#1
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Being "Vintage"
Being " Vintage" does not always mean sounding better.read the study done on Strad`s vs new violins,you will be amazed...IMO,so before you drop 20K or more on that old L5,have a look and hear some of the top 5 builders of the archtop guitar`s...
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#2
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We reply a great deal on the age of woods ...Once they have been turned into an instrument.
Whilst there is much evidence to show that instruments that were made by hand by good luthiers, and which have been rigorously played over many years ....and survived can produce great tones, there is no reason to assume that a new instrument made by excellent luthiers, our of fine tone-woods, AND have had a relatively short period of rigorous playing might not also give great tonality. It is generally accepted that the spruce top wood, which has dried out and had saps crystalised etc., have a tendency to resonate better than a new piece, however, in the frenzied attempts to encourage the Baby boomers and younger, impatient buyers the "VTS" and torrification processes have been introduced to attempt to convince us that we can have brand new "old". It may work...I have no direct experience, but it does pre-suppose that these instruments will be made from less seasoned tonewoods whereas many old fashioned luthiers, may have been slowly air-drying their tone-wood stock over many years anyway. I remember Chris Martin saying (in my company) that when you buy a new Martin, that's the worst it'll ever sound. I wonder if that applies to torrified wood, and I wonder whether the middle aged buyers are worried.
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Silly Moustache, Just an old Limey acoustic guitarist, Dobrolist, mandolier and singer. I'm here to try to help and advise and I offer one to one lessons/meetings/mentoring via Zoom! |
#3
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I hadn't realised when I wrote the above, that this was in the Archtop category.
My apologies, however, I am the proud owner of a 1934 Gibson L4 in very good condition. It is most definitely a "rhythm box - harsh, incisive etc., but for more subtle playing the Eastman AR805 I had until recently was more open and responsive. Just my observation.
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Silly Moustache, Just an old Limey acoustic guitarist, Dobrolist, mandolier and singer. I'm here to try to help and advise and I offer one to one lessons/meetings/mentoring via Zoom! |
#4
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Good, a reason to own and play both old AND new guitars.
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#5
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Currently reading much by and about Ken Parker. I make archtop guitars, and his philosophy mirrors my own to some extent. His point is that most factory built archtop guitars had a significant shift in around 1935, when they became the basis of electric guitars. With few exceptions even the acoustic versions were heavy, thick tops, thick braces, and inelegant in design and execution. I've read that when a 1930's era gibson was opened for repair there was clear evidence that the internal graduation of the top was done with a big disc sander and that was it. Look at the bracing inside this 1936 L7: https://www.premierguitar.com/articl...d--s-gibson-l-
As a builder today, that is actually kind of offensive. I've seen, and emulate, the bracing inside a 1920's era L5. So different, light, fully shaped and graduated, around 5/16" wide by 1/2' tall and tapered to a graceful rounded triangular shape. My point would be that there is a vast difference between the most excellent vintage guitars, those built by Gibson in the Loar era, D'Angelico, Stromberg, some others, and the factory efforts of even the top names. You can't buy based on name, you have to buy based on sound. I would say that the best archtops ever made were made starting in the 1970's by luthiers, not by factories. I've never played a factory made guitar that sounded as good as a hand-made luthier produced instrument.
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Brian Evans Around 15 archtops, electrics, resonators, a lap steel, a uke, a mandolin, some I made, some I bought, some kinda showed up and wouldn't leave. Tatamagouche Nova Scotia. |
#6
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Campy
MC5,I have a Campellone built 16 years ago,deluxe cutaway burst no electronics,It has opened brilliantly,fit finish most perfect!,IMO Mark builds a wonderful instrument for a good price. I see some other builder`s with un real prices,I will stand by Mark.PS I having another Campy built 16" STD non cut,all blonde......Kayakman
Last edited by Kerbie; 03-04-2017 at 02:29 PM. Reason: Removed masked profanity |
#7
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I put a Campellone firmly in the "one of the best of all time" category, regardless of price. I had a pro player, who has worked for Gibson as a demonstrator and played many guitars, remark that mine was one of the best he had ever played. While I know it isn't more than an amateur effort the difference even between it and a current factory Gibson in sound is remarkable.
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Brian Evans Around 15 archtops, electrics, resonators, a lap steel, a uke, a mandolin, some I made, some I bought, some kinda showed up and wouldn't leave. Tatamagouche Nova Scotia. |
#8
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Quote:
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"You start off playing guitars to get girls & end up talking with middle-aged men about your fingernails" - Ed Gerhard |
#9
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I would put a great guitar built by a great luthier as just that - in my category of a hand made, luthier built instrument. I don't care what name is on the door of the shop. To me, that's not a factory instrument. I guess I have an idea that a "factory instrument" is built on an assembly line of some sort. Not one person doing the build, or most of the build. More of an impersonal approach.
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Brian Evans Around 15 archtops, electrics, resonators, a lap steel, a uke, a mandolin, some I made, some I bought, some kinda showed up and wouldn't leave. Tatamagouche Nova Scotia. |
#10
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Vintage vs new customs
Being a Dobro player primarily I have learned in the last 30+ years that a Vintage instrument will not sound like a Custom and a Custom won't sound like a Vintage. What you decide is "better" depends on how it is set up, and what the listener, you, and your audience, prefers. I lean toward the Vintage sound when it's set up right. Mine is a 1935 Model 37 mahogany. It's hard to beat a vintage sound. huckster
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