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Epi Archtop help!

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  • Lango-DjangoLango-Django Niagara-On-The-Lake, ONModerator
    Posts: 1,858
    rgrice
    Paul Cezanne: "I could paint for a thousand years without stopping and I would still feel as though I knew nothing."

    Edgar Degas: "Only when he no longer knows what he is doing does the painter do good things.... To draw, you must close your eyes and sing."

    Georges Braque: "In art there is only one thing that counts: the bit that can’t be explained."
  • The wood cello style tailpieces change the upper harmonics significantly from the metal with metal struts? according to Mr. Benedetto
    The Magic really starts to happen when you can play it with your eyes closed
  • Russell LetsonRussell Letson Prodigy
    Posts: 357
    Don't think you're crazy to want to change the tailpiece on the 610, but I'd point out that the wood on my 805's tailpiece covers a fairly conventional metal part, attached in the conventional fashion with screws in the endblock. I'm guessing that's the standard Eastman part.

    I do have a Benedetto-style tailpiece, attached via a ligature, on another guitar. There are too many other design/structure variables on that instrument to permit conclusions about any sonic difference the tailpiece might make, though. (For starters, it's a 17" redwood/walnut with an all-wood bridge and saddle.)
  • Jazzaferri wrote: »
    The wood cello style tailpieces change the upper harmonics significantly from the metal with metal struts? according to Mr. Benedetto
    So what does this actually mean, Jay?
  • Don't think you're crazy to want to change the tailpiece on the 610, but I'd point out that the wood on my 805's tailpiece covers a fairly conventional metal part, attached in the conventional fashion with screws in the endblock. I'm guessing that's the standard Eastman part.

    I do have a Benedetto-style tailpiece, attached via a ligature, on another guitar. There are too many other design/structure variables on that instrument to permit conclusions about any sonic difference the tailpiece might make, though. (For starters, it's a 17" redwood/walnut with an all-wood bridge and saddle.)

    The wood on metal is their deal, thus I assume it doesn’t actually sonically alter sound. Perhaps it could muffle some? I would also assume a traditional tailpiece wouldn’t alter and could possibly open the sound up.

    The cello style is also aesthetically unappealing to me. The Frequensator, on the other hand, looks fantastic and there’s sonic theory behind it that may not be true. I don’t reckon it’ll hurt the sound tho.

  • If you look at pictures of Benedetto guitars they have a wood receiver and 2 clear, perhaps nylon now, traces that wrap over the edge of the bout to hold the wood receiver in place. In his book the making of an archtop guitar he talks about the effects of different tailpieces
    The Magic really starts to happen when you can play it with your eyes closed
  • I prefer the slightly more mellow sound of the "cello" style (wood) tailpiece.

    As each archtop is slightly different and you may have a preference for string gauges have a listen to what the guitar sounds like once you have settled on the strings you like and then if you want a subtly less bright sound go with the cello style.

    I am thinking of trying one on my DuPont MDC20 as its a pretty bright sounding guitar, has a jack in the end already so it wont mean more holes in it. I have all the bits to make several of them including the Ebony wood.
    rgrice
    The Magic really starts to happen when you can play it with your eyes closed
  • Well. I just bought a used Eastman with a trapeze tailpiece so I guess I won’t have to worry about it now.
  • Lango-DjangoLango-Django Niagara-On-The-Lake, ONModerator
    Posts: 1,858
    Pictures...?
    Paul Cezanne: "I could paint for a thousand years without stopping and I would still feel as though I knew nothing."

    Edgar Degas: "Only when he no longer knows what he is doing does the painter do good things.... To draw, you must close your eyes and sing."

    Georges Braque: "In art there is only one thing that counts: the bit that can’t be explained."
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