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enjoy
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06-24-2023 07:48 AM
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Heralding the centennial of modern archtop? I'm a Benedetto admirer and owner of a Savannah Bravo #54 since 2008. Yet, all this bla-bla got me bored in no time at all. Maybe I should give it a new try in the morning, bright-eyed and bushy-tailed.
Last edited by Gitterbug; 06-26-2023 at 12:23 PM.
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Not exactly no, mostly just "oh, look, we found an excuse to build 4 instruments that almost no one will be able to afford", besides, indeed, a lot of blah blah.
Originally Posted by Gitterbug
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Let's face it, a large part of guitar discussions is blah, blah. It is how we bond.
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So right MG.
But the bottom line is to me..
There is NO instrument that sounds as Beautiful. Not even close. Maybe its the control we have over our Archtops. But I cant make that sound on anything else. As close to heaven as I've gotten. Yet..
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Interesting because I've seen many remarks on how they allow less control over tone (volume and quality/timbre) than classical guitars in particular. Of course that was usually claimed by classical guitar players... Originally Posted by Max405
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They look like fine instruments.
But even if I was ladened with coin, I would not trade my Campellone Special, L7, Steve Andersen for an even trade for the 60k Benedetto because it would not in fact be even close in the true value to me personally. But, I might pay cash should I be wealthy. And if I did, it's possible my guitar pleasure might be only marginally increased.
Anyone that has experienced true love knows what we're talking about here. It can't be measured in coin. Why do we love these guitars? We all have our reasons. And yet we lust after others. I'm guilty as hell on that, and despite my already owning fabulous guitars.
The fabulously successful wealthy syndicated 'Far Side' cartoonist owned I'm guessing a hundred archtops. Personally that would make me miserable.
And I can't speak for him.
But JD, I know what you're saying brother! You know it when it hits you. Love is like that.
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If there wasn’t the archtop guitar I would still be playing the clarinet.
The 1st time I heard an archtop it was George Benson and the tone floored me off my chair. I’ve been addicted ever since that day in 1972.
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$60 K and it's yours.
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Well, once upon a time, when I had not yet ever played a Benedetto, nor a M. Campellone, I happened to have the opportunity to do so.
I much preferred the M. Campellone that day many moons ago.
I finally summoned the courage to spend what now seems a paltry sum for a remarkable archtop and made a very good decision that I will never regret and bought my first Campellone.
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Isn't it safe to say that Benedetto build guitars that always sound like a Benedetto while Campellone builds guitars that always sound good?
I've never heard a Benedetto that sounds like an original L5 in any case.
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Benedetto doesn't try to make guitars that sound like an L5. The L5 is not the ideal for every player in the world.
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I know the futility of my question, but I’m asking anyway: can you describe the differences that you found that made your choice for you? Sonic? Feel? Looks? Other? Originally Posted by skykomishone
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Benedetto was, I think, inspired more by the Gibson Johnny Smith guitars than the L5. At least it sounds like it to me. And that is OK; the L5 sound is not my favorite jazz guitar tone. Johnny Smith on his D'Angelicos, Jim Hall on his ES-175, Ed Bickert on his Tele are my favorite jazz guitar sounds.
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I guess that's a good thing then Originally Posted by sgosnell
That's an easy and probably true thing to say if not only given how many different L5s there have been.The L5 is not the ideal for every player in the world.
Still, it's the anniversary of the L5, and making that about Benedetto is a bit lame IMHO.
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It was the lower string response and note articulation across and up the fretboard that got my attention. It was a more robust voice and I felt compelled to call back but I snoozed and loosed. Originally Posted by coyote-1
The Benedetto didn't ring my bell like that.
It was probably one of these..
1997 Campellone Special
1999 Campellone Deluxe
But I’m not sure.
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Benedetto makes a fine guitar I have played many of them from Bob's early to the latest stuff made in the factory. You are not going to go wrong however; I have my 18 inch Campellone Deluxe and it simply sounds better to me than any Benedetto. This is what my ear hears so has nothing to do with some competition of which one is better. I just know my 1998 Campy is truly wonderful to play. Equal in all respects to any guitar I have played. Obviously, some guitars might be louder, or necks feel better but overall, to me I won't find anything better. Remember Mark C was doing this in 1998. His neck and fret work are incredible.
In working at Hollenbeck's shop, I can tell you Bill did great neck work too, but I actually like the feeling of the Campellone neck slightly better than the Hollenbeck. The Hollenbeck does an edge in absolute acoustic power. We are splitting hairs but for myself the Benedetto just has never been something I sought.
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I gave the video a second try and realized it was the moderator's role that put me off. Personalities aside, the big question is: how on Earth could Gibson completely miss the 100th birthday of their own creation? The one that really raised them above the rest. The perfect date to re-introduce an archtop line. If mandolins were as popular today as guitars, Lloyd Loar's innovations would be doubly praised. Most companies have a history section on their website. Not Gibson. Les Paul, that's all.
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This is easily explained when a company is owned and managed by investment bankers rather than guitar enthusiasts. Originally Posted by Gitterbug
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One would imagine that investment bankers in particular would know that another few megabytes of server space devoted to company history would help drive sales. Originally Posted by Stringswinger
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So far, very little discussion about the first L5s that were made by the close of 1922 and were in the hands of Eddie Lang, Roy Smeck and many others. What happened ever since. How did Mother Maybell become so famous with that L5, what happend to the Groucho Marx L5, the advanced model in 1934, the 1947 fully reinstalled production. The Norlin period up until the final production models. Last year, I bought a brandnew 2022 L5CES in ebony (the one on the left). I was happy as a small kid until I noticed a terrible crack in the top. Lets talk the glorious Gibson L5 in all its appearences over that 100 years.
Last edited by hotpepper01; 07-05-2023 at 03:01 PM.
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When I think of the L5, I think of an instrument that changed the history of guitar music several times. Of course, the revolution in jazz playing by Eddie Lang. The revolution in country guitar playing by Maybelle Carter. And of course the playing of the L5CES with Wes. Not many instruments have that kind of history.
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Loving the revisionist history!
Last edited by Hammertone; 07-05-2023 at 06:25 PM.
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So the marketing department at Benedetto's was quicker to grab the opportunity .... THEIR target-market revolves solely around the archtop guitar whereas the Gibson guys know that market is miniscule compared to the market for solidbody "ROCK" guitars etc. Back in the day hollowbody guitars were all over the place and today they are almost nowhere to be seen or heard except in some obscure club.
The Benedetto "Fratello" that I owned some 20 years ago was a gorgeous instrument to behold, with stunning woods, workmanship, finish, it was all there - except the TONE . It did nothing for me and I tried HARD. The '63 L-5 CES that resides in my studio now is a well of inspiration.
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There is just nothing like a GOOD Gibson archtop. Originally Posted by gitman
So the marketing department at Benedetto's was quicker to grab the opportunity .... THEIR target-market revolves solely around the archtop guitar whereas the Gibson guys know that market is miniscule compared to the market for solidbody "ROCK" guitars etc. Back in the day hollowbody guitars were all over the place and today they are almost nowhere to be seen or heard except in some obscure club.
The Benedetto "Fratello" that I owned some 20 years ago was a gorgeous instrument to behold, with stunning woods, workmanship, finish, it was all there - except the TONE . It did nothing for me and I tried HARD. The '63 L-5 CES that resides in my studio now is a well of inspiration.
Tony
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