of the REAL D'A Club.
I think he had a day gig as a teacher in the city system, so he must be retired by now. Nice guy. i told him with a name like that, he should've been a cop!
Nervy kid that I was, I asked him how much he paid for the D'Angelico guitar and he said $550. He then told me about the guitar and amp (floating DeArmond pickup, fingerboard inlays, etc.)

From then on, I knew about the holy grail of archtops!

Play your beautiful guitar in good health my friend.

Tony D.

I met Ernie Bracco a long time ago on a club date at some catering hall. I couldn't believe it; he was playing his blonde D'A on the gig.
I talked with him on the break about my '35 D'A, and we bonded as members of the REAL D'A Club.
I think he had a day gig as a teacher in the city system, so he must be retired by now. Nice guy. i told him with a name like that, he should've been a cop!

**sgcim** · 06-01-2021, 05:01 PM

Originally Posted by Stringswinger

Interestingly, soon after the lawsuit against Vestax was filed two years ago (The complaint was linked in this thread in an earlier post), I stopped seeing new, Terada built D'Angelico's on EBay and Reverb. I wonder if they are still being made for the Japanese market? If not, these could become somewhat collectable.

My understanding is that the current D'Angelico guitar company builds their guitars in Korea and Indonesia (along with a few New York built handmade replicas). It is too bad that D'Angelico guitars of America went after Vestax instead of striking a deal (perhaps they tried, but to no avail?). My experience is that Japanese made archtops are in a different class than Korean made archtops. I have played some of the newer Indonesian D'Angelicos at Guitar center and I was seriously underwhelmed. If the Ferolitos (the owner of the DA brand) meet up with John D'Angelico in the hereafter, they should expect, at a minimum, a very stern lecture.

John was a very forgiving man, and true artist, who didn't bother with the small stuff.
Remember his immortal quote when in the hospital, and confronted with a similar situation regarding Gibson:
"Forget about them Jimmy; they're just whores!"

**Easy2grasp** · 06-01-2021, 05:19 PM

Originally Posted by Max405

Steve, I’ve never understood the whole fascination with Tele’s. And I am afraid to, because I will go get one!
Joe D

I never understood either until I got one of Walter Becker's '51 Tele clones. And listened to Ted Greene...

Sorry Joe, there is always another guitar as much as I try to deny it. You should get a Tele next so you understand.
Ted

**Greentone** · 06-01-2021, 10:21 PM

IIRC, NYL2 is 17" model. NYL4 is 18" model. Both have pressed, solid tops. NYL6 is carved top.

**steve burchfield** · 06-01-2021, 10:38 PM

I was luck enough to get to study with Ted Greene when I lived in LA in the mid-seventies. I only got to stay in LA about a year that time.So I wrote Ted and asked him how he got such a great jazz sound out of his teles. He replied and gave me the technical info I wanted and at the end of the letter he said " well if everything else fails I just hollow out my guitar and put Lenny Breau tapes in it" Ted was the kind of teacher who told me if you cant make your lesson just send one of your friends. Wonderful man!!!

**Max405** · 06-02-2021, 02:52 PM

Steve, Great post. Ted was one of the greats.
It sounds like he was as great a person as he was a player.
I really appreciate you sharing your experiences in my threads. Your experience just bumped up the "interest" quotient by a factor 10,000!!
Thank You, Joe D

**deacon Mark** · 06-02-2021, 03:24 PM

My NY 4 is 18 inches but in a bit I am going to measure again just to see if it is exactly 18. My real 49 is actually 18 1/4 inches.

I might add that my Vestax D'a with bronze strings and 13-54 is easily louder and better sounding than many acoustic carved tops I have played. I would have no trouble using it for a rhythm guitar as an acoustic in the right setting. My guess as to why this is would be that when the top is glued to the sides with CNC technology and precision it is perfect match with no stress. This allows the top to vibrate better but I will also add there are a few that believe a top glued with tension sounds better. The problem is experimenting to find would require considerable skills and be part of the manufacturing process for building.