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03-22-2024 03:13 PM
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That is a beautiful guitar for sure. I don't know what a new one would cost but my guess is about the same or close. So again you don't need to get on the list buy this one now and play it right? I think Campy's used have gone up in price too and that is a reflection of the great work Mark C does.
Originally Posted by northernbreed
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For an almost-ten-year-old guitar, it looks like the owner hardly played it.
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29, right? Originally Posted by Ukena
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Arithmetic, 100%. I swear.
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I have not played a Campellone and wondering if the floating pickup on here will resemble or match my LeGrand. Not opposed to floating pickup tone, and still coming around to it, but maybe best to wait it out for a set pickup, as someone else mentioned in a different Campellone thread? Originally Posted by deacon Mark
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Mark currently charges $7,995 for a new, similarly configured Campellone Special. Wildwood is asking for $7,499 for theirs, which is 29 years old, in superb condition, has an extra pickguard, a fancier case, and no waiting time. Probably on consignment, probably some wiggle room. Mark's 79th archtop guitar. Originally Posted by deacon Mark
Last edited by Hammertone; 03-23-2024 at 03:36 AM.
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Yes, it is on consignment, I learned yesterday. Originally Posted by Hammertone
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Is there any reason that a new one would be less desireable than the used? Are the woods different in quality? Have his skills changed?
I would like to think he's learned some elite skills in the last three decades, that his wood sourcing is as good or better.
The older one may have "opened up". But some would prefer to do that themselves.
Thoughts?
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I would buy this one and order another two of different tone woods. Originally Posted by Marty Grass
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Marty, I can't. There are reasons it makes more sense. One, it's characteristics are measurable. With a new one, there are some risks one takes of the unknown. Regardless of the build quality, and all of the controlled factors, the guitar has it's own voice. Most of us know that. I'd take Hammertone's advice. I expect there's wiggle room on the price. The best scenario would be having a chance to play and hear it, or having some 'boots on the ground' to do the same. But if I were wanting one of these, I wouldn't hesitate. But, I also don't want to discount the thrill of the build. It's pretty exciting. Originally Posted by Marty Grass
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Bill Barker always said that if someone found a used Barker guitar and they liked the sound then they should buy that guitar. Barker said there is no guarantee that a new Barker will sound better. It might as he said by why take the chance. There are many reasons for this besides just the builder is better at what they do. The first being that sound cannot be quantified and the player might not like the particular tone of the new guitar. I love the sound of my 1998 Campy Deluxe 18 inch. I believe Mark C could easily build a better sounding guitar, but I also don't think the difference would be like " Night and Day." pun intended. Plus I really like the sound of this one, I played yesterday most of the day. Priceless is the thought when playing.
Mark C was making great guitars then and this one already built has an advantage of already aging. It would be completely nutty to not buy and used Campellone if you wanted one now. The waiting list is long and the price to wait is time. If a person buys this Campy and plays it for 2 years before they could ever hope to get a new one. Then I would say easily 2 years of play a great guitar now is worth some coins. How much? You have to determine but my guess is at least $250 a year.
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I'd take this over a new Special. You can't beat time and 29 years of maturing in the cask. Old Snakeskin case? Oh, hold me back from this beauty. Mark's skills were fully formed by number 79. Most luthiers consider their number 50 as the milestone from journeyman to master. I don't think Mark is building them any differently today.
Mark hasn't raised his prices drastically over the years. In other words, the current prices of new Campellones put a cap on used prices. If Mark raised the Special to $10K, this one would be asking for $9495.
I have no more room for one more or I'll be all over it. Should I trade my 2012 LeGrand in for it?
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That case is to die for. Definitely requires a case cover. (Maybe a clear one made out of heavy duty rain bonnet plastic.
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Don't forget, just because a guitar is older it might have no advantage over a new one from a sonic perspective if it's just been sitting unplayed in its admittedly cool case. Some builders feel the first few years after a guitar is built are critical to its long term sound, Jimmy D'Aquisto among them, and playing them hard and heavy in that time can help them reach their best potential tone.
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If I were you I'd get the used one if you like it. The point I've never fully learned is to keep playing the guitar. After a while it will change or you will, but it will work out. Unless you have GAS!
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It's almost the same price as this Johnny Smith from Archtop. 1981 Gibson Johnny Smith (archtop.com) Be interesting to try them side by side. I'd love to own a guitar of this type at some point. Admittedly I'd pay a bit more if I liked the Gibson playability and sound more
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I would almost guarantee that the GJS isn’t nearly on the level of the Campellone as an acoustic instrument. Beyond many of the 1960s ones GJS are rarely very good acoustic instruments in my experience. I’m sure there are some exceptions, but they are unusual. Originally Posted by callouscallus
Sent from my iPhone using Tapatalk
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I'd like to think that there would be a difference between a guitar built by a team of people, each having a different role, versus a master craftsman who routinely does the whole job. In the former, there is someone over production efficiency. In the latter, the builder has his name on the headstock.
That overall difference probably is lost on me. Although I've owned a couple of Aaron Cowles's Unity guitars. In those, I did notice a difference.
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I have both. My Campellone Special was built to the same specs as the GJS (same scale/nut width and body dimensions). They are both lovely guitars and, acoustically, I would say my GJS can hold its own with my Campellone. I had another Campellone that was the regular L5 size and it was probably a little better acoustically, so I believe the slightly smaller body of a GJS has an impact on acoustic tone and volume. Originally Posted by ThatRhythmMan
Keith
Last edited by floatingpickup; 03-25-2024 at 04:13 PM.
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"set" pickup. Originally Posted by tomvwash
They don't sound much different. I had one (mounted pickup), and it had about 90% of the acoustic floating pickup sound even with a mounted hum-bucking pickup. Of course the top mounted pickup IS different, in that it has a more "even" sounds across all strings.
But, mine still had an acoustic archtop sound.
Comparing it your Le Grande seems difficult unless somebody had a recording of them both.
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My Campellone has a set full size humbucker and is still essentially an acoustic archtop (unlike my L-5CES and L-5 Wesmo which are electric guitars first and foremost). Originally Posted by PDeville
That said my Heritage built D'Angelico replica has a floating pickup and plugged in sounds just as fat and balanced as the Campellone. Each guitar must be evaluated on it's own merits. As should each pickup.
I was glad to read Keith's post about his Gibson Johnny Smith being a fine guitar acoustically. I have played about a dozen of them, including a 1963 model and none was loud enough to meet my standards for an acoustic guitar. That said, they all sounded great plugged in. It sounds like I have never played a great one. As I said, each guitar must be evaluated on it's own merits.
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I have played many GJS guitars including Johnny's personal one he had when I visited him in 1979 at his store. He was never looking for a loud archtop but one that had nice sustained highs in the treble. Hence the neck joint goes right on top the guitar different than an L5. While I have played many GJS none have ever been what I call loud, but some have had a very nice smooth even tone. That is important depending on what you play.
If you are looking for more volume and output, then an L5 usually is a winner. The one exception is my Heritage Johnny Smith from 2001 is very loud and can hold it own with many 18 inch guitars. I believe Heritage simply carved a better acoustic responding guitar. It still is not carved to sound like and L5. My 2003 L5c is a bit louder in all directions.
Not a comparison since it is an 18-inch guitar but my 1998 18 Campy far exceeds the power of either the L5c and the HJS. I played a Heritage Golden Eagle with a built in pickup just like Wes and it was far more an acoustic guitar than a Gibson Wes. I think though if someone wanted Mark C to carve them a built in 17 inch to be like an electric Wes L5 he would do the job like no one else. My guess is he would beef the top up and then using a 57 classic you would have possibly the finest version of a Gibson Wes L5.
Someone wanting a Campy better pull the trigger I believe this guitar will sell within a week.
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One situation where I wish I could be in the shop to hear the Campellone on my own, so tempting. Bruce at Wildwood was nice enough to offer a sound evaluation after I referenced the nice lower end, rich tone on my LeGrand for comparison, however vague, just not there, according to Bruce. Probably a no go for me in general with floating pickup tone, outside of the LeGrand at least. Originally Posted by PDeville
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Yes, it does depend on the particular instrument. And what one honestly likes. All the archtops you mention sure look nice! Originally Posted by Stringswinger
Buying used seems the best way to get one. With a return policy, of course.
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