#16
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Hats off to Frans and it’s not hand rubbed |
#17
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Wonderful sounding instrument! Terrific note separation, much clearer and more controlled to my ears than many. I have always attributed the immediacy and lack of cross-string vibration in an archtop to the bridge design (i.e., anchored at the end of the guitar and pressing down rather than pulling up) plus of course the usual notions of f-holes projecting better, etc. But this Elferink has many of those response characteristics with a round-hole flattop and only an arched back. Amazing to see that impact from the back—it’s enough to make a person re-think some of the usual archtop assumptions! Anyway, great and original instrument!
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#18
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Quote:
From what little I know about building guitars which is virtually nothing I was expecting a lot more tone akin to a standard OM given the bracing of the top which is standard X config and OM width (Frans thought initially standard Archtop 3’ but I asked for OM size to maybe beef up the Bass) but the results have blew me away, it feels like a full archtop when chunking on chords etc but very sweet with bags of sustain when picked a tad lighter |
#19
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A number of years ago (2001 at Villa Chanticleer!) I played a new guitar by Mark Blanchard with a spruce flattop and a maple arched back—with quite similar tonal qualities. Great note separation and perhaps a little drier than a regular flattop but with ample sustain. A great instrument which I hadn’t any real idea at the time how to play. Definitely a middle ground between a flattop and an archtop, maybe a little closer to an arch.
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#20
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Owning a number of luthier made carved back / flat top guitars as well as archtop guitars I have found the following to be true:
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#21
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Your general assumption is spot on with this one and can’t put it down thanks all |