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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.
What was that piece inspired by a North African...
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