Recordings made with D’Aquisto acoustic archtops

[DLQ]

Hi all,

I came to find just now that Joe Pass’s Virtuoso I was a recording of his ES175 played unplugged, based on a studio mishap.

I had been under the impression for many years that that would have been a D’Aquisto and admittedly was not so in love with the sound itself.

It seems the story is true enough, but I then had trouble easily searching for any notable recordings made with a D’Aquisto acoustic archtop. Can anyone point me in the right direction?

Thanks!

[mr. beaumont]

The liner notes in my copy mention the mishap, was supposed to be a blend of electric and mic'd acoustic, but the electric signal was lost (for many tracks)

Here's That Rainy Day, from those sessions, has the electric signal, sounds beautiful.

As for the unamplified tracks, I think if it was a lesser player than Joe nobody would give them a second listen...but I understand some folks do like that sound. I'd say it's definitely an unamplified 175, with low action, not the D'Aquisto.

Virtuoso #4 is from the same sessions, I think...someone will know better than I...


I think this Jim Hall record was made with a D'Aquisto archtop, often double tracked (acoustic and electric signals for "self-duets")

[deacon Mark]

Joe's recording of the original Virtuoso recording was a mistake in the sound, and it was all done with his 175. I would have to say without almost any reservations that the sound of that whole album is my favorite solo jazz guitar sound.

Here I am a true lover of carved top guitars in the order of L5s and D'as. But let me say Joe made THE LANDMARK recording with this including the recording errors. The errors actually to my ears sound great. It all does not make sense, but Joe clearly proved one thing with the recording............He sure should have been in the top 250 greatest guitarist of all time. His name was not on the list.

Joe did like his Daquisto but said playing acoustically all the time things came out differently when he plugged it at the gig.

[Jimmy blue note]

James Emery from the String Trio of New York is the D'Aquisto sound to my ear. He always plays acoustically and the way he plays sounds as if he's really one with what that guitar can do. Nothing like it.

[RobbieAG]

I never knew that was recorded entirely on an ES-175. The 175 acoustically is not my favorite jazz guitar sound, but Here's that Rainy Day on that recording is very close to it. I do like a mix of electric and acoustic tone when recording an archtop.

[bluejaybill]

Joe's recording of the original Virtuoso recording was a mistake in the sound, and it was all done with his 175. I would have to say without almost any reservations that the sound of that whole album is my favorite solo jazz guitar sound.

Here I am a true lover of carved top guitars in the order of L5s and D'as. But let me say Joe made THE LANDMARK recording with this including the recording errors. The errors actually to my ears sound great. It all does not make sense, but Joe clearly proved one thing with the recording............He sure should have been in the top 250 greatest guitarist of all time. His name was not on the list.

Joe did like his Daquisto but said playing acoustically all the time things came out differently when he plugged it at the gig.

Interesting, I have always felt that the tone on that album was weak, while the playing was inspiring.

I just had a listen to "Here's That Rainy Day", and then compared it to the track right before it, "Stella by Starlight". The former is a gorgeous tone with the two mixed. The latter, just the acoustic sound, not my fave.

I remember when I wore the grooves out on that record just the same! Phenomenal playing.

[Doctor Jeff]

We all have heard that 175 unplugged story. However…if you have ever mic’ed a 175, you will know there’s no volume. I mean, you have to turn the gain up to 10 to get any volume.

So I am skeptical. I am willing to believe a studio “accident”, but doing an actual recording with mic’ing a laminate guitar like the 175? I don’t know.

I still like the sound, like all his sounds really. To me there’s an organic quality I really dig.

[grahambop]

We’ve been over this before. Here’s my 175 recorded acoustically and played fingerstyle (this was done to test the idea on a previous thread about Virtuoso).

I didn’t need to turn the recording level to excessive levels, I just put the mic fairly near the f-hole below the bridge.

[wintermoon]

We all have heard that 175 unplugged story. However…if you have ever mic’ed a 175, you will know there’s no volume. I mean, you have to turn the gain up to 10 to get any volume.

So I am skeptical. I am willing to believe a studio “accident”, but doing an actual recording with mic’ing a laminate guitar like the 175? I don’t know.

I still like the sound, like all his sounds really. To me there’s an organic quality I really dig.

Granted you won't mistake a 175 for a Stromberg Master 400 but any decent one has more than enough volume to be recorded acoustically, especially solo.

[nyc chaz]

Joe's recording of the original Virtuoso recording was a mistake in the sound, and it was all done with his 175. I would have to say without almost any reservations that the sound of that whole album is my favorite solo jazz guitar sound.

Here I am a true lover of carved top guitars in the order of L5s and D'as. But let me say Joe made THE LANDMARK recording with this including the recording errors. The errors actually to my ears sound great. It all does not make sense, but Joe clearly proved one thing with the recording............He sure should have been in the top 250 greatest guitarist of all time. His name was not on the list.

Joe did like his Daquisto but said playing acoustically all the time things came out differently when he plugged it at the gig.

For me all those greatest lists are useless and obviously totally subjective.What is the criteria used,best technique,creating a style,most influential etc.I totally loved Hendrix and still do but let's face it,Pass could play rings around Hendrix who was picked at one.Rock guitarist's are always going to get more attention than any jazz or classical guitarist because rock is more easily understood and accesible.

[D'Aquisto Fan]

Hi all,

I came to find just now that Joe Pass’s Virtuoso I was a recording of his ES175 played unplugged, based on a studio mishap.

I had been under the impression for many years that that would have been a D’Aquisto and admittedly was not so in love with the sound itself.

It seems the story is true enough, but I then had trouble easily searching for any notable recordings made with a D’Aquisto acoustic archtop. Can anyone point me in the right direction?

Thanks!

This is just a recording from an iPhone, but you can hear two D'Aquistos played acoustically in real time.

[floatingpickup]

This is just a recording from an iPhone, but you can hear two D'Aquistos played acoustically in real time.

Those guitars sound amazing!
Keith

[Cunamara]

Are they actual D'Aquistos or D'A branded Arias?

Fun trip down the rabbit hole...

Here's Jim Hall playing an acoustic late-era D'Aquisto on some cuts:

Mel Bay's D'A

The Chinery blue Centura:

Same guitar, different hands:

and contrasted with a Hollenbeck:

we seem to be living in a golden age of arch top guitar videos!

[D'Aquisto Fan]

Are they actual D'Aquistos or D'A branded Arias?

Fun trip down the rabbit hole...

Here's Jim Hall playing an acoustic late-era D'Aquisto on some cuts:

Mel Bay's D'A

The Chinery blue Centura:

Same guitar, different hands:

and contrasted with a Hollenbeck:

we seem to be living in a golden age of arch top guitar videos!

In the video I linked those are real D'Aquistos.

[JazzNote]

I think this Jim Hall record was made with a D'Aquisto archtop, often double tracked (acoustic and electric signals for "self-duets")

Would anyone know what amp Jim Hall used for the recording?

[m_d]

For me all those greatest lists are useless and obviously totally subjective.What is the criteria used,best technique,creating a style,most influential etc.I totally loved Hendrix and still do but let's face it,Pass could play rings around Hendrix who was picked at one.Rock guitarist's are always going to get more attention than any jazz or classical guitarist because rock is more easily understood and accesible.

Yeah if it's the typical Guitar magazine or Rolling Stone best of list it's pretty much meaningless agit-prop drivel.

[RobbieAG]

We’ve been over this before. Here’s my 175 recorded acoustically and played fingerstyle (this was done to test the idea on a previous thread about Virtuoso).

I didn’t need to turn the recording level to excessive levels, I just put the mic fairly near the f-hole below the bridge.

It sounds really good and great playing! Just curious, what kind of strings were you using when you recorded that?

[FourOnSix]

It's my understanding this album was recorded with an 18" D'Aquisto

https://www.youtube.com/watch?v=cv2J85CmW20

[grahambop]

It sounds really good and great playing! Just curious, what kind of strings were you using when you recorded that?

Thanks! The strings were D’Addario .012 chromes (flatwound).

Incidentally around the same time I recorded this with a similar setup, but playing with a pick.

[Esport]

The liner notes in my copy mention the mishap, was supposed to be a blend of electric and mic'd acoustic, but the electric signal was lost (for many tracks)

Here's That Rainy Day, from those sessions, has the electric signal, sounds beautiful.

As for the unamplified tracks, I think if it was a lesser player than Joe nobody would give them a second listen...but I understand some folks do like that sound. I'd say it's definitely an unamplified 175, with low action, not the D'Aquisto.

Virtuoso #4 is from the same sessions, I think...someone will know better than I...


I think this Jim Hall record was made with a D'Aquisto archtop, often double tracked (acoustic and electric signals for "self-duets")

Not to diminish the OP and his topic…but this track is beyond beautiful. What a sound to behold, in regards to the song, the instrument and the delivery. Mesmerizing.

[mrwoland]

Hi!
I've just released a full acoustic album with the D'Aquisto Blue Centura.
Only two mics.

you can download the full album here: fabiomittino.com/music

Here's some videos:

[daveg]

I think this Jim Hall record was made with a D'Aquisto archtop, often double tracked (acoustic and electric signals for "self-duets")

It is likely that Jim Hall used two D'Aquisto guitars on this album. The electric sounds are coming from his late 70's D'Aquisto New Yorker Special and the acoustic sounds are coming from his late 80's D'Aquisto Avant Garde Cutaway (fully acoustic).

https://blog.metmuseum.org/guitarher...de-model-1989/

DG

[daveg]

Martin Taylor plays a number of D'Aquisto guitars (from the Chinery Collection) on this CD:

Masterpiece Guitars: Amazon.co.uk: CDs & Vinyl

DG

[daveg]

Joe Pass on his D'Aquisto (not acoustic).

DG

[D'Aquisto Fan]

It is likely that Jim Hall used two D'Aquisto guitars on this album. The electric sounds are coming from his late 70's D'Aquisto New Yorker Special and the acoustic sounds are coming from his late 80's D'Aquisto Avant Garde Cutaway (fully acoustic).

https://blog.metmuseum.org/guitarher...de-model-1989/

DG

I imagine the electric sound from Jim is his 1985 D'Q laminate that he is most associated with in regards to Jimmy's guitars. Yes, the acoustic is his 17" Avant Garde. Beautiful sounds. Beautiful playing.