Posts Tagged ‘Archtop’

Ibanez LGB 300 VYS

In Archtop, Gears on June 5, 2016 at 11:34 pm

Finally, there are not so many Archtop with a 45″ inch Nut width, I was pleased to find this one. Seems that I going to felt in love. (priced 3519€ at Thomann/Woodbrass). I’ll have to wait a bit more to buy one. 🙂
 

  • LGB Neck Joint: 3pc Maple LGB300 set-in neck features slim, fast & maximum playing comfort.
  • LGB Body: Spruce top and Maple sides and back, with beautiful high gloss sunburst finish.
  •  Sure Grip Knobs: The Sure Grip III knobs are designed for precise control with nonslip functionality, along with smooth and classic looks
  •  Super 58 Pickups (LGB300): The Super 58 pickups can deliver the smooth, nuanced tones of jazz and the biting growl of blues.
  •  Gotoh® Machineheads: Gotoh SG510 machineheads provide super precision, an ultra smooth feel, andminimal back lush.

SPECS

neck type LGB 3pc Maple set-in neck
body Spruce top/Maple back & sides
fretboard Bound Ebony fretboard w/Acrylic & Abalone block inlay
fret Medium frets w/Prestige fret edge treatment
number of frets 22 frets
bridge Ebony bridge
tailpiece LGB300 tailpiece
neck pickup Super 58 (H) neck pickup (Passive/Alnico)
bridge pickup Super 58 (H) bridge pickup (Passive/Alnico)
factory tuning 1E, 2B, 3G, 4D, 5A, 6E
string Flatwound strings
string gauge .011/.015/.022w/.030/.040/.050
nut Bone nut
hardware color Gold
case/bag Hardshell case included

NECK DIMENSIONS

 ND
Scale 628mm/24.7″
a : Width at Nut 45mm
b : Width at Last Fret 58mm
c : Thickness at 1st 20mm
d : Thickness at 12th 22mm (at 9F)
Radius 305mmR

BODY DIMENSIONS

 body_shape_HB
a : Length 20″
b : Width 16 1/2″
c : Max Depth 4 1/4″

SWITCHING SYSTEM

 

 2

CONTROLS

 9

Stratocaster project (May 2016)

In Archtop, Gears, Stratocaster project on May 16, 2016 at 11:48 pm

Here is the Stratocaster body, on her “potence”, fondur applied, no sanding yet.

next steps are: another layer of fondur, then sanding. For now, in the future, she will be black. 🙂

Telecaster project Body lacquer

In Archtop, Gears, telecaster project on May 16, 2016 at 11:41 pm

Finally, the body is done! lot of headhecks with the lacquer, since the wood was not perfect. This is a 2 pieces Ash maple body from All Parts, with a Butterscotch lacquer. You can see the tool I used to handle the body.

Benedetto BRAVO™

In Archtop, Gears on May 14, 2016 at 9:52 am

The Bravo was designed to gratify the player’s need for a tastefully–detailed, rich and full–sounding thin–body that they could travel with—the next generation archtop guitar. It utilizes lightweight laminated spruce top and flamed maple back construction. The Bravo features a flamed maple neck, gorgeous abalone floral inlay at the 12th fret and the Benedetto A–6 humbucking pickup. Crafted for the player who has longed to express himself or herself on an instrument of the highest order, there simply is no substitute for the Benedetto pedigree. (Also available in 7–string).

– See more at: http://benedettoguitars.com/guitars/professional-series/bravo%e2%84%a2/#sthash.5SN0zIrs.dpuf

$5,000*

Includes Hardshell Case

*Prices subject to change without notice. 🙂

Bravo Specs:bravo_main

  • Body:Laminated Archtop: 16″ lower bout, 2 ½” body depth, Venetian cutaway
  • Top:Laminated select spruce
  • Back:Laminated flamed maple
  • Sides:Solid flamed maple
  • Bracing:Parallel Spruce
  • Binding:Top & Back: wht/blk/wht
    Neck: white
    Headstock: white
  • Neck:Flamed maple
  • Fingerboard:Ebony, 12″ radius, with 12th fret abalone floral inlay
  • Width at Nut:1 Âľ”, bone
  • Scale:25″
  • Frets:22
  • Bridge:Ebony, adjustable with black wheels and posts
  • Tailpiece:Model EPS™ (Ebony Professional Series)
  • Pickup:1 Benedetto A–6 gold
  • Controls:Volume and Tone
  • Tuners:Gotoh gold with ebony buttons
  • Fingerrest:Ebony
  • Finish:Gloss nitrocellulose lacquer
  • Colors:Claret, Antique Burst, Honey Blonde Top/Espresso Back, Sides & Neck, Opulent Brown, Black
  • Strings:Pure nickel (.012 – .052)

Colors:

 OpulentBrown OpulentBrown  HoneyBlonde/EspressoHoneyBlonde/Espresso

AntiqueBurstAntiqueBurst

 

 Black Black  Claret Claret

Gibson Custom L-5 CES Electric Guitar

In Archtop, Gears on April 17, 2015 at 4:48 pm

too good 🙂

X caster projects

In Archtop, Gears, telecaster project on December 15, 2014 at 8:07 pm

Some progress to report. A telecaster butterscotch and a black stratocaster. …

complete sanded wood for the tele, applying the first lacquer layer.

IMG_2381.JPG

IMG_2378.JPG

July 13, 1937: Gibson Plugs In the Electric Guitar

In Archtop, Gears on December 2, 2014 at 2:22 pm
By   from Wired

gibson

1937: Guy Hart, general manager of the Gibson guitar company, is awarded the first patent for an electric guitar pickup. The instrument that defines popular music in the second half of the 20th century is born.

Gibson’s electric guitar wasn’t the first to market, but its pickup design was superior to competing models — especially after guitar-makers begin dropping them into their new, innovative designs more than a decade later.

Guitarists have a reputation for coaxing as much volume as possible out of their instruments — whether it’s advisable or not. But guitarists playing in dance bands, larger combos and jazz orchestras in the early 1930s certainly needed the volume boost. They were often playing in situations where they were straining to be heard over the drums, brass and audience chatter.

The newest, loudest design of the era was the resonator guitar. Usually made of metal, it had a series of aluminum resonators built into the body. The resonators amplified the acoustic instrument and gave players an edge they couldn’t get out of the common acoustic guitar.

But of course, the ax-slingers were always asking for more volume, so inventors of the day were constantly experimenting with crude electronic-amplification systems.

The first viable electric guitar was designed by guitarist George Beauchamp, who began manufacturing them along with Swiss-born engineer Adolph Rickenbacker. The guitars made by Beauchamp and Rickenbacker were of the “lap steel” variety, which the player holds flat in the lap and slides a metal bar up and down the strings to play different notes.

These guitars were nicknamed “frying pans” because of their small, circular bodies and long necks. Guitarists playing Hawaiian music, where the lap steel guitar is the lead instrument, began to flock to them.

All guitar pickups employ essentially the same design: one or more magnets wrapped in a thin coil of wire. Beauchamp’s pickup used two horseshoe-shaped magnets situated over the strings, and he filed a patent for his particular design in 1934.

Guy Hart saw the market for Hawaiian guitars growing and decided it was time that all-acoustic Gibson got in the game. Hart didn’t want to build any competing instruments using Beauchamp’s horseshoe pickup, so he began tinkering with a new design.

By 1935, Hart and Gibson’s in-house engineers had developed a working prototype. Gibson’s pickup used a fat steel blade positioned vertically underneath the strings. The blade was then sandwiched by two heavy magnets at the bottom, and the wire was coiled around the blade, above the magnets.

In late 1935, Gibson rolled out the E-150, its first electric, Hawaiian-style lap steel guitar. It came with an amplifier (just like all electric guitars of the era), and the whole package sold for $150 (more than $2,300 in today’s leaf).

Unlike Rickenbacker’s “frying pan,” Gibson’s guitar actually looked like a guitar, complete with round feminine curves, shoulders and scooped waist. The first models were made of aluminum, but in early 1936, Gibson started building them out of the same wood as its acoustic instruments, making the E-150 look more like a traditional guitar.

Soon thereafter, Gibson duplicated the success of the Hawaiian model by adapting one of its more common “Spanish style” guitars into an electric.

Hart filed a patent for his design Feb. 8, 1936. His application noted that, despite the hollow body, his design did “not rely on the resonance of the instrument itself”:

I have designed the body of the instrument with a relatively thick wall of hard wood … which is substantially lacking in the quality of resonance. Aside from the sounds emanating from the amplifier designed to be employed in connection with my device, the only audible effect produced is that of vibrating strings themselves unamplified by a sounding box effect of the body of the instrument.

What Hart described was not a traditional, hollow-bodied guitar getting a boost from a pickup, but rather a guitar that makes noise only when it’s plugged in.

Hart’s patent was awarded July 13, 1937. Beauchamp’s patent, though filed two years earlier than Hart’s, wasn’t awarded until August 10, 1937.

Curiously, Gibson continued to make a slew of hollow-body Spanish models fitted with pickups, like the ES-150. The model found its way into the hands of jazz pioneer Charlie Christian.

The most influential of the early jazz guitarists, Christian made the electric guitar famous, and, as a result, Gibson became the brand of choice among serious players. Hart’s pickup design even took the jazz guitarist’s name and is now widely known as the “Charlie Christian pickup.”

The leap to solid-body guitar design didn’t happen until after World War II.Guitarist Les Paul fired the first shot in the modern guitar revolution in 1946 by crafting a crude axe out of a 4-by-4 piece of solid pine. He convinced Gibson the new design had promise, and the solid-body guitar bearing his name would go on to become one of the most famous instruments in the world.

Just as Hart predicted, the future wasn’t in acoustic boxes that got louder with the help of his device. He knew the secret: If you really want to rock, you’ve got to plug in!

Sources: The Gibson Electric Guitar Book, by Walter Carter; Gibson Electrics, by A. R. Duchossoir; pickupedia.info; Wikipedia.org; Rickenbacker.com

Discussion sur la largeur des manches des guitares classiques et cordes acier

In Archtop, Gears, manufacturing on August 31, 2014 at 10:57 pm

halsbreite_kon

Pour ceux qui veulent passer de la guitare classique à la guitare électrique, ou avec des cordes aciers, la question de la largeur du manche se pose immédiatement. Le joueur de guitare classique souhaiterait garder le même confort de jouabilité lors du passage à la guitare acoustique.

 

Cependant, avoir un manche de la même largeur qu’une guitare classique serait une grosse erreur car les cordes en acier sont beaucoup plus minces que les cordes en nylon.

Supposons que ce guitariste classique soit habituĂ© avec une largeur de sillet de 52 mm, il est ici recommandĂ© d’avoir une largeur de manche de 48 mm pour la guitare corde acier. L’espacement entre les corde est essentiellement le mĂŞme.

Pour une guitare classique de largeur de manche de 50 mm au sillet, je recommanderais de 47 mm pour le manche corde acier, 46 mm fonctionne également, cependant, cela peut être perçu comme trop étroit. Mais, cela dépend également du profil de manche.

Une largeur de plus de 48 mm pour un manche corde acier n’est pas recommandable car la tension des cordes acier est beaucoup plus élevé que celle des cordes en nylon. Cela rend très difficile de jouer des accords Barré sur des manches extrêmement larges.

Klira guitare

In Archtop on July 9, 2014 at 1:19 pm

Et voila, une nouvelle acquisition, trouvée sur eBay, une guitare manouche Klira des années 1950-60, qui a gentiment traversée les années. Une beauté tout en simplicité, à réserver pour la pompe et le swing?

Pour l’histoire, Klira est une marque allemande de guitares qui a Ă©tĂ© une des plus populaires d’Europe dans les annĂ©es 1960 et dont l’activitĂ© s’est prolongĂ©e jusqu’au dĂ©but des annĂ©es 1980.

Elle appartenait Ă  une firme crĂ©Ă©e en 1887 à Schönbach, en Bohème alors autrichienne. par le maĂ®tre-luthier Johannes Klier. Sa spĂ©cialitĂ© originelle Ă©tait les instrument Ă  cordes frottĂ©es. Ă€ la mort du fondateur en 1918, son fils Otto Joseph reprit la direction de l’entreprise, dès lors connue sous le nom de Otto Jos. Klier, qui se fit une bonne rĂ©putation dans la fabrication de violons. Ă€ la fin desannĂ©es 1920 elle en aurait produit jusqu’Ă  50 000 par an.

Au lendemain de la Seconde Guerre mondiale la sociĂ©tĂ© fut expropriĂ©e par les nouvelles autoritĂ©s tchèques, et en 1948 toute la population de la rĂ©gion (Allemands des Sudètes) fut expulsĂ©e. La famille d’Otto Klier se rĂ©fugia en Allemagne de l’Ouest, en Franconie, d’abord à Erlangen/Elsterdorf, dans une auberge oĂą Otto Joseph Klier reprit immĂ©diatement la production artisanale de violons. L’activitĂ© fut bientĂ´t transfĂ©rĂ©e dans un hangar situĂ© à Poxdorf/Hagenau, et trouva enfin une implantation stable Ă  partir de janvier 1950 dans la ville de Bubenreuth, au voisinage de confrères tels que Höfner et Framus, eux aussi repliĂ©s depuis Schönbach.

Les guitares, vendues sous la marque Klira, devinrent bientĂ´t le cĹ“ur de mĂ©tier de la sociĂ©tĂ©, qui employa jusqu’Ă  110 personnes dans les annĂ©es 60. Par rapport Ă  ses grands confrères de la rĂ©gion (Höfner, Framus, Hoyer), la production de Klira Ă©tait en majoritĂ© positionnĂ©e en entrĂ©e de gamme, mais son haut de gamme n’avait rien Ă  envier Ă  celui des luthiers les plus rĂ©putĂ©s. Klira a produit beaucoup de guitares Ă©lectriques Ă©conomiques livrĂ©es sans logo ou commercialisĂ©es sous des marques de distributeurs (comme « Triumphator », utilisĂ©e par la sociĂ©tĂ© de vente par correspondance Quelle).

Cette activitĂ© guitares a pris fin en 1982. Mais il demeure de la tradition initiĂ©e par Johannes Klier en 1887 un atelier de lutherie traditionnelle opĂ©rant aujourd’hui à Forchheim sous la raison sociale Otto Jos. Klier, retournĂ© Ă  la spĂ©cialitĂ© originelle de l’entreprise dans les violons, altos, violoncelles et contrebasses.

Les guitares Klira offrent souvent beaucoup de ressemblance avec des modèles de Framus (leurs acoustiques des annĂ©es 1970 sont pratiquement les mĂŞmes), comme si les deux firmes avaient utilisĂ© le mĂŞme rĂ©seau de sous-traitants et s’Ă©taient partagĂ© le marchĂ© en adoptant des positionnements complĂ©mentaires. Sur le marchĂ© de l’occasion, sont assez recherchĂ©s les modèles Ă©lectriques Ă  caisse massive recouverte de celluloĂŻd Ă  paillettes, typiques des premières annĂ©es 1960 (leur finition se ressent d’une fabrication Ă©conomique en grande sĂ©rie mais elles sont dotĂ©es de micros Schaller de bonne qualitĂ©), et surtout les basses de la sĂ©rie Twen-Star, Ă  caisse en forme de violon, inspirĂ©es des cĂ©lèbres Höfner 500/1 mais beaucoup moins coĂ»teuses malgrĂ© leur aspect et leur son très comparables (wikipedia)

Quelques autres modeles:

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Epiphone Casino Sunburst Single Pickup 1964

In Archtop, Gears on April 7, 2014 at 12:46 am

A 1964 single pickup Casino with a BEAUTIFUL sunburst!!! Nuff said…

Summary

Body:  Maple Hollowbody Electric Guitar.

Neck:  Mahogany neck with a Rosewood fretboard, with single parallelogram inlays.  Black stinger on heel blacklights the same as body and neck, so it is almost definitely factory.

Pickups/Hardware:  Two P-90s with chrome Dog-ear covers, Tune-o-matic Bridge, Trapeze tailpiece.

Setup/Playability: No issues, plays and sounds amazing.

Cosmetic Condition: Very clean! Light checking and finish wear with some minor scuffs along the sides of the body. Some small dings in the back on the neck, but the board is quite clean. The headstock has light wear, mainly around the edges

Modifications:  None

Weight:  5 lbs 7 oz

Case:  Original hardshell.

 Product Specs

Condition: Good
Make: Epiphone
Model: Casino
Finish: Sunburst
Year: 1964
Made In: United States

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