#1
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Some lam tops are 'wow'.
I saw an unlabeled Japa on Reverb, its quality appearing to be far above the asking price of 120 US. I suspected a value of 500 t0 600. The headstock had a braz veneer as did the heel cap, the tieblock cap was decorative, and even though the the back did not have a center strip, and was likely laminate, it was attractively mirrored. Add to these the unremarkable, original tuners, and it was very likely that the guitar was an all laminate, bottom of the line model produced by a high level gakki. Whether it was solid top or not, at the asking price I was more than willing to accept a number of possibilities. When in hand, I was glad to see a straight neck and good frets. I replaced the chewed plastic nut and swapped in a bone saddle, but did notice how good it sounded with the shipped soft plastic saddle. Now it sounds on par with, and I even prefer it to, a Ryoji Matsuoka M20. Last thing I needed, another guitar.
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#2
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I have come across some pretty darn nice all lam guitars too. Generally it's the exception rather then the rule though. They all seem to be older ones too. Nothing from the 90's in all lam ever came out good I don't think and I never could understand why that's the case. A roomate of mine had the best all lam gutiar I ever played, it was his fathers bought it in the 60's. And I take that back, the odd thing about that guitar was that the sides were solid but the top and back were lam. THe laminates were what looked to be very high quality stuff. Not sure what the core was becasue the rosette went into the soundhole. SO maybe that has something to do with it IDK.
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#3
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Is strange, the solid sides. I don't know difinitively if lam tops develop as solid tops do, but was intrigued by a Japa dealer's description of a 70s lam topped dread (Thumb made by Terada) having sweetened as if it were a solid top, intrigued enough to buy it. Sonically it sits between a 4 yr old standard D28 and the current D18, and is a smoother guitar than other same-era Japa solid top dreads that I've heard (K. Yairi being one example), whilst retaining the treble clarity. I can't recall having heard any 90s lam tops, doesn't sound particularly promising. A 2006 Takamine EC132 lam top that I picked up has huge depth with good treble clarity, outstanding for a lam top, though, I did lighten the top by removing the drag of the pickup and wiring.
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#4
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I could see lam guitars aging as solid ones too but sort of in slow motion.
My guess is the guitar built with the solid sides was the work of an apprentice learning how to bend sides. But yeah otherwise it was unusual. THe guitar had no name or label but was purchased in Spain in the 60's. |
#5
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I bought a Silvertone dreadnought off Craigslist once for $35. For a plywood guitar it sounds pretty rich. Nice balanced sound, perfect neck angle, action just a tad over 2mm over the 12th fret on the bass side. Cheap serviceable tuners. Best of all...it came with a G7 capo! I got a nice hardshell case for $25. Best deal I ever found.
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#6
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Had a Silvertone nylon all-lam, a luthier was moving and it dropped into my hands. As I climbed the lam chain, it finally went on its way, but it was a respectable guitar.
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#7
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Some folk harp makers are now using an aircraft grade birch ply lam for soundboards. I recall that there may be four or five layers in 3mm of thickness.
I have a Merlin from Rubarth and love it. Harp soundboards have several strings pulling up and often have problems. Wonder what guitar makers are using the birch ply? |
#8
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I wonder of birch works just as well with guitar tops as it would for harp soundboards. I'm not aware of the Japanese using it for guitars. Maybe it works better with the harp's larger strings and soundbox.
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#9
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Quote:
The man that made my harp has reworked at least two of the large harps using aircraft grade birch ply. I like them. |