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#1
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Hello, I'm looking to enter the archtop world.
Wifey bought me a Harmony Stella for my birthday before the pandemic, and I've become addicted to the guitar, playing about 4 hours every day for the past 4 years, and now I'm overjoyed to be able to play many of the depression-era jazz standards I've sung to myself since I was a kid. (I've found that the greatest benefit of getting a guitar as a surprise gift is that I have the credence to be able to play it as much as I want!) What I really enjoy about this Stella is the 12-fret neck, quite comfy and un-intimidating for my rhythm accompaniment (and chugging along with jazz chords is all I really aspire to). I also enjoy the small size ... so easy to carry all over the house. It's quite beat up, though, rattles a lot, is quite ugly, and likely isn't doing any favors to the music. Seems like some sort of acoustic jazz box should be finding its way to me, and put to its intended use. I currently get some work as a phonograph DJ, playing 78rpm records on hand-cranked horn phonographs, so I have a network of old-jazz-style friends and bookers, and I'd like to take a crack at playing some guitar/vocal gigs instead of hauling all of these 78s around. ![]() I'm liking the open-hole L-4 because of the 11.5-fret neck, but, I'm also drawn to the very small bout of the L-3, and would only be increasing my fret count by one, in that case. The playing experience of the two, no doubt, is a bit different. So, conditions being somewhat equal of the two ... which of these would you prefer for my situation? I would be looking for as late and as good as possible. |
#2
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Hi, back in the mid '70s, I had a (1915) L-3 in almost perfet condition. Built like the Tower of London , and solid with a tonality unusual now.
It is very challenging to fond a differnce between those early 20th C Gibsons L-1,L3 etc,. but when played well which, sadly, they rarely are! Here's a very similr piece played by Michael Watts, who gets the "right" sound. https://youtu.be/fAMsldwdufA?list=RDfAMsldwdufA After all these years, I'd love to get that old L-3 back! Here's an L-4 played properly too : I have a 1934 (built) F-hole L-4 - of which, frankly, I am unworthy :
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Silly Moustache, Elderly singer, guitarist, dobrolist and mandolinist. I'm here to help and advise only By request, I offer one to one lessons/meetings/mentoring via Zoom! See: https://youtu.be/Pd5Lcd6MLSI https://www.youtube.com/user/SillyMoustache/videos Last edited by Silly Moustache; 07-05-2022 at 01:43 PM. |
#3
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#4
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And yes, Jonathan's "Cheek to Cheek" is exactly what my repertoire is all about. I should mention that I'm not expressly looking for a really expensive Gibson, it's just that I want as few frets as possible, and the old Gibsons seem to be the only archies that offer that. |
#5
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I had a 1936 L4 with a round hole and I found it to be fairly inferior to the F-hole version and I sold it. These round hole arch tops are sort of their own creature, some love 'em others not so much, but they are not the same in sound or internal construction as an F-hole Gibson.
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2003 Martin OM-42, K&K's 1932 National Style O, K&K's 2014 Gibson Roy Smeck Stage Deluxe Ltd, Custom Shop, K&K's 1957 Kay K-27 X-braced jumbo 1967 Gretsch 6120 Chet Atkins Nashville 2023 Octave 12 electric Mando-guitar 2005 Warmouth Telecaster, Lindy Fralin pickups 2010 Fender Jazz bass with Fender Precision neck (Frankenbass) Ear Trumpet Labs Edwina Tonedexter |
#6
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Just to bookend this post, I ended up with a Loar 700. I love the chirp and thunk, it's exactly the sound I wanted. Can't stop playing it. Still, though, I'm bothered by the 14 frets clear, as I'm carrying this guitar all around the outside and inside of my home. I have absolutely no use for the extra frets as a strictly rhythm guy, and still find myself looking at that 12-fret L-4, and/or wishing for a finely made modern f-hole 12-fret archtop (although, yeah, I get why it doesn't exist, as there are only 10 dudes on earth who want one).
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