Boss SY200 Guitar Synth Review

This is what I’ve been waiting for. A polyphonic guitar synth that doesn’t need special pickups and tracks flawlessly. Boss have really delivered and in a very portable package. These days I like my gigging gear as small and light as possible. One trip from the car if possible!  

Here’s my YouTube quick demo https://youtu.be/VkQa-fomGIo

The good

The best thing about this pedal is that it just works! You can literally plug and play. But you can also go deeper into the controls and menus to tweak the sounds. The tracking is breathtaking even in polyphony. In my YouTube channel I set the ultimate test of getting the unit to track a twelve string guitar.  https://youtu.be/RgMWqHfAYNc

There are a big variety of sounds available, based on good old analogue synth voices. You can choose whether or not to mix in the guitar with the sound.

The new larger sized Boss pedals give far more control and this one is expandable with further foot control and MIDI control.

The bad

I’m sure this technology will evolve but here are my gripes which I hope Boss will address. 

Firstly I don’t like the sound through a guitar amp, even with the ‘amp’ setting turned on on the pedal. They sound far better through a full range speaker.

The sounds are only mono.

There are no effects built into the pedal, and most of the sounds benefit from the addition of some extra effects.

You cannot control a midi sound generator from the pedal. This is a shame as you are restricted to the library of sounds in the pedal, although there are a lot of them, as always some are more usable than others.

There’s no computer based app to do deeper editing of this pedal, the usb is simply for updates.

The ugly

Not much to report here. The pedal looks and sounds good. It’s pricey, but not in comparison to what has gone before.  It’s highly addictive and should definitely carry a health warning!

Handmade vs Machine Made Guitars

The skill of luthiery is a very ancient one and is really still immensely important for classical stringed instruments such as the violin, not only in manufacture but in set up and maintenance. 

The growing popularity of the guitar coincided with the mass production philosophies of early 20th Century factories, and this had a very big influence on how guitars were designed and built. Scaling up production lines meant the price of a guitar to the musician was incredibly cheap compared to other stringed instruments made in small luthier’s workshops.

While factory methods have been used very effectively throughout the recent history of the manufacture of guitars, and many small production luthiers now base their models on the standards of these guitars, it isn’t true to say that a factory built guitar is simply produced by a machine. They are not stamped out on an automated production line.  Usually many of the steps to make a factory guitar are carried out by hand, while machinery is used to save time and labour in some of the processes. More recently CNC machines have really revolutionised some hugely labour intensive processes like cutting out, carving and fretwork. I have one of the first electric guitars produced using these methods, a Peavey T-60, it’s a beautifully finished guitar with lots of detail.

So hand building is perhaps a matter of degree. A company like Eastman, for example, still seem to do a lot of work by hand, whereas other companies may choose to automate much of their production line. However all guitar production will have a significant amount of hand working and finishing. Most individual luthiers will also of course use power tools and may choose to automate some of their production processes, but expensive machines, like a plek machine, only really make sense for a large production run.

So there’s  not really a simple divide between automation and hand building.  Nor is one necessarily better than the other. It’s worth noting that in some things machine accuracy is far greater than a human could ever achieve with hand tools. However in something like the selection of perfect matched wood or overall quality control, an experienced human eye is hard to beat.  I’d prefer the money for labour to go primarily into  specialist skills rather than into laborious tasks which can be done equally well or better by machine. Also, not many of us are good all rounders, a guitar requires a great many different skills to complete so there is perhaps some benefit in having different workers trained and focused on the different skill sets. Finishing a guitar for example is a very different skill to carving a top.  A good luthier will have mastered all the different craft skills, but this takes a lifetime of learning and experience.  However the advantage is that the luthier follows the whole process and artistry through and perhaps this gives the instrument a bit more soul and personality.

We should probably here draw a distinction between electric guitars and those designed primarily to be acoustic instruments. 

An electric guitar benefits from individual luthiery primarily in the attention to detail and customisability and uniqueness. There are a huge number of variables once you start thinking about it, and it is wonderful to have something truly made to measure.

The acoustic guitar is arguably an instrument that is far harder to manufacture to both sound and look good. The luthier has to develop the skills to bring the finest tone out of the materials being used, and the work is often much more delicate.

The advantage of a small workshop luthiery is that you can talk to the luthier about what you want, and even present them with your old mantelpiece to work with, or specify very particular requirements. Custom shops in big factories might give a bit more choice to the standard models, but this is generally much more limited in scope unless you are a celebrity. A small workshop luthier probably has more flexibility to change the levels of hand detailing, but of course you can’t usually try before you buy, so you are putting a lot of trust as well as a lot of cash into the final deal.  If you believe in the magic of tap tuning and the minuscule differences shaving mass off the braces of an acoustic guitar can make, then a luthier is probably the person to go to.

If I had the money I’d definitely be thinking of getting a local luthier to build me a guitar to my own specs. This isn’t because it will necessarily be better than a factory built one, but because it would be personal to me. I also love the fact that these people exist, they deserve to succeed. Even if you have a factory guitar, a good luthier can work wonders with set up and after market changes, additions and repairs. But having said that I have no issues with the lovely guitars I already own, most of which are largely hand built and finished, probably by many different skilled workers in a factory rather than a luthier or two in a small workshop.

G&L L2000 Tribute Bass Guitar

 Many manufacturers when they make cheaper versions of their production models in the Far East try to make them noticeably inferior so you feel some pressure to move from a student style instrument to the professional model. G&L are much more generous. Their Indonesian models are superbly built and finished (at least in my limited experience of them) and come with exactly the same hardware as their more customisable siblings from the US. This, as they claim, puts high quality instruments into the hands of every working musician.

I really can’t understand why G&L aren’t more popular. They are, after all, Leo Fender’s final word and innovation, but they’ve never hit the public imagination in the same way as Musicman managed to do.

The L2000 bass I have I has a carved top flame maple over swamp ash body. This is quite unusual as most are flat slabs like a traditional fender bass. I really like the solidity of the G&L bridge, another of Leo’s little masterpieces. The same can be said for the pickups which are of really high quality and deliver in a range of tones. The MFD pickups are the same as in the US models which is a real bonus. Leo really understood what he was doing with this advance in pickup technology. Together with the carefully thought out active electronics and switching, this bass has a huge variety of sounds and takes some time to learn how to get the best out of it. 

My bass came with a maple neck in a vintage style finish. If I’m being picky I’d say that the poly finish is a bit thick on these basses, but nothing really to lose sleep over. The tuners are excellent, and the bass is extremely stable.  The swamp ash makes it relatively light.

The bass plays extremely well. I work in a very fluid band of musicians and switch between instruments, so others often play this bass as well and it is widely loved by my fellow bassists, matching well to a wide range of musical genres.

I’d say Leo got it about right with this bass. It is an evolution of the jazz bass and Musicman.  Shame it isn’t more understood and popular than it is.

Epiphone Century Masterbilt Deluxe Review

I bought this quite a few years back when production was ending, and a local shop reduced the price to a very tempting and manageable amount. I didn't really need it but I figured it was better investing in a guitar than having the money losing value in the bank, and I certainly haven’t lost any money looking at the secondhand prices. As you’ll see from my other reviews I already own a Zenith which I really like, still have and use regularly.  I nearly bought the Olympic too as it was on offer secondhand nearby, but I wasn’t sure I’d use it as much.

The Deluxe is the top of the range in this series and is a large 17” solid spruce topped archtop with flamed laminated maple sides and nail with a laminated neck with ebony fingerboard decorated with very attractive diamond inlays.  The emphasis is on retro looks with modern playability. The finish is a thin satin poly. The neck is on the chunky side, but really well done in a laminate that adds strength and stability. The guitar is quite heavy for an acoustic, but not excessively so.

You get a lot for your money with these guitars. The pressed solid spruce top works really well. The holy grail of course is a carved top, but the carving has to be done with skill and care.  At this price point arguably a pressed top is much more consistent, and environmentally friendly, and lots of manufacturers use this pressing technique even at a much higher price point.

The guitar has a shadow pickup system with an under saddle piezo. The controls are hidden in the treble f hole. This pickup is good as far as it goes, it is an easy way to plug the guitar in and minimise feedback, but in my view it doesn’t do full justice to the acoustic sound of the guitar. This is a limitation of any piezo based system not just this one, but the positive is the convenience. I like to attach a clip on condenser mic (in lower volume scenarios) to the trapeze and aim it near the edge of the treble f hole for a more authentic tone.

The build quality of these guitars is extremely high. Indonesia seems to be turning out some top notch instruments easily on a par with what was coming out of Korea in the 90s and early 00s.  The fit and finish is excellent and the playability out of the box is excellent too - it’s not really needed any adjustment after several years of light use. 

The acoustic sound of this guitar is a challenge to describe. It’s fuller than the Zenith, but maybe because of that has less cutting power than the Zenith’s focused midrange sound.  The bass on the Deluxe is richer, but like all archtops I have played, less immediately pleasing to the ear than a flat top guitar. You have to work at the sound and in the context of playing with other instruments it suddenly makes sense, where the richness of a flat top might get lost, the archtop finds its own space and sings through.  The Deluxe is loud acoustically, and rewards good strong playing.

These guitars haven’t been overwhelmingly loved by the jazz crowd. I think a lot of the criticism has been unfair, as the Epiphones were hitting a very low price level for an archtop guitar, and unashamedly going in part for the “you hear with your eyes” philosophy.  They are very pretty instruments. The Epis suffered because they came in at a very similar price point to a cheap carved Chinese guitar brand which a number of people raved about, but all the examples I tried were hugely disappointing with major building and finish flaws so I could never understand the comparison. Does the Epi sound as good acoustically as my Heritage carved archtop guitar? Well no, but it’s only worth a fraction of the price.  People definitely comment when I play this Epiphone because of the looks and the image of the guitar. They usually say how much they like how it sounds too. 

Like I’ve said about the Zenith, it’s not surprising that Epiphone didn’t make these for very long. The market for an acoustic archtop is very limited. Most jazz players still prefer a magnetic pickup to a piezo. You could fit one to this guitar but a number of other manufacturers have already done this for you on their models at a similar price point. The acoustic jazz players will probably want to up their game and go for a carved top if they can afford it. Flat top players may find the sound a bit thin. I personally like the tone and volume and the fact that the guitar sets you apart from the 99% of other guitarists who will get a flat top out of their case. Everyone wants to try it out  of curiosity. It definitely looks cool!

Framus FDG 20 S Dreadnought Guitar

I recently got hold of this guitar. I thought for the record I'd try to gather together some of the things I found out about it.  In the interests of accuracy, I've not been able to verify much of the history of this guitar because there is so little information out there and some of the information is contradictory.  I'm very open to any corrections because of this, and will amend the review in the light of any new evidence.

Framus

The early history of this company is well attested and I won't add too much here as the internet has lots of information about the company formed in Germany after the Second World War to make instruments.  The popularity of the guitar post war, made this instrument the prominent production of the company rather than classical instruments. There's loads more information here https://www.framus-vintage.de/en/About-Framus/History/   The original company went into administration in the late 1970s.  What's interesting in the story of the FDG 20 S is that Hans-Peter Wilfer, son of the founder of Framus, revived the marque in 1995 as part of the Warwick company.  I have an early 2000s Warwick bass which is superbly crafted and one of my favourite instruments. Certainly to begin with the Warwick influence rubbed off on Framus and led to some very, very good Framus instruments being produced.

Warwick/Framus have no online information about the acoustic guitars they produced in the mid 1990s.  However, as I have trawled through the sparse  internet references to this guitar, it would appear that the FDG 20 S is one of the first guitars the company released following the relaunch of the Framus brand.  While Framus is most known for more midrange and quirky instruments in the 1950-70 period, in the 1990s they went relatively high end.  If the conflicting reports on the internet are to be believed then the FDG 20 S production was probably outsourced to Japan, and overseen by a master luthier named Hansu Piita Uiruha.  I can find precisely nothing about this luthier on the web, and nothing to confirm that these guitars were in fact made in Japan.  The guitar itself has no indication of the country of manufacture. It would appear that they were only made for a very short run between 1995-7 and are therefore fairly rare.  

The Guitar

This is a bit of an easier task to describe as I have the guitar in front of me so I can verify most of the details of construction!

The guitar is a matt finished, slope shouldered dreadnought.  One internet seller claims that the top is AAA grade spruce.  It is certainly solid spruce with very good and pleasing, close, straight grain.  Over 25 years or so this has aged to a rich brown colour, much darker than my early 1980s Takamine which has travelled across the globe with me. The back and sides are of solid rosewood, very nicely grained, finished and bookended, with a marquetry divider between the back pieces, which looks extremely classy.  The neck is mahogany with a bound rosewood fingerboard and bridge. The bridge and nut are of bone and well finished. The frets on mine are slightly worn but still very playable. The action is superbly low, with no bottoming out of the strings.  It’s wonderful to have a guitar this old that is so playable. My 1980s Takamine is the same and a testimony to Japanese craftsmanship. The Framus is beautifully inlaid with abalone blinding and rosette.  The headstock is black with well executed mother of pearl inlays. The inlays on the fretboard are pearloid snowflakes.  Here is the first small gripe as they are set into filler in a drilled circular hole rather than routed to shape, which is a bit disappointing, although only noticeable on close inspection.  The second gripe is that inside the guitar there is some glue overspill showing on the joints, which mars an otherwise very well executed guitar.  The machine heads are gold grovers and of extremely good quality.  Generally despite the couple of gripes the guitar is very well finished indeed, and not showing many signs of wear or any signs of structural issues after 25+ years of service.

Because the action on this guitar is very low it is extremely easy to play, with no choking of the strings anywhere on the neck.  The tone is superb, less bassy than my Eastman, but very good for fingerstyle as the note separation is impressive.  It is loud like a dreadnought should be, but strong on dynamics, sounding lovely both played gently, and with more vigour.  I'm grateful that, unusually for a guitar of this vintage, no-one has tried to butcher it with any pickups, so there are no unsightly holes or dated preamps on the highly resonant  body.  Playing unamplified with other musicians the instrument holds its own very well.

The good news is that these guitars can be bought quite cheaply if you can find one.   You would have to spend well in excess of £1000/£1500 these days to get anything close in quality, more if you wanted that quality made in Japan. But of course Framus is not so well known, and Warwick sadly have cheapened the Framus brand acoustic guitars with some very uninspiringly average current production models. I hate it when companies do this but we are in harsh times. This gem of a guitar is old and a relatively unknown quantity, so you may find one for a very reasonable price indeed, as I did.  If you find a good one, as I was fortunate enough to do, you won't be disappointed with the richness of the sound, the quality of the finish and materials.

Eastman E1D dreadnought Acoustic Guitar Review

The good, the bad and the ugly

If you’re reading this, then like me you may have come across the glowing reviews this guitar has received since it was launched. 

I’ve been after a solid wood dreadnought guitar for ages but didn’t want to spend silly money on it. I wanted a pure acoustic instrument.  This guitar fits that bill perfectly.

Because of lockdown and family illness it was a long time before I was able to venture out to test drive one of these guitars. Sadly this meant I missed the first release which came with nitro gloss finished tops. The second release has a thin satin poly finish. To be honest I’m not totally  unhappy about that as my fingers do tend to make nitro go sticky.

The good. 

These guitars are amazing value for money. The cash is spent only on what really matters. Solid tonewoods and a lightly built guitar produce a tone that will just make you smile as you play. Full range sounds for fingerpicking and the dreadnought roar as you strum hard. I tried both the cedar and the spruce topped versions and I personally much prefer the spruce. 

Don’t believe the hype! The woods used for the back and sides of an acoustic guitar make very little difference to the final tone. Check out this research if you don’t believe me. http://www.psych.lancs.ac.uk/hearing/the-guitar-experiment/ 

The use of sapele on back and sides of this guitar is a sensible choice. It looks good and is hard and resilient. It's supposedly more environmentally sustainable than mahogany or rosewood, but of course a lot will depend upon how Eastman source their stock. I like the open pore finish, no filler to add weight or deaden the sound. The woods are all where they should be. Ebony on the fretboard and bridge, spruce for the soundboard and bracing, and mahogany on the neck. The neck is sensibly scarf jointed at the heel and under the plate of the headstock to save wood and add strength - I much prefer this 'hidden' approach rather than having the scarf joint like a Frankenstein scar on the neck under the fretboard.  The nut and bridge are made of well cut bone. All this comes at a price range where other manufacturers can only offer guitars full of phenolic resin (read up about it - and please be really careful if you work on guitars with it) or plywood or both.

My guitar was set up by the shop I bought it from and plays really well.  The fretwork is excellent. It sounds huge and well balanced, and reminds me how much I love dreadnoughts and their range, volume and versatility.

The ‘tortoiseshell’ binding is a really nice touch, as is the total minimalism of the guitar’s finish.  You get the impression all is focused on tone not bling.

The gig bag this comes in is also worthy of a mention - it is surprisingly robust.

The bad.

The worst thing is trying to find one of these guitars in good order. I don’t know what Eastman are doing, but in my experience in the UK in 2021, the quality control has been sadly lacking. I found this quite upsetting as friends who have Eastmans have always spoken so highly of them. However I have to say that the dealers who I’ve worked with have been absolutely outstanding addressing  issues as they have arisen.

The first example of this guitar that I bought was a lovely playing guitar, but when I ran my hand over the top it felt very rough, and on closer inspection it looked as if the top been sprayed in a non-sterile environment and there was a considerable amount of dust particles under the clear coat finish on the top of the guitar. This was obviously really disappointing so the guitar went back and unfortunately no replacement was available, so I got a refund.

I then travelled down to one of our major cities and I had a play of another E1D in a major well known store. This one was a lot better but the finish to the back and neck looked almost like a sunburst. I’m not sure what happened but it looked like a stain hadn’t been applied evenly.  I also wasn't totally happy with the fretboard finish so I walked away.

Hoping for third time lucky I stopped off, on the way to see a member of the family, at another well-known guitar shop to check out and hopefully buy a keeper. Sadly after purchasing it on closer inspection, out of the rather dark showroom, I noticed a small crack in the top that had clearly been present at the time of manufacture - the clearcoat finish was applied over the top of that crack.

Crack under clear coat of guitar top

Back it went and I had a bit of a wait for the fourth example of this guitar to arrive. It was probably the best of the lot but sadly still not right. The woodgrain had the best figuring of the four, but the binding between the top and the sides of the guitar had not been finished properly and was extremely rough to the touch. Fortunately I have some basic luthiery skills, and in the end I was so fed up with the back-and-forth that I smoothed this off myself. While not totally perfect, no one who didn’t know of the fault would ever now know it had been there. Why wasn’t this done at the factory?

I don’t know what to make of all of this, whether Eastman are giving these guitars to trainees to finish, or if they’re trying to cut costs because of the very competitive pricing of these guitars.  Satin finish is certainly more prone to problems because there is no buffing after application.  Whatever the reason it’s depressing to see such poor quality control on the finish of such an amazing guitar.

The ugly.

All this leaves me totally torn as to whether I can recommend this guitar.  I hate these sorts of dilemmas! There is no doubt in my mind that the final guitar I have ended up with, while not perfect, is a superb guitar regardless of price. I think it would sit quite happily tonally with guitars costing four or five times as much. Eastman have really thought through where to put the money into the materials of this guitar, and have produced a beautifully light, resonant and enjoyable instrument. 

However the guitar is totally let down by poor quality control and I have had a frustrating time of chasing around different shops and being disappointed, and at several points thinking of just giving up on Eastman altogether.  I'm glad I didn't and IF you can find a good example of this guitar I would really highly recommend it as a lovely instrument at a great price.
 

Heritage Eagle Archtop Guitar from 1997 Review

I’ve always wanted a Heritage archtop guitar ever since I read their story, but the local guitar shop just down the coast that specialises in such things charges a huge premium for Heritages and I just couldn’t justify the outlay.

Then came one of those odd epiphany moments that very occasionally happen to me. Although I love our closest local music shop, I hadn’t had any need to go in for well over a year. However one day someone or something seemed to be telling me to just go into the shop and have a look around. After telling myself not to be stupid, I did just that and for quite a while I saw nothing of great interest amongst the racks of guitars. Then suddenly a brown sunburst guitar caught my eye, hanging sideways half out of sight, right next to the old Hofners. I checked it over and it looked in reasonable condition and I then saw that it was a Heritage, but it didn’t have a price on it, and all the staff were busy with customers and someone was playing a distorted electric guitar badly and loudly in one of the side rooms.

I walked out and did the shopping I’d come into town to do, but the thought of the guitar wouldn’t leave me. I did some reading up to find out exactly what the model, age and construction was. Then I rang the shop to find out what the price was. It was half the price I was expecting!  I still didn’t do anything more at that stage and went home to think it all over and research some more as it was going to be a significant unexpected outlay. 

Having slept on it all, the next morning saw me at the shop first thing asking to try the guitar out. The shop was selling the guitar as part of a private sale of someone’s estate and it had literally just come in. They didn’t quite know how to price it because there are very few of these out there to give an idea of the value. Thanks to Heritage’s serial numbers it was easy to date the guitar to 1997, and to see that it was the first guitar manufactured that day in April! This one has certainly been well loved and well used, nothing to put me off: one of the tuning pegs is slightly bent, the nickel all has a well worn “patina”, there are quite a few dings on the front (but hey you pay a specialist hundreds to make a new guitar into a holey [sic] relic!), and there was a bit of fret wear.  I do like a guitar that wears its history and hasn’t just sat in a case remaining pristine for a collector to sit and admire it. The acoustic tone on this model is really lovely, even with the dead and sticky flat wound strings on it at the time. It chimed beautifully through the fender amp they gave me to test it out.

The shop I bought it from is one of those gems of a place that defies the odds and keeps going as a bricks and mortar store though with an increasing presence on the internet.  I’ve bought a lot of things there over the years. Before I pulled the trigger on buying the guitar we put it down on the guitar rest and the tech tweaked the truss rod to take some of the bow out of the neck for me, all smooth and good. Apple Pay and I was away!  

It’s so difficult to know what these guitars are really worth as there’s not a whole lot on the web to give a sense of value.  I think I got it for an extremely good price, but of course it is not in pristine condition.  Brand new Eagles go for eye watering sums these days. I think this has pushed up secondhand values in its wake, and meant I had to insure the new purchase for a huge new for old value…

It’s only as you delve fairly deep that you come across the truly excellent Heritage owners’ club forum: http://www.heritageownersclub.com. One reason why I’m writing this as there is very little out there on these lovely archtop guitars with floating pickups. 

I really recommend that you do a search on the history of Heritage guitars: https://heritageguitars.com/pages/about-us. It’s an inspiring story of entrepreneurship. In my mind, as a lover of good old fashioned archtop guitars, Heritage is a really important “Reformation” moment in the apostolic succession of Orville Gibson and Lloyd Loar’s genius. These guitars are still made in Kalamazoo in the old Gibson factory and, certainly in 1997 were being made by builders tracing their skills and experience way back into Gibson history.  We could debate for ages who are the true successors to the archtop faith!  I’m just grateful that both companies are still around (just) keeping the faith alive.

My guitar is a 1997 Eagle Almond Sun Burst with a Heritage floating pickup. It shares its dna with the Gibson L5, a slightly shallower body at 3” deep but sharing the same lovely acoustic tones and craftsmanship.  A lot of these Eagle guitars came with mahogany tops, but mine is an X braced spruce topped guitar with solid carved mahogany back, pickguard and sides and neck. The fretboard and bridge are rosewood, hardware is nickel plated. All is beautifully carved, and with a sunburst finish which makes any of my other guitars I stand it next to look rather one dimensional. Heritage clearly had some superb workers at this stage of their history. This is where Heritage guitars are a bit intriguing: they seem to have often built to different specifications according to the dealer or customer requirements. Mine comes from Wolfe originally, as I discovered when I took off the pick guard and found their sticker.  

There’s no bling on this guitar, and strangely that really adds to the look, no neck binding and only a single binding to the body. The wood is fairly plain. But what stands out is the tone. The 17” body gives it a lovely depth, with all the bark and projection you expect from an archtop.  I like the pickup too, but I haven’t played this away from home yet so there is a bit more to add into this account as time goes on.  I’ve made some adjustments to the action to get it where I want it, not too low to give the acoustic voice some authority. I’ve put DR Zebra 13 strings on it at the moment so I can enjoy the acoustic voice, and I do recommend these as one of the best compromises for an electric/acoustic like this. The action is so lovely I can’t believe these strings are 13s, they feel much lighter even with the relatively long scale of this guitar!  Once things open up again in the world and I can play out I will probably try micing and amping this to get the best of both worlds, the acoustic voice is too good to ignore.

These are lovely guitars. 

Electric guitar tone enhancement - myth, mystery and method

 What effects the tone of an electric guitar?

Maybe pink guitars sound better?

While I don’t claim to have all the answers to this thorny question, there is so much misinformation on the Internet about this subject I thought it might be helpful to have some reflections from my years of buying, playing and fixing guitars, gathered here into one place.  

Pickups

It’s important to understand that the magnetic pickups used on a traditional electric guitar are designed to pick up the vibrations of the string NOT the acoustics of the guitar. They do this by creating a small electric current in conjunction with the vibration of a string that is then amplified externally. 

One of the most important considerations for good tone therefore is all the factors that surround and effect the vibration of the string. The construction of the pickup also has a major influence on the final tone of the guitar. A single coil pickup will give a more pronounced higher end, while a humbucker, designed to combat the hum associated with a single coil, gives a cleaner but slightly ‘muddier’ tone. There are lots of designs of pickups each with specific tonal variations.  Pickups can be wound to increase or decrease current output, however doing this has other tonal compromises.  

The beauty of the electric guitar is that the pickup system is a highly effective, but very simple concept and utilises a very straightforward electronic circuit, that hasn’t changed much since the 1930s. Not a chip or transistor in sight! 

Arguably the tonal results achieved using a magnetic pickup are nothing like the unamplified sound of an acoustic guitar, but rather have a degree of relationship to the acoustic instrument. However magnetic  pickups allow a whole new range of playing techniques, effects, tonal variations and the opportunity to use the instrument in different contexts that would be extremely challenging with a purely acoustic instrument.  

Simplicity - the lipstick pickup

We’ll say more about this later, but the amplifier and driver/speaker is just as important as the guitar in producing the final tone. In effect the amplifier and driver is the acoustic sound box of the electric guitar.

A big custom industry has built up around the production of pickups. Many guitarists, while maybe purporting to being avant garde and ground breaking in their art, are deeply deeply conservative when it comes to the instruments they play. Huge value is placed on historic instruments and historic accuracy in reissues. This has meant that someone who claims to be able to replicate the exact pickup winding processes of a former age, or a sought after artist’s guitar, can charge a very healthy margin in producing and selling these items. Many manufacturers will claim to have painstakingly examined old pickups and be making them according to the original specifications.  Some experiments have tried to demonstrate that the difference between a well made cheaper pickup and an expensive one is at best marginal.  It’s probably true to say a lot of other things in the signal chain will make much more difference to your sound than buying very expensive pickups.  However some pickup manufacture has become a real art form in itself and if you have the money and think you can hear the difference, once you have made other adjustments, the final piece in the chain might be to invest in bespoke pickups.

A quick survey of how pickups were made in the early days shows that a there was a lot of variation and imprecision even within a single brand. Manufacturers often used materials that were easily available and so, for example, the magnets used in a batch might vary depending on what could be obtained at the right price and easily.  Magnets degrade over time so it is almost impossible to know what a vintage pickup really sounded like when it was first produced 60 years ago.

The pickup being a very simple piece of engineering probably has less effect on the final sound of the guitar than you might be led to think from the hype surrounding there different brands. The main tonal difference is in the type of pickup (eg single coil/humbucker/lipstick) and the winding. Some slight differences may be related to the type of magnets used but this is difficult to test objectively.  

The wiring of the guitar probably makes a minor difference to the tone too, as differing resistances can be introduced in the circuitry. Some resistance is actually part of the classic sound of an electric guitar. A pickup wired directly to an amp can sound harsh and spiky.  Manufacturers of wireless systems sometimes include a ‘guitar cable’ effect to emulate the resistance of a guitar cable on the final sound.

Tonewoods

There is so much written about this all over the internet. Guitarists sometimes agonise over which combinations of tonewoods will give the exact tonal nuance they are looking for. Thousands are spent honing and polishing fine bits of dead tree, and some people swear that certain vintage finishes are critical to the ‘right’ sound.

I love a guitar that looks good, and feels good and balanced in my hands, but do the type of woods really effect the sound of an electric guitar dramatically? Les Paul is reported to have said that people hear with their eyes, when he enhanced his log guitar with a chopped up Epiphone body.

Again this is one of those questions that is really difficult to measure objectively, hence the existence of so much misinformation and speculation on the web. Someone who has invested heavily in fine woods and expensive pickups will have a high incentive to ‘hear’ the results of their investment. A manufacturer will want to create a mystique around the fine woods they have maturing in their stock piles to justify high retail prices.  A lot of early electric guitars were just made with materials that were readily available, and were quite variable in stock. It’s important to remember this when manufacturers hype the historical accuracy of expensive reissues.

My personal view is that tone woods may have a very marginal influence over the sound of an electric guitar, but it’s important to remember that the influence is probably very slight and a lot of other factors have a much greater influence over the sound than the material that the electric guitar is made from.

So what is important to the sound?

It’s important that we remember how a pick up works as we think about how to achieve the tone that we are after. As I said at the beginning, an electric guitar pick up really only picks up the vibration of the strings on a guitar. Try stringing an electric guitar with nylon strings and see how much body vibration comes through the pickups if you are sceptical of this. Different types of pickups really do have a major effect on the guitar tone (single coil, humbucker, lipstick). Within the constraints of each pickup type, to induce any significant change in  the tone of the guitar, one of the main factors is manipulating how the strings vibrate. 

This is much more complicated than it sounds. There are a huge number of variables. Some people swear by the maxim that if it sounds good unplugged then it will sound great plugged in. There are all sorts of problems with this statement, and I’d personally recommend a much less subjective approach.

One of the key ingredients in a multi stringed instrument is that the strings interact with each other to produce sympathetic overtones and harmonics. Wolf tones and nasty overtones are a related problem, likely to be increased the more resonant the body of the instruments is.  Managing this is one of the fine arts of instrument manufacture.  

I suspect one of the big differences in overtones comes from whether a guitar body resonates very strongly and passes some of that resonance back to the guitar strings, or whether the strings simply carry their own resonance. This is a complex set of interactions. I play a number of archtop guitars, they definitely sound different to a solid body guitar. Not a major difference but noticeable. Less sustain, as the resonance of the body absorbs some of the sustain, but a fuller bodied note with less high end. One of the sought after sounds with the traditional jazz tone is to roll off much of the top end to give a very mellow tone from the neck pickup. 

The problem with a hollow guitar is that it only really works efficiently at relatively low volumes. Once you get into a busy band environment the body of the guitar starts to interact with the strings in a most displeasing and alarming way. That beautiful tone you coaxed from the guitar and amp at low volume, becomes a feedback nightmare at higher volume in a new uncontrolled acoustic environment.  As the guitar body is vibrated by the guitar amp, pa, bass and drums, the strings start to create a negative feedback loop. This can be very frustrating and of course ruins the final live tone of the guitar.

Part of Les Paul’s research into solid bodied guitars demonstrated that a block of wood, a plank in effect, gave a high rejection of feedback and left a canvas that was far blanker for the guitarists to produce the tone they wanted at increased volume.  A plank of any material really doesn’t give very much back to the strings in terms of vibration. However this can be seen as an advantage in some ways, as the lack of vibration being absorbed by the body gives a sharper top end and much greater sustain.  It’s much easier to subtract these things if they are not needed than to add them in if they are not there.

In my experience far more important to the way strings behave in relation to the the pickup resides in much more easily adjustable factors that don’t always require huge investment.

The type, gauge and age of strings used will make a significant impact on the sound of a guitar. Using flat wound strings makes the guitar sound much mellower and reduces the whistle and squeak as you move up and down the neck, they also last for ages. For twanginess and top end a good set of round wound strings will make a huge difference. Heavier strings will give you more dynamic range controlled through your fingers, but of course until you develop strength, may lead to some choked notes and sore fingers.

The action of the guitar and the height of the pickups are both really important components of the final tone of the guitar. A friend of mine was complaining that his 335 didn’t have the clearer tone of my Ibanez. I looked at his guitar and the neck pick up was almost flush to the body of the guitar. I suggested that he raise the pick up to see if that helped.  Where the pickup sits in relation to the strings has a major impact on the sound.

For most of us when we start playing the guitar, low action is one of the things that we obsess over. Of course it makes the guitar much easier to play and quick lines much easier to execute.  People seem to like a guitar that plays ‘like butter’.  However I suspect that low action is one of the key factors in poor sound within a guitar. Django Reinhardt played with incredibly high action. On a Manouche guitar the volume and clarity of the sound is achieved by keeping the action high so the notes really ring out, with no need for amplification. On an electric guitar something of the same principle holds. The note will sound much clearer if it is not being choked by the string vibrating against neighbouring frets when it is played. A slightly higher action really does increase the dynamic range even of an electric guitar. Once you get used to it it is not nearly the obstacle to fast clean playing that many guitarists fear.

Don’t forget the intonation as well. The beauty of an electric guitar is that this is easily adjustable, unlike most acoustic guitars, and although the physics of a fretted instrument means any intonation is a compromise, you can normally achieve a very happy compromise with the right tools and a good tuner.

Fret work is really critical to sound as well. These days the best fretwork doesn’t necessarily come with the most expensive guitar. It’s a very labour intensive thing to get right, and labour is hugely expensive in some parts of the world that claim to make the best guitars. I have a cheap Harley Benton with lovely well dressed frets with rounded edges and a rolled fretboard, far superior to a guitar from a well known brand guitar I own that is worth many times more.  

Tuners and tremelos can sap tone very quickly. Those lovely rich overtones can quickly be destroyed if your guitar regularly slips out of tune during the set that you’re playing. Many players block off the trem on their Strat for this reason.

It may sound obvious but the playability of a guitar also makes a huge difference. If you are able to hold the guitar in the right way and it feels comfortable to play that really does have a huge significance on how it sounds. I personally find the kind of ‘wrap around’ feeling of an angled, ‘set neck’ guitar very comfortable and ergonomic. 

Amplification

While you can plug an electric guitar into any amplifier and boost the sound, as the electric guitar has developed, probably the most critical part of the sound guitarists have learned to love comes from how it is amplified.  Traditionally large, low wattage, over engineered, low fidelity drivers have been paired with simple valve/tube amps to produce a strong mid rangey sound that accentuates the more mellow attributes of the simple low fidelity, low output pickup coils in the guitar. The valve amp saturates (like a photo that is subtlety oversaturated to make the colours more pleasing) the sound near to the point of distortion for very rewarding clean sounds, and then breaks up into wonderful harmonic distortion when overdriven.  Solid state amplifiers designed for guitar on the other hand can give a beautifully clear and loud clean sound, that maybe just shows the hint of breakup as it meets the driver.

The interaction of pickup and amplifier and driver in conjunction with good playing and a well setup guitar is the Stradivarius moment of the electric guitar. Fortunately because the guitar is such a popular instrument, modelling has come almost all the way to recreating these sounds without having to crank up the volume and run the risk of an Anti Social Behaviour Order.  Modelling also means you don't have to be a weight lifter any more in order to play the electric guitar.

Where are you playing?

With all these quests after tone it is really important to remember that context and environment is as important as any other factors in the equation. What sounds great in your bedroom at home playing on your own, into GarageBand, or to a backing track, may well sound completely different when you are playing at volume against a band all trying to rob your carefully crafted sonic space. If you play solo finger style to an appreciative subdued audience, your home settings might have a chance to translate well. Even here the room, and the audience talking and moving about has a major effect on your final tone. Against a band, unless you have sound engineers and guitar techs running around in the background, you will probably appreciate in your signal chain a lot of parameters that can be adjusted quickly manually on the fly rather than buried deep in a software menu. Flexibility is critical to finding the right sound.

Where to spend the money?

It’s difficult isn’t it? There are so many exciting things that seem to promise to deliver that little bit extra. The temptation is to invest heavily in the guitar and some expensive pickups.  There is a rationale to this that goes beyond the simple pursuit of sound. Let’s not pretend that bragging rights and image don’t drive us as much as the end tone. Most of us want people’s jaws to hit the ground when we open the hard case.  Our initial estimation of someone’s musical ability does, however hard we try for it not to, often go with the gear they own.  And of course usually the more desirable a product the more it will increase in value.

However take a step back for a moment. The popularity of the guitar means that, with care, you can buy a truly excellent electric guitar for very little money. One that really will hold its own against any other electric guitar on the planet. You may not look super cool without the big brand name on the headstock but you can sound and play just as well or maybe better and you won’t have to obsess over keeping the guitar safe from harm.

A balance in costs between amp and guitar is almost certainly the most sensible option. No guitar is going to sound good if the amplification system isn’t up to the job.  If you want a wide range of tonal variations your best bet is a number of different guitars and amps. Sadly for most of us, once you start on that journey of acquisition it’s quite difficult to stop! 

Don't forget the fingers - they are the critical ingredient

The most important thing in the tone of an electric guitar is you!  Practice, understanding of harmony, scales and rhythm. Accurate fingering. Dynamics, touch. You will always sound like you, no matter what guitar you play, so put the majority of your time and energy into your technical skills to improve your tone. And don’t forget the technical skills are there, not to show off with how fast you can shred, but to help you to express your soul and communicate with other people, and to integrate with other members of the band. Very often in music less is more, the spaces are just as important as the notes themselves, the slow passages move us more than the blisteringly fast ones.  The best music in my opinion is the music we make with other people, allowing all the different musical voices space to bloom. 

Archtop "Jazz" Guitars - what's so special?

I have always been fascinated by this classy but rather enigmatic branch of guitar design.  They are often used by jazz guitarists but are extremely versatile instruments for any style of playing.  Arguably, more by accident than design, archtops became one of the main forerunners of the electric guitar in all its current diversity, but archtop guitars are also very fine instruments in their own right.

History

The archtop guitar has roots in classical string instruments such as the ‘cello and violin. These fine bowed instruments gradually evolved to their current shape after hundreds of years of experimentation and improvement. It was discovered that a domed carved top and back, together with a floating bridge and f holes each side of the bridge gave superior tone and sound projection.  Tone woods that were readily available in Europe meant spruce was generally used for the top and figured sycamore for the sides.  It’s important to remember that these instruments were all mainly bowed, not plucked, so the design emphasis was on note fundamentals, sound projection and tone, the sustain came from the bow.  Strings vibrate in a very different way when they are bowed than when they are plucked.  Listening to a violin played pizzicato shows some of the limitations of this design of instrument for plucking, with very little sustain or time for the note to bloom, the sound is quite percussive.  For more detailed information on all of this some academic research can be found here https://royalsocietypublishing.org/doi/full/10.1098/rspa.2014.0905 

The development of the guitar meanwhile took a different route.  Strings were gut strings under less tension than steel strings.  The acoustic development of the guitar came out of the need to increase sustain and tone on an instrument that would mainly be plucked and strummed.  Influence came from centuries of Middle Eastern and North African development of plucked instruments along with the lessons of years of lute making in the European tradition.  A flat and braced  board of spruce was usually used rather than an arched top, and frets were used to help the fingering of multiple strings for chordal work and for sustain. If the top was bowed it tended to be a single angled bend to give the bridge some extra height. The bracing was discovered to add greatly to the overall tone and different systems were developed to enhance the tonal range.  The sound was pleasing and rich, but it was relatively difficult to achieve the volume that an instrument from the violin family or woodwind family could manage.  This rather restricted the use of the guitar as an ensemble instrument.  Instruments that had a greater projection such as mandolins and banjos were favoured in accompanying larger groups.

Development of the archtop guitar

The introduction of steel and bronze/steel strings to the guitar gave the possibility of greater sound projection, but also the headache of how to build an instrument which could cope with the greater pressures on the top induced by these strings. One solution was to strengthen the top of the traditional form of guitar, and to develop new bracing and voicing to handle the heavier string pressure. Another solution was to explore the link that the mandolin has always had with the violin family of instruments and see if the traditional archtop style of instrument  building would work for the guitar.  

The archtop guitar gradually evolved out of this experimentation.

Advantages and disadvantages of playing an archtop guitar

The advantage of the emerging archtop design of guitar was a much greater sound projection.   A flat top guitar often seems to compress the sound, meaning that after a certain level, the energy put into playing a doesn’t seem to increase the sound levels.  An archtop guitar appears to respond in a more linear way to harder playing, more in = more out.  However this comes at the cost of tone and sustain.  

An archtop guitar can sound quite “boxy” with an emphasis on mid range tones.  These can be perceived as less pleasing in direct comparison with a flat top guitar (though these are generalisations as each individual guitar has a unique tone of its own).  While this can be less desirable when you are playing alone at home or solo, in an ensemble situation it has certain advantages as it seems to “cut through“ the mix more effectively, and projects far better for solo lines.  An archtop does seem to have a very pleasing natural “reverb”, and this works well for solo lines when played acoustically.  It was discovered that to a certain degree the bigger the body of the archtop guitar the more projection and the better the tone, which lead to some absolutely huge guitars being made.  This of course made them rather hard to play.  It is argued that the f hole design projects sound outward more effectively than the traditional o hole of an acoustic guitar so the audience hear a very different tone to the player.  That’s why when you are buying one it is good to take someone else along to play so you can listen from a distance.  

There were other attempts to develop loud acoustic guitars.  Notably the Maccaferri guitars in France/Italy, which used a sound box inside the guitar (not generally a great success), although the clever construction of these guitars gave a very loud instrument even without the extra sound box inside.  These instruments used more traditional guitar building techniques to produce a similar projection to an archtop, utilising high action, long scale lengths and slightly bent tops.  Again these guitars respond well to energetic playing and focus around the mid ranges of tones.

Another route of design was that of the resonator guitar which is seriously loud, but has a distinctive tone all of its own.

We should also say something about the bracing of arch top guitars here. An advantage of a domed carved instrument is that it is structurally quite strong, so needs minimal bracing compared to a flat top instrument.  Bracing in acoustic instruments serves two purposes.  One is to provide extra strength and rigidity but the other is to allow sound waves to pass more effectively across the soundboard.   Arch top guitars usually come either with parallel or x bracing.  Each of of these has rather different tonal properties.  The x brace in general gives a richer tonal palette, where the parallel bracing seems to produce a more focused tone.  Sometimes a luthier will add a sound post which connects the front and back plate of the guitar as in a violin, this also serves both tonal and structural functions.  

One further thing to mention is that the back plate of an arch top guitar is much more essential to the overall tone than is the case on a flat top guitar.  You can experiment with this.  A few years ago some academics at my local University did some research together with with Fylde guitars into the difference the tone wood of the side and back of a traditional guitar make to the sound.  It appears from that careful research, that they make very little difference at all, with the huge environmental benefit of saving rare hardwood species.  This research was done by Lancaster University in liaison with the amazing Fylde guitars, link here http://www.psych.lancs.ac.uk/hearing/the-guitar-experiment/   

However with an archtop it's slightly different - if you hold the guitar against your body while you play you will notice the sound is muted. Strum a chord and feel the back plate of the guitar and you will notice it vibrates.  I believe part of the sound and projection of the archtop guitar comes from the sympathetic vibrations of the front and back plates and the “bellows” effect produces literally pushing the sound waves out of the f holes.  Of course this means you lose a lot if you play an acoustic arch top standing up, and when sitting down it is best to adopt something like the Freddie Green style of playing for maximum effect, where the guitar is angled away from the body of the player so the back can vibrate freely.  I guess the instruments of the violin family are all designed to vibrate in this way too and are designed to be played away from restriction or damping on any of the boards.  It would be really interesting to see some careful scientific research into this, let me know if you are aware of any.

The electric guitar - amplifying an archtop guitar

The world changed when the electric guitar was born and a massive revolution in popular music was started, along with huge increases in available volume levels.  Archtops were a key part of this.  Arguably the ingenious and technically simple magnetic pickup system that was developed in effect created a whole new instrument related to the acoustic guitar.  New techniques of playing and totally new sounds were quickly adopted.  Sadly a lot of lovely old beautifully crafted instruments were butchered as tops were riddled with holes to fit large magnetic pickups and wiring looms.  Electrification certainly offered the opportunity to turn the guitar into an effective solo instrument that could hold its own in volume against anything in an ensemble.  The tones many of those early players achieved with electric instruments were hauntingly beautiful and many of us try to replicate that sound to this day.

Sadly the innovation was eventually lead to the demise of the very instrument in which it had been developed.  There is an inherent and deep seated conflict in pairing a large highly resonant and expensive acoustic box, higher volume levels and a magnetic pickup.  

Although superior in feedback rejection compared with using a standard microphone, a big acoustic box is still a great way to generate feedback when paired with a magnetic pickup, making playing at any volume a real challenge and source of annoyance to other band members and the sound engineer.  The sound box of an acoustic guitar is susceptible both to the unwanted vibration from the sound waves of other instruments and speakers, but also to the infinite loop of certain feedback frequencies. Dialling these things out ruins the tone.  The guitarist and their monitor all have to be carefully positioned to minimise this, but it is still very hit and miss especially in live performances, where ideal positioning may not be achievable.  

Another issue is that a magnetic pickup requires steel or nickel wound strings to work at its best.  The problem with these is that they are simply not in the same league acoustically as bronze strings and do not drive the arched top of the guitar in the same way.  It is of questionable value to spend thousands having a luthier carve and tap tune a guitar to then string it up with acoustically dead strings, reproducing the sound through what is in reality a very lo-fi pickup solution.  I know there is a whole industry based around hand winding bespoke magnetic pickups but this at best only changes the voicing.  Magnetic pickups really pick up little more than the vibration of the strings, not the individual sound DNA imprint of a sophisticated acoustic instrument.

There’s a significant crowd out there who work within these constraints, trying to achieve a “holy grail” of sounds, rooted in the history of the instrument, good luck to them.  Many who do this I notice have back up instruments for tricky situations.  After all that’s why the solid body guitar was developed.

The immediate solution to keep the archtop alive in an era of amplification was to develop an instrument that was much less lively acoustically, and voiced specifically for amplification, yet still true to its hollow body archtop roots.  Importantly these instruments retained “the” look which only an archtop possesses.  Some of these were specially carved to create less feedback so the top was more dead acoustically.  More often pressed laminates were employed with less tendency to vibrate.  For the manufacturers this also has the benefit of reducing production costs (though not necessarily cost to the consumer).  These laminated instruments are still considerably more prone to feedback than a solid body guitar, and can still pose significant problems at higher volumes or with certain frequencies of sound.  The semi acoustic archtop was developed to counter this, normally coming with a slimmer body and a having the benefit of a solid block of wood under the pickups that vastly reduces the feedback problem.

It’s amazing with all the issues that hollow archtops with magnetic pickups are still so popular with guitarists.  I have to admit that I love them, despite all the issues.  I like the look, and although it’s highly debatable how much of the body sound of the guitar gets reproduced under amplification, they do appear to respond and play differently to a solid bodied guitar.

In more recent years huge developments have been made in acoustic guitar amplification. The development of the piezo under saddle transducer provides a reliable, relatively feedback free way of producing a sound more like an acoustic guitar.  However the piezo has significant drawbacks.  My experience has been very mixed.  While it has been great to have a way of playing acoustic guitar along with a band without having to stand by a mic, the piezo doesn’t really reproduce the actual sound of the guitar any more successfully than a magnetic pickup, it just sounds different.  An archtop with an under saddle pickup sounds suspiciously similar to a flat top guitar fitted with with one.  We have got used to the rather harsh quacky piezo sound in live performance and guitarists have developed new techniques and effects to work with the new possibilities, such as the trend for percussive and tapping styles of playing and the use of effects and looping that piezo pickups have opened up.  Many people speak of quickly tiring of the harsh sound a piezo produces.  I was recently helping organise a gig where two of the musicians insisted on playing and singing through a single Ear Trumpet condenser mic for their performance. It was incredible to hear the ‘real’ sound of the instruments, in direct comparison to other acts using pickups and close miced vocals. Of course the piezo pickup and close vocal micing was far louder and more punchy, but much more tiring to listen to.

To get the best sound acoustically a microphone is still the most effective solution.  In a studio setting with no competition from other instruments you can experiment with placing mics in different places to really get that unique sound of the guitar you have carefully chosen for it’s lovely sound.  But what about mixing in a live situation, where you have to stand or sit still by a stand mic?

The option that is just beginning to really take off is to use close micing with small cardioid condensor mics on acoustic instruments. This is not a perfect solution, but even a really cheap clip on mini condenser mic offers a far more faithful reproduction of the sound of an acoustic guitar than the most expensive piezo based system, even when that piezo system comes with an inbuilt mic.  More expensive clip on mics offer better feedback rejection and better quality sound reproduction. Modern digital mixers offer a huge range of eq, compression and feedback rejection which helps enormously with some of the inherent problems of mics like these.  The secret with an archtop guitar is to clip a gooseneck mic onto the handy tailpiece or to the strings behind the bridge (a great advantage over a flat top this!) and direct the mic towards the soundboard between the treble end of the bridge and the treble f hole.  You can mic really close and still achieve a sound far superior to a piezo based system.  There are issues around feedback and sound overspill from other instruments, so this is no silver bullet, but worth a try if tone is critical to you and volume levels not too high to make it workable.  For much more in depth discussion of this please see Jonathan Stout/Campusfive's excellent explanation - he has all this down to a fine art https://www.campusfive.com/swingguitarblog/2017/8/2/rig-rundown-2017

Because each system comes with its own drawbacks some people have success with combining close micing with magnetic or piezo pickups to cope with the unpredictability of different venues, and to help with the greater volume needed for soloing.

Future of the archtop guitar?

I guess archtop guitars are probably going to remain a bit of a niche market. There’s been a bit of a resurgence in recent years with some truly great and reasonably priced guitars coming out of the Far East.  Predictably these have received a mixed reception, as many of them come in at a quality and price point that threatens highly lucrative home markets.  The manufacture of instruments has benefited hugely from computer based automation which, when directed sensibly, can mean that a lot of time consuming tasks can be replicated with more accuracy than a human being and in far less time.  Most guitars whether made in a workshop or in a factory still are largely hand finished. There’s a lot of bargains to be had because of the differing costs of this intensive labour globally.  Don’t get put off by the country of origin snobbery expressed in some guitar forums.

Recently in the acoustic arch top market there’s been a resurgence of the solid top “pressed” archtop.  Instead of painstakingly carving a top out of a substantial piece of timber, a thinner solid wood plate is steam pressed into shape. While these instruments will never reach the dizzy heights of a carefully crafted and tap tuned carved archtop, they can often be a good value and more consistent alternative. They can sound extremely good and provide a really different tonal palette to the standard Martin style flat top for the impoverished working player.

There’s a lot of people doing very well cashing in on the mystique and the ready disposable income some people have for fine instruments. Good historical archtop guitars can be eye wateringly expensive and very high maintenance. This drives the cost of some newer models in its turn, with original historic brand names carrying huge price tags, even if the brand name is really the only remaining shred of continuity with the past, as a totally different company or holding is now building the guitars!

The archtop market as much as any guitar market is definitely prone to bragging rights and oneupmanship.  It is difficult to discern what is mojo and what is reality as you trawl the forums discussing such things.   Carved tops, hand wound pickups, the label, the luthier, and speciality woods and unnecessary bling carry a huge premium.  You definitely don’t necessarily get what you pay for in this market, in many cases, in effect, you pay what the manufacturer or retailer can get away with charging.

Having said that there are some truly wonderful small workshops and luthiers out there making some amazing instruments that rival the best of any ever produced.  I recommend playing as many different examples of archtops as you can so you get a feel for the sounds, playability and variety. However, please always remember that the primary sound is in your fingers not in the guitar, and that great guitarists, jazz and other styles, have successfully made beautiful music on all kinds of different types of guitar.