Huge carved-top guitars and modern jazz

[guavajelly]

Cologne fellow guitar player David Plate plays a Super 400 exclusively – he's a tall guy – here's what he said about it in an interview with archtop-germany (translated with DeepL):

My musical taste developed more and more in the direction of jazz, so when I was about 18 or 19 years old I bought a Gibson ES 175 built in 1950. A short time later I bought a Borys Jazz Solid, which, although different in construction, sounded very "archtop". Around 1997 I bought my dream guitar: a Gibson Super 400 built in 1981, which I still play.


What is the importance of archtops in your overall public guitar playing?


A very high one. There are seldom gigs where the Super 400 is not present, in fact most of the time it is the only guitar I take to the concert.


Which archtops do you own?


In the meantime I only own the Super 400, because I appreciate the playability, the sound and the different musical applications of the guitar.


Yes, as far as I know, the distorted and wah-wah sounds on your CD "The Perception", which we will talk about later, were also created on your S400. Right?


Yes, on the first two tracks ("I won't cry" and "Verdades de los sueños") those sounds were created with the S400. Many distortion sounds only start to sound good at a certain volume. When I played the ES175 there were often problems with feedbacks. With the S400, the top can't vibrate quite as much because of the two built-in pickups and the robust bracing, so it's quite feedback-proof. I like this sound very much, because I find it combines the bite of a solidbody and the soft, noble of an archtop guitar together.

What strings do you play on it?


Thomastik Swing Series, Flat Wound .012, occasionally an unpolished low E string.


The unpolished E string thing is pretty unusual. How did you come up with that?


That was a coincidence! I once found an unpolished low E-string in a set of Thomastik strings, which must have been put there by mistake (?). I immediately liked the sound and assumed that changing the set was a brilliant idea by Thomastik. However, when I asked at the music store where I bought the strings, I was told that this string was not officially part of the set. At that time I played a lot in duo, especially with a singer. Many "funky" grooves were part of the program and they sounded much more defined with the unpolished string due to the crisper attack. In lineups where the guitar often takes over the bass function, I now really appreciate this sound. I will definitely try an unpolished A-string, but for the other strings I prefer the softer flat sound.


What amp do you prefer for your sound in live performance?


Polytone Mini Brute II and Fender Blues de Ville each with an additional 1x 12" cabinet from Vintage Amp. Or directly into the mixer , through a Mesa Boogie 2x 50W tube power amp into two 1x 12" Vintage Amp cabinets.


How do you like to take your S400 down for recording in the studio?


I play through the Fender Blues de Ville and use a small condenser micro (e.g. AKG C-1000) to pick up the 1x12" inch cabinet. If necessary, a dynamic mic is also used.


What's the best archtop you've ever had in your hands?


I found my dream guitar with my S400, but I also once had a fantastic L5 Bj. 1939 in my hands. I also played on two D'Angelicos once, they weren't to be scoffed at either.


You are as convinced of your S400 as I am of mine. What is so special about it?


The fantastic playability and the sound. Maybe it's the history of the owner. As far as I know, Karl Ratzer was the first owner, Helmut Kagerer bought it from him and I have owned it for eight years. I can well imagine that the guitar is simply very well "played in". And that although it was not always treated very carefully. For example, to prevent the bridge from slipping, a small hole was drilled through the beautiful ebony and the top and a match was inserted to fix it! Yes does one do such a thing?


At first glance, the guitar is often estimated to be much older, yet it is vintage 1981. Since I own the guitar, I have actually stopped touring the stores to find a suitable guitar. Since I am quite tall, it is also much more comfortable for me to play such a big guitar (at least while sitting). Other S400 guitars I've played so far usually had some little thing that I liked better about my copy. Of course, it's also conceivable that you could get even more out of other guitars by adjusting the string action properly, for example, or by fitting them with your personal favorite strings. Who knows, maybe for such a simple reason one or the other dream guitar has already "passed you by"...

[gitman]

THIS could very well be just what you're looking for :


Gardiner Houlgate | The Guitar Auction - Four Day Sale Including Guitars, Artist Associate... | Lot 230

[gitman]

This was me many years ago with my '62 Super400CN - long gone but not forgotten... it played great, has a superb sound at LOW volume but alas I could not afford keeping it just for my private entertainment. My current '62 Super400CES is a keeper and for me the holy grail for the classic jazz tones I love and grew up with. On stage it kicks butt and behaves !

[CliffR]

@gitman - that sounds fantastic! Do you mind telling me what kind of strings you're using?

[jaco]

I've played Larry's Super 400 during a lesson at his place. It was amazing...

[gitman]

@gitman - that sounds fantastic! Do you mind telling me what kind of strings you're using?

It was set up with Thomastik medium flats with an 013/017 on top - that is what I use on my electric Super and the Ibanez GB15 as well.
The Trenier is strung with medium D'Addario Halfrounds - these make for a slightly more brilliant tone when I need it while still being very comfortable
and "thumpy" enough.

[CliffR]

It was set up with Thomastik medium flats with an 013/017 on top - that is what I use on my electric Super and the Ibanez GB15 as well.
The Trenier is strung with medium D'Addario Halfrounds - these make for a slightly more brilliant tone when I need it while still being very comfortable
and "thumpy" enough.

Thanks! There was a bit more brightness than I was (ignorantly) expect from flat-wounds on such a big guitar. Very nice tone!

[guavajelly]

Flatwounds are not dull. They just sound more percussive and emphasize the root note.

[mr quick]

That's what I mean by dull, reduced overtone saturation. Dull as opposed to bright/lively. No negative intent behind the remark other than in it being the opposite of what I'm looking for right now. I keep my only hollowbody guitar permanently strung with tape wounds, the dullest strings I know of.

@gitman

Funny you should post that video. Very early on in my interest in jazz, I came across that video and it was my absolute grail for ages and ages. My teenage mind just could not comprehend how one could play guitar like that, let alone the absolutely magical tone. I can't say with absolute certainty that this video alone started my obsession with the Super 400, but it certainly played a major part.
Thanks.


edit:

I had another thought - How does body depth impact the feel of an instrument, aside from the ergonomics? Has anyone ever seen a small-medium bodied archtop guitar with an above-average depth?