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For some reason, Benedetto seems to not get much mention here on the forum. I am unsure if that is because the earlier Bob builds are pretty hard to come by, or that the newer models are seen as production model guitars rather than a one man luthier shop, but I wanted to make a thread here for any and all who appreciate Bendettos of any era similar to the ongoing Trenier thread.
Feel free to share your Benedetto pics, videos, stories, news, etc. I will kick it off with some pics of my 2009 Bravo:
And one with its partner in crime:
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07-01-2021 03:57 PM
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I've been fortunate to have owned a 1990's Fratello for a few years. I was passing through Cologne and stopped by the - now long gone - Art Of Music store downtown and was caught totally off guard by a used Fratello, perched in a display case in a corner. That store was the first dealer in Europe - IIRC - that had ordered a couple of guitars from Bob and this one was sold to a pro player in town a few years prior. He apparently fell on hard times and the guitar ended up being returned to the original seller. I was aware of the price for a new Fratello through the Mandolin Brothers catalog (that I regularly got via airmail) and needed only a few minutes of concentrated thought and a little math to jump in and buy it on the spot. The guitar had the most vibrant sunburst finish I had ever seen, a buttery action, perfect neck shape, even response and I felt as if I had been given the crown jewels. The honeymoon lasted up until my first actual gig with this guitar : at home it was like heaven, on stage it turned into a nightmare for me. I was not able to dial in my sound at the needed volume level and all attempts to lower the stage volume did not suffice. I ended up taping over the f-holes with gaffer tape ....
I didn't have any solo or drummer-less gigs at the time so the guitar saw less and less action besides the occasional practice session at home so when after a few years I found an attic that could be converted into a living loft I had to liquify all assets that were not essential for my profession - the guitar was sold, with a nice profit non-the-less.
So my feelings are somewhat mixed : it was a superb example of a modern hand-carved acoustic archtop, by a world-class luthier, beautiful to behold and a joy to play - at home. Now-a-days I could put it to much better use but 20 years ago it just didn't work out for me. I'm totally happy with my Trenier, the Victor Baker and my Super-400 and I feel no hunger at all for yet another archtop - the Fratello ended up with another pro player who gigs with it regularly, which makes me happy because these guitars should be heard and seen and not be hidden in the dens of affluent collectors.
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I just heard a dude play a Benedetto Benny, and it sounded a lot more defined than the archtop the other dude he was playing with.
What price range do used Bennies sell at?
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There is one available on Reverb, advertised as mint, for $3200. That seems to be a fair price, with new ones selling for $5500.
I have a custom Bambino Deluxe, built for a Savannah musician with a well-known family name, with a one-off tritone burst, and it's a very nice guitar. I had a standard Bambino, which I sold, because I didn't need two Bambinos and didn't need two pickups. I would certainly take a Bambino over a Benny, but that's just personal preference. Benedetto turns out great guitars, all handmade in the US, for less money than some people are charging for Chinese imports. The carved top acoustics are rather expensive, but if you can get by with a laminated model, you get a lot of bang for your buck with Benedetto.
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The archtop guitar was defined by Lloyd Loar and then Epi Stathopoulos. Then redefined by John D'Angelico, Jimmy D'Aquisto after him. Giants to be sure.
And then Bob Benedetto redefined the archtop guitar again. His impact has been huge, in part because he made his "secrets" readily available to other luthiers. Eastman, for example.
It's being redefined yet again by luthiers such as Ken Parker, Tom Ribbecke, NK Forster, etc. Fascinating times.
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I definitely appreciate Bob Benedettos guitars for aesthetic and his laminate models. But that said they definitely are quite expensive in comparison to other excellent luthiers offerings.
And I'm sure marketing and brand identity are the key factors involved.
I think for value it's hard to beat Mark Campellone, Frans Elferink, Stephen Holst, if you are looking for a custom made archtop.
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I don't have a photo to share, but I do share OP's wonderment. It's as if Benedetto represented a fortress besieged by an army led by Gibsonians and joined by many smaller tribes. It might well be that Benedetto's cooperation with FMIC and then the Savannah operation, while extending the brand's lifespan, have also diluted its identity. All individual luthiers face the same challenge against Gibson, whose staying power appears near-incomprehensible. Campellone and Trenier are in right now, like Benedetto and Buscarino used to be, but there's a sunset ahead for them as well.
I used to sleep with Bob Benedetto's book under my pillow, but, nearing 70, decided to start building cabs instead of guitars. I do own a Benedetto Bravo from new, #S1054 from 2007 I believe. While an absolutely fine guitar, it was too fine to take out to the kind of gigs available 'round a decade ago. I then stumbled on an ES-175 1959 VOS, a model I had dreamed about since my teen years, and with which I bonded instantly. Lately, I rescued a pristine 2011 Tal Farlow from wrong hands and don't yet know how much daylight it will be exposed to. Somehow, both Gibbys have more personality than the Bravo. I don't know what Gibson's secret is but they just feel and sound so damn good. Unfortunately, I have no way of telling how the Bravo stacks up against other premium laminates, such a Comins, Collings, Sadowsky, Trenier etc. For my pedestrian playing skills, I already have too many fine instruments.Last edited by Gitterbug; 07-03-2021 at 11:35 AM.
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I’ve followed Bob’s work for many years. I’ve never owned one of his guitars, but I can tell you from personal experience that he is a very nice man who surprised me with his warmth and honesty. I’m sure he wouldn’t remember me now, but I won’t forget the encounter I’m about to describe.
His shop was in Pennsylvania not that far from us when he really took off, and someone brought at least one or two of his guitars to every Philadelphia Guitar Show. I got to play several in the early years and was very impressed, but the price was out of my range. I probably would have bought one if money were no object - but it was.
When I could have afforded one with only minor sacrifices, I had to drive one of our kids up to the Pocono mountains for some event, and I would be only a few miles from Bob’s shop with a day to kill before coming home. This was my chance to visit and discuss a simple, basic carved guitar that I could afford. I called, Bob answered the phone, and I told him all this - and he was curt and dismissive beyond belief. Needless to say, I lost all interest.
A few years later, I was at a Philly Guitar Show playing behind a friend who was demo’ing his product (Bruce Kaminsky and the Kydd Bass - another great guy, great musician and great instrument). Another friend came over to tell me that Bob was there with a few wonderful guitars and I should go over to the booth he was visiting. I refused and explained why with the above story. He told me I was crazy and that Bob was one of the nicest people he’d ever met. When I stood my ground, he disappeared and apparently went to tell Bob my story.
A few minutes later he returned with Bob, who was so nice and apologetic I was stunned. He made no excuses, told me he didn’t recall it but believed it, and that he must have been having a very bad day for some reason “but that’s absolutely no excuse and I’m really sorry”. They dragged me over to his guitars while Bruce took a break, and I spent a wonderful hour learning more about guitars, playing his instruments, and trying to figure out how I’d sneak one past my wife.
I never did buy one for one reason or another. But my respect for Bob jumped from 0 to high after meeting him. To me, he seems like a man who stands behind his work and would bend over backwards to support his guitars and those who buy them.
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To me the only Benedetto guitars of interest are the ones built by him. I have owned a Bravo and a Bambino and the two were good but not great.
In the end I think the guitars are too expensive for what you get.
If you can get a used one- perfect. Especially the bambino is interesting because you cannot find its features with other archtops.
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I have not met Bob personally, but have corresponded with both Bob and Cindy. I had a Fender era Bravo that I purchased used and I wanted to replace the plastic pickguard with an ebony one. Bob, Cindy, and Howard Paul each messaged me back within an hour. While they had nothing to gain from my inquiry, they recommended that I order one from StewMac and have it installed locally. I was very impressed by how responsive and personable they were. Years later, my wife and I made a trip to Savannah and I got in touch with Howard Paul, who gave us a personal tour of the shop. Afterward, we spent a good hour in his office where I played any guitar I wanted while we talked and Howard told stories. When it was time to go Howard gave us a ride back down to our B & B in one of the squares. All the Benedetto people are personable, high character professionals and very nice people. I played some spectacular guitars while I was there, including Howard’s personal 7 string that Bob built for him, and Jimmy Bruno’s guitar that Bob keeps in his office. I would own a carved Benedetto in a heartbeat if I could afford one.
Originally Posted by nevershouldhavesoldit
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Cremona from 1981. Great guitar / playability
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Stunning! Originally Posted by laap45
Cremona from 1981. Great guitar / playability
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It's interesting that he has one of Jimmy Bruno's guitars in his office. We'll never know the true nature of the relationship between them, but it clearly wasn't always good. I was at a local club with my wife enjoying JB's playing many years ago, and I watched in awe as he literally tossed his 7 string onto the piano top at the end of a set. I'm also pretty sure I saw a cigarette stuck under the strings above the nut. As we were talking on the break, I jokingly said "What would Bob think if he saw how you treat his guitar?" He replied something to the effect that it was just a tool and it was his, so he didn't really care. Originally Posted by Mark M.
From talking to some of them, I gather that JB had similarly volatile relationships with many makers of the fine equipment he used over the years. If my assumption that JB wasn't always a gracious customer is correct, it's yet another tribute to Bob's good nature that he has that instrument in his office. That glass is clearly half full!
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Marketing costs being the driver? A boutique firm? Originally Posted by jads57
Benedetto started as a violin maker. His carved tops are made of "aged and seasoned European cello woods", in the old world fashion. That helps mitigate against damage driven by wide band hygrothermal variation. (heat and humidity fluctuations).
Gibson (which enjoys the economies of scale relative to indepedent luthiers) has archtops listed at over $12K. They're made of American spruce and maple. How are they aged and seasoned - or are they? Are they kiln dried? Not too much talk about that...
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What is interesting is how few people are posting pictures of their Benedetto. I don't own one either, but coming up in the 90's I always thought them to be the non plus ultra. There are people on this board with some very expensive guitars in their collection. I would have thought several included a Benedetto. That Cremona is beautiful.
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Here is a Limelight and a couple of Fratello’s all built by Bob in the late 80’s and early 90’s. I am the proud owner of the sunburst Fratello in the middle.
Keith
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I adore my 1990 Cremona. It's my working instrument. We are best pals!
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We can’t fully express our appreciation for Bob without also recognizing that he helped many of today’s fine archtop luthiers to be as good as they are. The first time I played one of Dale Unger’s American Archtops, I was in love with it. Every Unger guitar I’ve ever played has been excellent. So many of our best luthiers today were taught and/or influenced by Bob that his soul is in far more guitars than he made himself.
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I'm a big fan of the Limelight in particular. Sits in between the Fratello and Cremona, or so it seems to me. Thanks for posting. Originally Posted by floatingpickup
Here is a Limelight and a couple of Fratello’s all built by Bob in the late 80’s and early 90’s. I am the proud owner of the sunburst Fratello in the middle.
Keith
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Every Benedetto guitar that was built by Bob Benedetto that I have played, was an exceptionally fine guitar. The price that they command reflects that.
I have also played Benedetto guitars built by Guild (both back east and in the Corona, Ca shop) and Benedetto guitars built in Georgia. These guitars are very, very good, but in no way compare to the guitars built by Bob, IMO. That said, they are sold at a very different price point.
Bob Benedetto's contribution to the art of the archtop guitar cannot be understated. He is one of the giants in the archtop guitar's history and evolution.
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Not only US luthiers. I believe Bob's designs and techniques have been replicated at luthiery colleges and by individual builders all over the world. A big thank for sharing the insight! Originally Posted by nevershouldhavesoldit
On attitude: I've never met Bob Benedetto but have corresponded with Howard Paul and discussed with him at length at the Frankfurt Musikmesse in 2016 and again at NAMM 2020. Can't think of a friendlier and more forthcoming person. Plus a superb jazz guitarist, who in 2016 comped a saxophonist in a sovereign chord-melody style on his 7-string Benedetto. Every time I hear such performances, the instant reaction is to sell my gear and start growing lettuce or something.
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So Bob Benedetto introduced a lighter maybe even brighter type of archtop with thinner carved plates compared to older Gibson, D'Angelico style guitars.
I'm sure he also offered older style as well on an individual basis.
For me personally I find his designs to be lacking in the midrange response that I so dearly love about great Archtops. And again this is just personal preference.
So if you love that more flat top tonality, you will love his guitars.
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Bob was an active solo luthier from 1968 to 1999 (31 years). He stopped being a solo builder back then (22-years ago!). I think aside from his talent as a luthier, his wife Cindy was very instrumental to his success by getting his instruments into the hands of some of the world’s top jazz guitarists. Additionally, his book on archtop making, apprenticeships and his generosity in opening his shop other builders (e.g. luthiers John Buscarino, Bill Comins, Dale Unger, Wyatt Wilkie etc.) and the Eastman factory archtops all have their origins with Bob.
His contract with Fender/Guild running a custom shop from 2000-2005 and then setting up and managing a small shop archtop company with Howard Paul and Dave Miner in 2006 where he translated his designs into reproducible “team made” factory guitars and trained a team to make them. Bob for last 15 years of his career was more of a entrepreneur, teacher and established shops to make his designs. Bob retired from the company about 7 years ago and is retired in Ocala, FL.
Like Loar, Stromberg, Stathopoulos, D’Angelico, D’Aquisto, Bob is no doubt one of the most influential archtop builders of all time.
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In 1986 I bought two of these. The other one had a shorter scale length and no pickup. I soon sold that one to the agent of a famous collector for stupid money. The one in the photo was a beautiful instrument with impeccable woodworking. It sounded good, but no more so than several other similar guitars I owned back then and was worth considerably more than those, so six years later I sold that one too.
Danny W.
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Well yeah, there’s something about a piece of art from the hands of a master. Will never be replicated. Kind of like an oil painting.
I’ll say this much, I wish my high end Gibson's had the same flat, low action fingerboard of my starter kit Benedetto.
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