1936 D'Angelico Excel

[omphalopsychos]

I don't want to call this a NGD because I actually got this guitar in the middle of last year. Also I've shared some clips of this guitar on the forum already. But I was messing around with a tune and felt like recording. Here's a little bit of "It could happen to you".

I guess I should say a bit about the guitar. I mean I can't really say anything - it's a f*ing DAngelico. So here's some incoherent rambling. I've been working a lot on getting a sound that's acoustic and electric, but not in a delicate way. Like I really don't want to think about if it's plugged in or not because I want a powerful sound with a strong fundamental. If you have heard Oscar Moore's playing on an acoustic (check out the "Hittin the ramp" compilation if you havent), you'll notice that he played his acoustic and his electric the exact same way: heavy attack, snappy comping, fast lines. I know that a lot of people believe that you have to choose between an acoustic or electric guitar, but I don't buy the dichotomy. This pickup balances perfectly with bronze strings and there's no pickup mounted directly to the top to compromise the acoustic tone or volume. The first chord in the clip illustrates what I'm talking about; you cannot get that snap on an ES 175 or even an L5-CES. Anyway, I hope my recording and my playing can do some justice to what I'm talking about.

[zephyrregent]

Congratulations! Nice full tone. You must like those FHC pickups! I'm enjoying the one on the Trenier. Oscar Moore was under-recognized. His chords were modern and his playing was like a bridge between swing and bebop.

[Stringswinger]

I have played this 36 Excel and can report that it is as good as an acoustic guitar gets. Online videos do not equal hearing this masterpiece in person.

Here is a picture of my 35 Excel along with this 36 Excel:

[Doug B]

What brand of pickup are you using? It's a good match for the guitar.

Doug

[Gitterbug]

Congratulations! Nice full tone. You must like those FHM pickups! I'm enjoying the one on the Trenier. Oscar Moore was under-recognized. His chords were modern and his playing was like a bridge between swing and bebop.

Oscar Moore's work with the Nat King Cole Trio is great. In a way, he was also a bridge between Django and Charlie Christian. A lot of bright, percussive comping in the high register in a piano trio doesn't sound like a good proposition but it worked. I understand Oscar Moore returned to bricklaying. Blame it on the pianist's velvety throat?

[RJVB]

Nice!

[The first chord in the clip illustrates what I'm talking about; you cannot get that snap on an ES 175 or even an L5-CES.

I see what you mean, but is there even an electric signal mixed in here? I don't hear it listening over my small laptop's speakers; maybe you just use it to "fleshen out" the acoustic tone?

Are those bronze or brass-wound strings?

It must be clear I'm new to electric playing but playing around with a simultaneous mic + PU recording yesterday I was surprised by the longer sustain in the electric channel. I understand why, but it still surprised me.

[skykomishone]

O, that's nice. I'm very much into the acoustic archtops with floaters, and it's something about getting that balance between the two for sure. I've tried all sorts of strings, at first digging deep into bronze and combinations, but I finally drifted back to TIs. I just like the way they feel and register.
That guitar is wonderful and sounds great to my ear.
Thanks.

[Stringswinger]

In my view, there are 4 distinct archtop guitar sounds, to wit:

Purely acoustic archtop (amplified only by a microphone or piezo pickup)
Amplified acoustic archtop with magnetic pickup floater
Electric archtop with carved woods
Electric archtop with laminated woods

I like having all 4 of those sounds at my disposal. Oomph is quite correct that one cannot achieve the sound he is looking for with an ES-175 or L-5CES. As always, it helps to have the right tool for the job.

[omphalopsychos]

What brand of pickup are you using? It's a good match for the guitar.

Doug

DeArmond Guitar Mic from 1953. The best pickup in existence, IMO.

Nice!



I see what you mean, but is there even an electric signal mixed in here? I don't hear it listening over my small laptop's speakers; maybe you just use it to "fleshen out" the acoustic tone?

Are those bronze or brass-wound strings?

It must be clear I'm new to electric playing but playing around with a simultaneous mic + PU recording yesterday I was surprised by the longer sustain in the electric channel. I understand why, but it still surprised me.

I think people might just not be used to the sound. I don't try to close-mic the amp and blend the sound. Instead I try to mic room and instruments together trying to achieve the closest sound to what I naturally hear. The recording is just at my usual practice volume, but it goes to show how loud that guitar is. Even when playing with a drummer, I have still gotten that acoustic sound coming through and that's the whole point for me. The strings are 80/20, which are technically brass, but most people refer to both 80/20 and PB as "bronze".

In my view, there are 4 distinct archtop guitar sounds, to wit:

Purely acoustic archtop (amplified only by a microphone or piezo pickup)
Amplified acoustic archtop with magnetic pickup floater
Electric archtop with carved woods
Electric archtop with laminated woods

I like having all 4 of those sounds at my disposal. Oomph is quite correct that one cannot achieve the sound he is looking for with an ES-175 or L-5CES. As always, it helps to have the right tool for the job.

You know, I agree with the classification, but I also think technique affects the sound a lot, vs just the tool. For example, Oscar Moore got his sound from fixed pickup guitars but he had a very acoustic quality. Charlie Christian also but less so. There are also examples of payers who had floating setups but didn't have an acoustic tone. For example, Johnny Smith and Kenny Burrell (even Grant green after he upgraded from his 330), all played acoustic archtops with floating pickups, but they are all associated with an electric tone. It ultimately comes down to right hand technique in addition to the tool. Among contemporary players I can think of a few who have an attack strong enough to bring the acoustic tone through even when amplified and playing with a band.