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Originally Posted by sgcim
I've not had the pleasure of hearing/viewing that DVD, I'll have to get a copy. HA is one of my favorite players, in particular his "My Shining Hour" CD is outstanding in performance and tone-IIRC it was recorded with his Benedetto oval hole.Is the guitar in the HA video a floating pickup?
I thought JB's tone on both the Live at Birdland CD's and "Like That" with Joey D was excellent. I'm pretty sure the instrument on those recordings had a built in pickup-I fact I actually played that guitar. Playability was just over the top good-it certainly was no case queen, it had played a lot of music in it's life.
I gigged last night and remain very satisfied with my BC equipped with a Bartolini floater, a patch cord and my Evans JE200.
As you have pointed out though scgim, it's subjective.Lots of variables between being at the show and watching on DVD as you know.
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10-02-2016 06:33 PM
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HA didn't use his oval hole with a floater. He used that one on the video he made with Ruby Braff and Frank Tate (a bass player I've played with a few times). I liked the sound of that guitar more than the guitar he used on the Smithsonian DVD. Originally Posted by SierraTango
He used a thinner bodied Benedetto with a built in, black pickup.
As usual, HA's playing is impeccable. Of the players in the Benedetto/Mel Bay/ JJG conglomerate, he's my fave.
As you mentioned, there are a lot of factors involved.
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Howard Alden has always had a rather trebly tone, no matter what he played. He has a Benedetto Bambino Elite 7-string which he plays every now and then, in addition to his oval-hole. He sounds about the same on both of them. His tone is his tone, and didn't change when he played his non-Benedetto. I can't recall the maker at the moment, but you can see it on YouTube in a few videos, where he has the headstock logo covered with black tape. To me, he sounds exactly like he sounds on all his Benedettos, and on the Gibson he played before going to the Benedetto. I don't think it's the guitar, as much as the amp settings and the fingers. I've always been able to tell the difference between Alden and Bruno in duo recordings, as well as Frank Vignola. Very different tones. Alden is, IMO, one of the top players extant, ever. I really like his playing, although his tone is not my ideal. I'm getting closer to it, though.
Last edited by sgosnell; 10-02-2016 at 11:33 PM.
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Royce Campbell in Virginia switches between his L-5CES and his Bob-build Benedetto Fratello. Both sound great.
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A few days ago they did a live video. In that video, they stated they were essentially in a summer vacation shutdown mode. Not sure if they are back this week or not.
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Someone messaged me today about your comment on this forum. First, let me apologize if we haven't responded to an email you sent. We respond to every single email we receive. I can only assume we missed it or it was routed to a spam folder accidentally. Originally Posted by desuitcase
Secondly, we agree that taking your guitar to an untrained guitar center tech is definitely not the best way to have it evaluated. It needs the hands of an experienced luthier. If you find someone capable but not familiar with working on archtops, our master luthier Damon Mailand would be happy to get on the phone or Skype and walk them through a diagnosis and repair.
We never recommend sending a guitar back to us as a first or even second resort. Because the guitar was inspected and tested before it left here, it's most likely that any changes in setup or something rattling took place during transit. Sending it back and having it addressed would fix the issue when it's here in Savannah, but it could need readjustment as soon as it arrives back to your location. It's infinitely better to address the guitar where it will live.
Since each and every instrument is inspected by at least two luthiers, final inspected by Damon, and typically played by me before packing, it is very likely that any rattling you hear is the result of something coming loose during shipping. It usually is a pickup rattle caused when the small felt pieces used to frame the pickup in it's housing dry or come loose, or a wire that's affixed to the underside of the top comes loose, or some component or screw that worked it's way loose. Damon can help a local luthier track it down by walking them through an inspection. If a component failed (it happens), we of course would send a replacement and pay to have it replaced. If it's something structural, than we would cover it under our warranty or replace the guitar (very unlikely, but we wouldn't rule it out).
Regarding setting the action, when it leaves here, it is set to factory specifications but always with some degree of adjustment left available on the adjustment wheels to raise or lower the height. If the action is high and the wheels are bottomed out on a new guitar, it's likely because something shifted during shipping. This is correctable, and even if bottomed, out there is plenty of material on the bridge and saddle that can be trimmed to accommodate more adjustment. Again, Damon can walk you through the process.
We are a small shop building about 100 guitars a year using Bob Benedetto's workbenches, tools, designs, and the best components available. We take enormous pride in our instruments and believe that our customers have the right to expect extraordinary quality and service when they buy a guitar with our name on it. We don't compromise and we don't expect our customers to compromise. But we also want our customers to recognize that guitars are built with organic materials the shift, expand and contract with time and environmental changes. Every instrument worth it's salt will need adjustments and minor repairs from time to time. I hope you'll give us an opportunity to get your new Benedetto back to our exacting standards. Please feel free to email me directly at hpaul@benedettoguitars.com, or dmailand@benedettoguitars.com to talk to Damon. Our phone number is (912) 692-1400. Our shop has been closed for summer break over the July 4th holiday, but everyone returns on Tuesday, July 11 and we will happy to address these issues immediately. I'll be away from the office from July 13-24, but someone will respond immediately if you call the shop.
Best regards,
HowardLast edited by Howard; 07-09-2017 at 03:39 PM.
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I doubt Gibson would ever provide the kind of support that Howard is offering above.
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I find in the area where I live there are number of good luthiers. However, finding them is not always easy. It seems a lot of them are old school, get business by word of mouth, hand out business cards, and do not spend money on advertising or spend time building a web site. In many cases it takes networking with other musicians to find these guys. If someone here can't help you find someone you might want to check Facebook for an Open Mic Group community in your area. You might want to trust the opinion of someone at an open mic that shows up with Martin D45 or Collings.
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Benedetto guitars are very nice I have played many of them over the years. For whatever reason I have never had to desire to own one at all or even lust after them. Bob makes a great guitar and generally has done all that is required to be a true living legend. I do still lust after Super 400's. D'a, and others but Benedetto guitars are just not on any list at all.
I really want another Hollenbeck but of course I cannot find anyone who wants to sells theirs and his lifetime output was not very much.
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Indeed, Howard, Damon and Benedetto are top shelf - they are second to none for quality and service! Originally Posted by Stringswinger
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1. They don't have neck dive for one thing.
2. Aged and seasoned Euro woods.
3. Binding is superior.
4. No plastic pick guards.
5. No rushing to get them out the door - risking nitro finish issues
6. Ebony or other wood appointments as opposed to gold plated metal, which tarnishes. That means that they're long lasting (like a Stradivarius).
7. Sound great unplugged.
8. You can order custom options, colors, tuners, pickups, tailpieces, inlays, woods etc., to your heart's content.
9. They have the JS 25" scale length, not 25.5, if that matters to you. They will make you a 25.5 is that's what you want. They may even make you a heavier guitar like a Gibby if you want one - you can always ask.
I could go on.Last edited by Jazzstdnt; 07-09-2017 at 11:32 PM.
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I keep thinking about an upgrade. I really lust for a Bambino Deluxe, but I can't justify the cost. The Bambino I have plays and sounds so good, I can't see how a Deluxe would be any better other than the extra bling, and bling is not what I care about. But if I ever find a reasonably priced used one, I may be forced to spend some money.
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Until recently I owned a Benedetto Bambino Std. GREAT GUITAR! I just sold it to fund other needs musically. I have played several higher end models and was equally impressed. Now that doesn't mean there aren't other luthiers who make just as fine guitars. But creating a market for high end guitars Benedetto has succesfully done.
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When I saw Pat Martino play his Bennedetto it just looked and sounded like the most refined instrument. I might think the same if I saw Wes play his L5 live but to me it's all about passion. Bennedetto's are a wonderful instrument no doubt and in a class of its own and to each his own because there is passion in the build.
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For a humorous parody I started last year in response to "The Gibson Feel" thread, this post has taken some interesting turns. Although I have never had to use any customer support services from the Benedetto shop, I have heard enough positive comments to believe it is first rate.
Although buying instruments sight unseen over the internet is a way of life now, I have a personal rule that I follow and it has served me well. I set a limit. Any instrument over $1500.00 I will play and inspect personally before I drop the dime. If it requires travel, I figure that into the purchase price. That way I know what I'm getting. I realize in the case of a new instrument order, this may not apply. You place your faith in the builder and their follow up service.
On the occasion of my Cremona's 27th birthday I offer this photo. Again, this is a working instrument and no case queen. She is my best pal!
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One thing that jumps out at me that I like (in addition to the shape of the body and the headstock). The volume knob is in the right place. IF your gonna take it off the top plate, then, please, PLEASE.. put it on the pickguard in a spot were my hand doesn't bang into it all the time!
It is so cool that you have a little girl thatchoo love. Enjoy! This was a great thread when it started and it still is.
Joe D.
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ST, she is one fine looking gal!
And she is in the right hands for sure. May she inspire your playing for many years to come.
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My Guild-Benedetto Artist Award:
More Guild than Benedetto for sure, but the master's influence can be felt and heard (and he signed the label on this most excellent example made in Westerly RI under Bob's Supervision with woods that he selected).
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If you had a 26.25 scale Gypsy guitar, the 25 5/8 Guild scale would feel easy. I use TI 12's on my GBAA. Tension is fine. That said, if only she had the 25 inch Benedetto scale.....ah, the stuff of dreams. Originally Posted by Jabberwocky
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25-5/8 is only an eighth of an inch longer, in total, than a standard 25.5 inch scale, maybe less, depending on intonation.
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Gorgeous GBAA SS! Something about the Sunburst on yours is very special. Another outstanding instrument in your stable. I was very fond of my 92 Westerly AA which I sold to offset the funds spent on the Cremona.
Funny you mention the GJG issue. I'm glad to be the keeper of a 98 Dupont MC30-14. I love it very much, however wish I had the time to improve my gypsy chops. Busy gigging with my BC.
Wishing all who followed this crazy thread health and happiness!
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At the risk of further diluting this thread. Attached is a pic of my GBAA also made in Westerly in 2000-2001 time frame. Serial 0065. The picture doesn't really do the opulent brown finish justice. I owned a earlier serial number but returned it due to finish problems. This is one of my best playing guitars. It is less stiff than my two Eastman with 25" scale. I wish it had a 1 3/4" nut. It is not very loud acoustically but very rich. This is a keeper for me.
I recently got my early SF Fender Pro Reverb working after a couple of years of not working and it sounds glorious through this amp.
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Here's a Limelight and two Fratellos, all built by Bob before the Fender days. The 1989 sunburst Fratello in the middle is mine. It is an amazing guitar. The Limelight is pictured in Bob's book. Originally Posted by SierraTango
Keith
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I don't come here often, but I thought I'd give you all an update on my new Bravo model. Howard Paul sent me a message apologizing that he had not seen my other email -- he has been travelling a lot. He provided contact info of a guy in a nearby town he had arranged to have a look at/work on my guitar for me. There are only a two or three people in my immediate area that I would trust to work on it, they're located in dangerous parts of the city which I try to avoid. Bottom line -- the rattling issue has been resolved and I'm happy with the action too. Great customer service from Benedetto! I'm very happy now and enjoying this instrument.
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