#16
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yeppers one piece neck. the sides are more of a curly maple though. tortoise inlay all around
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Don 1929 SS Stewart Pro Archtop 1921 G Houghton Archtop Banjo 2007 George Rizsanyi Custom Maple Banjo Killer 2017 James Malejczuk Custom OM Black Limba 1980 Norman B50-12 Norman B-20 Recording King single 0 1996 Takamine 1967 Yam G-130 Melvina 1980s Seagull S6 Cedar 2003 Briarwood 1970s Eko Maple 1982 Ovation 2020 Fender Telecaster Mandolin Yam THR5A Sienna 35 Kustom |
#17
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Quote:
I agree. Surely guitars with pickups screwed to the top, almost always have a fence-post under the top to reduce feedback and, therefore the acoustic resonance and so they are electric guitars. but, as far as floating pickups - ah, there's the rub!
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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! |
#18
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Quote:
i will concur on the subjectively of floating pickups... i have tried them, both pickguard types and even a simple "cling on" on the body (various spots), however not a huge fan personally (kinda like Master Ken there) the feel of the resonance of that 16" body against my body is the closest i will ever be to a "beethoven experience" that curved body melts into mine and i have an "out of body experience" while playing my 29. none of my other gits: 12 string/6 string steel or classicals have providing that experience to me. The simpliest 12 bar blues or open d runs/chords make me feel like im back in the dirty thirties..if only for a few minutes. thank you for all the entertainment and education you have provided to me Silly... respectfully in admiration of the stache man.
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Don 1929 SS Stewart Pro Archtop 1921 G Houghton Archtop Banjo 2007 George Rizsanyi Custom Maple Banjo Killer 2017 James Malejczuk Custom OM Black Limba 1980 Norman B50-12 Norman B-20 Recording King single 0 1996 Takamine 1967 Yam G-130 Melvina 1980s Seagull S6 Cedar 2003 Briarwood 1970s Eko Maple 1982 Ovation 2020 Fender Telecaster Mandolin Yam THR5A Sienna 35 Kustom |
#19
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Pickups, pots, their location, capacitors, wiring and jacks should not in my view be afterthoughts in my opinion. The same care that goes into the acoustic aspects of an instrument should go into the kit plugged in to an amplifier.
For example, I wanted wider string spacing (2-3/16”) on this 16” Buscarino Monarch so John used a Kent Armstrong blade pole piece floater on this guitar. The volume and tone pots are beneath the finger rest. On my 16” Comins Classic which has standard 2-1/16” string spacing, I have a Kent Armstrong hand wound floater with 12 adjustable height pole pieces. It also has a Barbera Soloist piezo transducer in the bridge. You can blend the magnetic and piezo signals using a stereo cable into a two channel amp with a two way speaker. Basically, this lets you share what you hear with who you are playing to. I usually keep it 80% magnetic, 20% piezo when using it. Lastly, just like with other electric instruments, sometimes you want the clearer timbre of a single coil. My 17” Trenier Artifex has a Kent Armstrong 6 adjustable pole piece single coul floater. None of these pickups impact the acoustic aspects of the instruments.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#20
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The acoustic property of an archtop always comes first in my search.
My Godin Jazz model has a floating pickup and the pick guard is also not attached to the soundboard.
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2003 Froggy Bottom H-12 Deluxe 2019 Cordoba C-12 Cedar 2016 Godin acoustic archtop 2011 Godin Jazz model archtop |