#16
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Sage Runner |
#17
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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 |
#18
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My 1948’ Epiphone Broadway. I really love the darker Sunburst on this particular guitar. It Reminds me of my old 31’ L-5. My old L-5 had the real Pearl Block inlays too! Most EPI sunburst’s from this Era were lighter-with touch of orange/red tint. This guitar had a typical small hairline off the Base F hole that I cleated. Had to re-crown the frets a bit and did few other minor touch-ups. It’s super resonant and a wonderful player.
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Sage Runner |
#19
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I started looking at arch tops ten years ago or so. Not having a boatload of money, I started with an acoustic Fifth Avenue, moved to a Loar LH-700, and finally ;-) found a 1950 Epi Devon that is perfect. It’s a player, and has obviously been played a lot in its life, and needs some work (binding) but, even with its laminated back, it’s got “that sound.” Here’s a photo of it the day I bought it. The first thing I did was remove the Bartolini. I also made a bound pickguard for it.
Obviously it works for swing rhythm, but it is surprisingly good for ragtime, blues, and other forms, too. Steven Last edited by stevo58; 01-25-2022 at 10:46 AM. |
#20
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Right on Steven. Those old Devon’s are real nice. I had one for a short time in early 90’s. All those NY. low end Epi-A-tops are great guitars. Punchy percussive volume and attack. The Laminated backs I believe is what gives those guitars that qualify. A lot of those suffered with deteriorating bindings and P-guard but if a guy is willing to put little work/love into them it’s worth the effort.
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Sage Runner |
#21
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I'm a bit hesitant about replying in this thread, even though I have owned and played archtops. There's some lovely high-end models already shown here, and that's not me or my budget.
My second electric guitar (bought used in 1976) was a low-end mail-order-catalog maker (nothing on headstock when I got it) thinline pressed archtop hollowbody with a single chrome cover "speed bump" top-mounted electric pickup. Some years back I bought another used full depth acoustic (no pickup) catalog type guitar that had more damage/wear and also has no brand on the headstock. The first one is actually interesting plugged in sound-wise. I play around with the second one occasionally. One thing holds me back: I don't have much skill in the jazz comping school of guitar playing. Admire it, just don't have the knowledge to make up for my limited skills, and that's my read of what even these low-end guitars were aimed at. When I play "fake jazz" it's almost entirely single note work (the old "like a horn player" thing -- although again, think someone of lower skills and knowledge doing that). As Charlie Christian demonstrated, a pickup is a great aid to that. This century I've bought a couple of inexpensive full-depth, floating wooden bridge, archtops magnetic pickups and enjoy them: a large jumbo top/full-depth DeArmond X155 from Fender's doomed "Guild-alike" turn of the century import line with two top mounted humbuckers which is one of my first choices guitar when I want to play "fake jazz." They were "blown out" at incredibly low prices when Fender pulled the plug on the line, and I replaced an Epi Joe Pass model with this one. The second is a lower quality Washburn model with a single floating mini-humbucker hanging off the end of the fretboard. This is my "David Rawlings without the talent" guitar, usually played plugged in but with leakage from its hollow-body encouraged. Fun guitars all, but I tend to play this sort of guitar plugged in, so I don't talk about them here much, if at all, as I sort of assumed AGP is more interested in true acoustic archtops.
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----------------------------------- Creator of The Parlando Project Guitars: 20th Century Seagull S6-12, S6 Folk, Seagull M6; '00 Guild JF30-12, '01 Martin 00-15, '16 Martin 000-17, '07 Parkwood PW510, Epiphone Biscuit resonator, Merlin Dulcimer, and various electric guitars, basses.... |
#22
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https://www.melbay.com/Products/9321...rd-system.aspx I'd also listen to Al Caiola's work on the early Johnny Mathis recordings (two of which are posted above) - proof positive that it doesn't have to be overly complex (the actual chords are well within the range of any intermediate player) to be both genre-authentic and tasty...
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"Mistaking silence for weakness and contempt for fear is the final, fatal error of a fool" - Sicilian proverb (paraphrased) |
#23
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Gotta say, I'd love to find a nice arch top, but so many I see are 1-⅝" or 1-11/16" - If anyone could point me to ones that are 1-¾" or even 1-13/16", I'd be very appreciative -
I do have a couple nice arch-backs -Santa Cruz FTCs - so I do sorta understand their appeal -
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More than a few Santa Cruz’s, a few Sexauers, a Patterson, a Larrivee, a Cumpiano, and a Klepper!! |
#24
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I believe the Eastmans are 1.75", as are the Loars. Mine certainly are.
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#25
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I picked up an El Rey, but its not really floating my boat - although the neck is closer to good -
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More than a few Santa Cruz’s, a few Sexauers, a Patterson, a Larrivee, a Cumpiano, and a Klepper!! |
#26
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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 |
#27
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The El Rey is a niche item - try an AR810 non-cutaway...
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"Mistaking silence for weakness and contempt for fear is the final, fatal error of a fool" - Sicilian proverb (paraphrased) |
#28
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Quote:
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Sage Runner |