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Actually, "cool" is a good description of the sound of the smaller archtops I've heard (I think only examples by Maegan Wells, so a priori not the shabbiest). Then again archtops often sound like they lack warmth, and I have to assume that's more down to the player/recording than to variation among samples of the same model.
(I'm talking about the unplugged sound evidently.)
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04-14-2024 05:35 PM
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I think Mr Kleinhaut's new Ribbeke is a 15", and it sounds fantastic to me. All his posts in the last 4 months have it. Seems he likes it a lot!
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Attachment 110704
The two one-pickup sunburst ones are the most acoustic. They stay out on stands at home, the one with a floater gets played through a Fractal Audio Axe-FX III in our great room, the one with a set-in pickup through an Acoustic Image amp, currently a Series 1 Clarus SL-R into a Ten2 EX in our den. The red one does virtually all my big-band rehearsals, dances and outdoor gigs, and some indoor concerts ones too. The two-pickup pair do indoor concerts on a "what do I feel like playing tonight?" basis.
Yes, they are all the same size. These were a catalog item for Gibson ca 2002-2005 and appear in the 2004 Historic catalog, although they were likely made in the Custom Shop. The official designation is L-5CES Signature. The floater version adds "Lee Ritenour" to that name. The Lee Rit version continued to be offered for a number of years. It seems unlikely that Gibson made more than about 30 of the non-Rit version.
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Man! just when I thought I was over it! Great shots of the band,thanks for sharing
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I just read this in an interview with Kenny Burrell from a few years back...
Q: The Gibson Super 400 has been your trademark guitar for many years. When did you first begin playing one, and what attracted you?
KB: It was probably in the late 1960s. I’d been using a D’Angelico New Yorker, which was the same size as a Super 400 (18? body). I like that body size – and where my elbow rests.
Q: Earlier, you had a Gibson ES-175 and then a custom L-5 CES with a Florentine cutaway. That was years before the Florentine cutaway on the L-5 and Super 400. How did it come about?
KB: Gibson made me an L-5 with a deep cutaway in the late ’50s. They did it reluctantly. I played that guitar for a while, but it was too heavy. It had a much bigger block; they thought the body wouldn’t hold the neck with the deep cutaway otherwise. The 175 was too small and always felt clumsy; I couldn’t grab it comfortably with my arm. The Super 400 feels perfect for me.
Seems there's more to consider than just body size.
I'd like to play "Miles Runs the Voodoo...
Yesterday, 11:44 PM in The Songs