[Richard Mott]

Hi Tom—Just a few thoughts. While I have come to prefer archtops for their greater projection, speed of response, and cross-string clarity, I recognize that other guitar designs are surely better for certain types of music—a D-18 may always be preferable for bluegrass if for no other reason than history, likewise Selmer-Maccaferri-style guitars for gypsy jazz, etc. One additional point favoring archtops is that they are often more successful 12-key instruments, with fewer major resonances around D and G than are built into many flattops.

In terms of the ubiquity of the violin tailpiece, that is pretty much requisite in ANY arched instrument design, whether a guitar, a mandolin, or any of the bowed instruments like violas or double basses—where the strings are anchored to the bottom of the instrument and press down on the bridge to move the top. As I mentioned in my earlier post, the flattop vibrates the top by pulling on the bridge and bridge plate they are attached to.

In terms of the preferability of design, the one objective aspect that favors archtops is top weight. Because the arch itself increases the stiffness and strength of the top, it is possible to get by with relatively minimal internal bracing. Compared to a more fully braced flattop, an archtop design thereby yields a greater stiffness-to-weight ratio in the top, which is something luthiers typically strive for. It often results in greater volume.

I think there is no question that successful flattops are easier and quicker to build. They are also initially easier to play in many respects than archtops, so are a more welcoming point of entry for beginning players, who thereafter stick with them. Luthiers I have spoken with say that archtops can take them anywhere from twice to up to five times as long to build. That is reflected in their price, which is probably another barrier to entry; to the extent that players can’t afford to buy them, builders can’t afford to make them.

The result of all this is that archtop building is a much rarer activity than flattops. There are scores of absolutely top-flight flattops being built today—from old hands like Jeff Traugott and Ed Claxton, to new names like Tom Sands and Isaac Jang. Arguably some of the best instruments ever made are being built today, and in growing numbers.

There are truly great archtops being made too, by the likes of John Monteleone, Cristian Mirabella, Linda Manzer, Theo Scharpach, Steve Gilchrist and others—but their collective output might be around 20-30 or so instruments a year, ranging in price from around $20K up to well into six figures.

Though I have not heard or played their instruments, well regarded builders like Andrew Mowry out in Oregon, Jim Triggs in Tennessee, Lawrence Smart (of mandolin fame) make great looking archtops for very reasonable prices. Eastman reportedly has some real values. Another route to go for value is the used instrument market, some of the Epiphones built in the 1940s get rave reviews and are very affordable.

Hope this helps!