Manouche on the cheap, anyone?

[Rob DiStefano]

Intrigued by the sorta kinda Selmer-Macaferri "Django" acoustic that Rondo/SX offers for $200, including a hard shell case. It arrived a few dayze ago and I must say there is some serious quality happening with both the guitar and super deluxe case. OK, it's not in the league of a custom luthier Django guitar rendition, but it's not too distant from the stock Gitane knock-offs.

The DJG1 is the small hole, 14 fret model - however, the scale isn't the longer 26.4" scale, it's yer standard 25.5" "Fender scale". The body is lam rosewood, solid cedar top, mahogany neck. The overall Chinese craftsmanship is excellent, bordering on superb. A very light under 5# acoustic, with a not-too-thick resin finish. The floating mustache bridge is solid rosewood. A very comfortable guitar to hold ... and for me, to play - one may have a hard time getting used to a wide and dead flat rosewood fingerboard.

http://img.photobucket.com/albums/v82/rfdee/guitars/djg2.jpg

I changed the supplied 12 gauge D'Addrio phosphor bronze strings for the same brand/type in 11 gauge. It will take some time to find the right strings for this guitar, for me. The initial action was quite high and there is no height adjustment to the one piece bridge/saddle, so ... I sanded off about 1/4" of the bridge/saddle top, took a bamboo BBQ skewer and sanded one side flat, cut it to size and used that as the "saddle". This lowered the action considerably and for much better playability. This kind of "saddle shim" appears to work well, and later I'll replace the bamboo with buffalo horn that's routed into the bridge top, for relatively easy string height changes. I may even go so far as to remove the zero fret and install a horn nut in it's place ... maybe.

http://img.photobucket.com/albums/v82/rfdee/guitars/djg1.jpg

[bazooka47]

Hard to fathom just how they build those so nicely with cedar, include the case, AND ship them over here, all for 200 clams.

How is the sound?

[Rob DiStefano]

Tonewise, it ain't a real deal Selmer. But it's not at all a tin toned acoustic, either - at least not the one I've got. It did have that typical Selmer nasal plunk tone when I first played it, and that was a bummer - I was hoping the cedar top would offer a warmer tone than those Selmers and Gitane spruce tops. But the stock D'Addario 12-53 PB strings were dead and a change to new 11 gauge PB strings strings, and the important bridge tweak, made quite a bit of difference in tone and playability, as did spending time to help "break in" the cedar top and getting a warmer tone. I love it, it offers credible Django tone. No, it's not in the class of the Benedetto that Frank Vignola plays so well for his Django tune cops, but the DJG1 will definitely hold its own in a "Django jam". It's taken me decades to learn to accept that each instrument really needs to be evaluated on its own, and in its own time.

Based on the DJG1 I have, I absolutely recommend it for any aspiring Django wannabe, along with the caveat that tweaks will be in order, particularly the mandatory re-engineering of the bridge/saddle.

PS - you will NOT believe the quality of the case, almost worth the $200 price tag. Aside from Pacific Rim slave labor, I dunno how the heck they can offer this kinda quality at that ridiculous price tag.

http://img.photobucket.com/albums/v82/rfdee/DSC02087.jpg

[Rob DiStefano]

I'm REALLY diggin' the DJG1 .... the tone is very dynamic, meaning that how you play (your style), where you play (on the strings) and what you use to play with (fingers. pick, slide) will *greatly* determine the overall tone. Playing fingerstyle (sans fingerpicks) can illicit mellow jazzy gypsy sounds, and using a heavy pick near the bridge will cop very doable Django tones. Absolutely killer guitar for the money. And that case ... wow!

As to what will need to be tweaked, and IMO, aside from a change of strings, there's only one mandatory mod ...

You must lower the bridge/saddle. I just drew a pencil line 1/4" down from the top of the bridge and sanded down to that line using a sanding station wheel (but using a sanding block and coarse paper, or even a belt sander, would get the job accomplished just fine). That will leave a wide, flat platform to accept a real saddle, that can be made from most anything that's reasonably hard, with a rounded top. I used a 1/8" bamboo skewer, with one side sanded flat. Using the stock strings, adjust the bridge and saddle for playing action height - both the bridge and saddle can be sanding to achieve that goal. When the height feels right, change the strings for a new set of a type and brand to your liking. I'm using D'Addario 11-50 phosphor/bronze acoustic strings right now, but there are other flavors and gauges to choose and test.

[angus99]

Always wanted a gypsy jazzer and--with the exception of Tums--this looks like the cheapest way to relieve GAS I've seen yet. So, I just pulled the trigger.

Thanks for the heads-up.

angus

[Rob DiStefano]

Please lemme know your opinions of what they'll be sending ya - and remember that you will have to tweak that bridge/saddle.

[Bryan T]

For authenticity, you should really try a set of silver strings on there. They are part of the GJ sound. What a bargain for $200.

Bryan

[Rob DiStefano]

For authenticity, you should really try a set of silver strings on there. They are part of the GJ sound. What a bargain for $200.

Bryan


Been there, done that - I don't care about "authenticity" (or "vintage", either) - all that matters is how the instrument plays and sounds for my needs as a bare fingerstyle guitarist. I love the tone of good phosphor/bronze acoustic strings on the DJG1 ... in fact, I'm seriously considering getting another and installing K&K "Macaferri" bridge transducers.

[Bryan T]

Been there, done that - I don't care about "authenticity" (or "vintage", either) - all that matters is how the instrument plays and sounds for my needs as a bare fingerstyle guitarist. I love the tone of good phosphor/bronze acoustic strings on the DJG1.

:BEER I'm glad you at least tried the silver strings. I find it odd that they ship these guitars with PB strings, but I'm sure they're cheaper in bulk.

The manouche sound is definitely unique (and an acquired taste that is dependent on strings, picks, and technique) and it sounds like you aren't really shooting for that.

Bryan

[Rob DiStefano]

... The manouche sound is definitely unique (and an acquired taste that is dependent on strings, picks, and technique) and it sounds like you aren't really shooting for that.

Bryan

Yes, the softer copper strings don't agree with how I play, or the tone I'm after.

There are aspects of "Django tone" that I like, and some that I can't stand. I have my own likes for playing style and tone and this SX guitar has some additional design features that fit the bill: a shorter 25-1/2" scale length, and warmer toned cedar top. The rest of what I consider design shortcomings I'll tweak out: the bridge/saddle redesign and the zero fret.

[Pascal]

I wouldn't recommend this guitar to anyone who wants a manouche guitar, even on the cheap. It is probably the least manouche of all "manouche" models. And I think it is telling that all problems you seem to have with this (these) guitar(s) are the things that make these guitars "manouche": the long scale, high action/high bridge (associated with an imprtant neck angle), argentine strings, zero fret, and also the heavy-pick right hand rest stroke technique... You seem to want a folk-style flat top with a floating bridge.

Don't get me wrong, there is nothing wrong with wanting such a guitar, of course. And if what you want is a DJG1, then get one. But I wouldn't recommend it as a manouche. If you want a manouche guitar on budget, a Cigano is the way to go these day: long scale, slightly arched top and back, important neck angle and high bridge, zero fret... and that tone (a budget tone, of course, don't expect it to sound like a Selmer or Dupont MD50).
Try them first, though: all Ciganos are not born equal.

[Rob DiStefano]

I think you mean well, Pascal, but your statements show me that you really only know about the DJG1 via second hand info or speculation.

You've made a mistake in assuming I'm interested in a "folk guitar" - you do make a lot of assumptions in your post that would have better been said as questions rather than statements.

I'll repeat - I'm NOT dumb enough to say the SX is in the league of a boutique Shelley D Park guitar, but it is in its own way very close to those other stock production Sagas, etc. Though I will be the first to admit the DJG1 is impressively crafted, and I've spotted build boo-boos on at least two Gitanes I've played.

Given the strings and bridge caveats I've previously described, I would absolutely recommend the SX manouche -and make NO mistake, this is a "manouche"- to anyone wanting to taste test gypsy guitar.

Once tweaked, it has the righteous gypsy tone *flavor*. It doesn't have the 670mm scale length but does have a 648mm scale that's closer to the shorter 640mm scale found on standard D hole Gitanes, Duponts, Del'Artes, Cigano, Parks, etc. The solid top is cedar and not spruce, which IMO does add some warmth to the tone, which to my ears is a good thing. And, FWIW, there is a slight top and back arch to the DJG1.

I don't play with the ridiculously high string action found on some stocker manouches - nor you will not find that nonsense on a boutique gypsy guitar, guaranteed. This has nothing to do with the guitar's tone, and everything to do with playing action. There is NO need to suffer the torture of "high action" - as long as the frets are level, and there is an adjustable truss rod, and a bridge to tweak in one manner or another, the action can be set low enough for ease of playing without ever hearing string noise of any kind - this allows maximum note clarity, and there is NO need to raise the string action higher than what's need for clear, ringing notes across the fret board. String choice is critical in terms of string tension (for a given scale length), playability, and tone.

The DJG1 bridge is solid, affording only invasive adjustments. Most manouches these dayze do have an adjustable moustache bridge for string height. Why not? This has little or nothing to do with tone and everything to do with playability.

Nope, I'm not on the Rondo payroll nor a shill for their business. Just telling it as I see it from my perspective as both a very long time player and fretted instrument tech/luthier.

[Pascal]

High Rob,

sorry if I came up as a bit of a jerk, it was not my intention, but such things can happen when one tries to be concise. Too concise, probably.

You are sort of right about my experience with the SX, though, I have only payed one a few months ago when I was on the market for a budget guitar. And I did not like it. I found that it sounded much too folk-y. But I have also played quite a few more expensive Gitanes, as well as a couple of Cigano that I did not like at all either. And a few that I found great. I even ended up buying a Cigano as my 2nd manouche, and play it as often as my main guitar.
So except for this one personal experience, my beef against the SX is indeed derived from my frequentation of gypsy jazz guitar forums, both in English and French... where the SX is generally considered to be one of the worst manouche on the market, below Aria's MM, and not too far from the Rudy Larna (both of which I have not played). But you are right, it is still just hearsay. And there can be such variations between two guitars of the same model...

On the more technical side, in my experience (and it is something that GJ players almost systematically do on their cheap guitars), raising the bridge does make a difference in tone (increased bridge height = more pressure on top?) and in volume. It also has an impact on playbility, this is true, but when you play in the style with 0.10 or 0.11 strings and the heavy-handed pick technique, you need some room for the strings to vibrates. GJ guitars are usually set up so that they are on the verge of buzzing... and this typically corresponds to an action of 4-5mm at the 12th fret. Which would be considered too high by most steel-string players.

So I might have assumed too much from your post, indeed, but you wouldn't be the first player to prefer his first GJ guitar to remain on the folky side. It is very common (and perfectly OK), and everything in your post seemed to be in line with this.

Myself, I now tend to prefer my guitars on the rootsy, barking side. More typical. And this is a few years after buying a first GJ guitar that many purists would call too folky (not enough mids, too much highs to have the typical GJ sound).... and lowering the bridge to make it more playable, and ending-up with an even more folky-sounding guitar. ;)


So in the end, once again, I'm not saying that the Sx is a bad guitar, but depending on where you place the line for a proper manouche tone, it may or may not deliver. The Cigano, OTOH, can sound VERY typical.


Oh well. Experiences... tastes...

:)

[Rob DiStefano]

Yes, the typed word is far less expressive as when vocalized. :D

Aside from having less playability, high string action is a nasty culprit of poor intonation. The higher the strings are off the frets, the further they must be depressed and therefore the sharper they will intonate. There is absolutely no excuse for overly high action, and I've see that kinda stupidity on too many guitars. Once the strings have cleared the frets they will vibrate as well as they can and the rest is up to you, the guitarist. Increasing that string/fret clearance yields nothing, nada, squat - in terms of "tone".

Actually, I prefer higher string action and heavier gauge strings. I tweak my guitars for optimum playability - this is something the average guitarist can't do themselves and will spend perhaps lotsa money and time getting a tech to accomplish.

"Folk-y", hah! IMHO, that's exactly what manouche is - a culturally brewed type and style of guitar music. Don't ever get more folk-y than that! LOL!

There is much about GJ tone I don't appreciate - the nasal, twangy tone that - for all the jabber about high action - is infected with buzzy rattling notes. No thanx, not my cup of tea. Love the music, don't particularly like the guitar tone. To each their own, eh? Com ci com sa?

[Pascal]

I meant "folk-y" as in "flat top steel string-y", silly me... because they're called "guitares folk", in my neck of the woods.

From your latest paragraph, I wonder why you bought a manouche guitar at all...


...


Nah, I'm just kidding. :D
Comme ci comme ça, indeed! ;)

[Rob DiStefano]

Don't get me wrong - I LOVE the dimensions and feel and the fingerstyle tone of these guitars, once tweaked to my tastes. Heck, I've just had emails with Shelley about getting one built to my spex! It's all good, just do what you want. :D A bientot!

[Rob Sharer]

Hang on a minute. String height and intonation do indeed go hand in hand, but to say that there's no excuse for wanting a higher string height assumes that everyone wants the same thing. Case in point: I always assumed, based on his light, brisk sound, that Tuck Andress used light strings and a low action. When I once found myself in the lucky position of trying out the master's L-5 for myself, I discovered that he was using telephone cables strung well above the fingerboard. When I pressed him for an explanation, he said that was how he liked it; it helped achieve his signature tone and crisp articulation.

I'm neither a jazzer nor a Manouche guy, but for my own music I use heavy strings and a higher action. I'm a fully competent tech and builder myself, so I can have it any way I like it. I suspect you'll find that I'm not the only one that wouldn't agree with your statements. Cheers,

Rob

[Rob DiStefano]

Hang on another minute - depends on yer defintion of "high action". What was the last GJ guitar you've played? Some of the stockers I've played had action that I'm sure even you would think as "high" and unplayable. Using words like "high action" or "low action" are as meaningless as saying "jumbo frets". To those who want ungodly high action, I'm surely not raining on your parade nor dissing you for your tastes - more power to ya and enjoy.

[Rob DiStefano]

PS - I dig yer sig line ... right on the money!

"If you've got a good tech, you don't need a Plek!"
-Rob

[Dave Orban]

Import guitars today are MILES ahead of what they were in the 60s.

[Rob DiStefano]

Import guitars today are MILES ahead of what they were in the 60s.

IMO, make that light years ahead. With fast paced social and economic changes in the global village communities, this Golden Age of Guitars we're reveling in will change sooner than later, maybe even in my lifetime ... and that'll mean the end of those truly good 100-200 buck partscaster "platforms".

[Rob Sharer]

PS - I dig yer sig line ... right on the money!

"If you've got a good tech, you don't need a Plek!"
-Rob

Thanks!

Now, about action: I think we could find a frame of reference for discussing what's high or low. I always think of Martin factory action as being the standard for "normal" action, at least for an acoustic guitar. I know that normal is a matter of perspective, but taking acoustic setups as a whole this probably falls right in the middle. For some players, low action is more the norm, so you can also look at Martin's recommendation as the lower limit of "high." Were these GJ guitars you're referencing higher than that, and if so by how much? Cheers,

Rob

[Rob DiStefano]

Guitar string action is always in the hands of the beholder. Call string action whatever I or you like, the rubber meets the road when a client sez to me: "Right on, Rob". All the monikers that describe the right feeling of string action don't mean diddly as long as yer fingers and ears are well pleased.

Lemme put into better perspective what I meant when I typed in an earlier post - "There is absolutely no excuse for overly high action, and I've see that kinda stupidity on too many guitars". There comes a point with string action where, for a given style of playing, notes ring clear without any string/fret rattling let alone string/fret buzzing. There is no need to increase string action beyond what you require - yet I see that (the too high string action) on too many guitars. UNLESS you legitimately WANT to hear string/fret noises!

In case of a few of a buncha different GJ's I test played, the string action was horribly high - and one owner exclaimed he liked it that way and wouldn't change it. I watched and listened to him play, he was quite good in every way. Yet for all his legato speed, aural dynamics and creative expressions, he could have been much faster and smoother and make better music had the action been lowered - and that lowering wouldn't have affected tone one bit, and probably would have been a boon to across the board intonation.

Simply put - there is no need to raise string action beyond what you require from the tone of the instrument you play.

Epilogue - during the surf safari drive to the beach this morning I popped in Bucky and Frank's "Moonglow" CD - I love the duet playing of these masters, but geez Louise could Frank use a good setup on his custom Benedetto!!! Agh!!!

[drolling]

IMO, make that light years ahead. With fast paced social and economic changes in the global village communities, this Golden Age of Guitars we're reveling in will change sooner than later, maybe even in my lifetime ... and that'll mean the end of those truly good 100-200 buck partscaster "platforms".that bolt-neck lester copy I started on back in the sixties cost MORE than the Squire pine tele I was marveling over at the local mom & pop guitar shop last week - and even tho' I did ultimately replace most of the original parts, it was a beeyoch of a job back then.. nothing, NOTHING was standardized, so there was lot of drilling, routing, sanding, etc. And it still played (and looked) like sh!t..

Thar Squire, OTOH, was great right out the box, and aftermarket parts will drop right in w/o any modification.

Before we get back OT, let me just say I spent a small fortune on a real 'Dobro' brand resophonic guitar just before the market was flooded w/MiC guitars at a fraction of the price. I figured that as a 'Gibson-made' instrument, it would at least hold its value - but no, because of a number of reasons (chrome plate instead of nickel, hybrid bridge/headstock design, etc..), I'll take a real beating when I let this one go.

So, I guess I should be grateful that I've NEVER had enough money for a real 'Selmac' (Shelly wanted more for the vintage braz rosewood back & sides than my entire collection {incl. amps} is worth!).

But I vividly remember bringing the annual Guitar & Bass Buyers Guide to EVERY store in town, enquiring about the availability of the Ibanez 'grande' and/or 'petite-bouche' Macaferri-style guitars that were briefly described (no pics, of course). Blank looks & dumb stares all around, but I was used to that from my quest for resonator guitars.

The Ibanez gypsy-style guitars were, naturally, gone from all subsequent issues of the buyer's guide.

Still can't afford a *booteek* Django-type guitar, but I do own two Gitanes; short-scale D hole & a long-scale oval - They're a far cry from he real thing, but way, way better than a number of Arias I played, including one that had been tweaked & set up really well. Gotta admit, I'd have jumped on that particular guitar if I didn't already have the Gitanes

However, I paid almost as much for the cases as you did for your guitar!

All you really need now is an official "GypsyJazz" pick. Made from some top-secret substance (plastic?) they come in black or white at 15$ a pop.

I've got a white one; it's easier to see when I'm crawling around under tables.

Had a black one too, but I lost it 15 minutes into my 1st set!

[decay-o-caster]

Don't get me wrong - I LOVE the dimensions and feel and the fingerstyle tone of these guitars, once tweaked to my tastes. Heck, I've just had emails with Shelley about getting one built to my spex! It's all good, just do what you want. :D A bientot!

A Shelley Park guitar is such an incredible joy. I couldn't walk away from the one I bought, though I really had no excuse to buy it since I don't play Django-style at all. But the guitar was such a beautiful living thing I made nearly no effort to resist it, and Shelley's a sweetheart besides.

That being said, I've played the Gitane / Saga long-scale/oval hole model, and the John Jorgensen sig model, and they're pretty nice guitars. For getting there on the cheap, I think they're a good way to go. Can't address any of the other budget brands.

[shally]

For authenticity, you should really try a set of silver strings on there. They are part of the GJ sound. What a bargain for $200.

Bryan

+1... you can afford the real strings at that price


i have a john levoi that might be my favorite guitar

[Pascal]

i have a john levoi that might be my favorite guitar

I live a few miles away from him and he's worked on my guitars. He is a great selmer-style builder indeed, one of the most experienced luthiers in this business (and a really nice person). And his guitars sound as close as it gets to the originals.

I am considering buying one of his petite bouche... but I'll have to save quite some cash first. :(

[cminor7b5]

I live a few miles away from him and he's worked on my guitars. He is a great selmer-style builder indeed, one of the most experienced luthiers in this business (and a really nice person). And his guitars sound as close as it gets to the originals.

I am considering buying one of his petite bouche... but I'll have to save quite some cash first. :(


I believe that John Levoi passed away. I don't think you can get anymore of his guitars, except for second hand.

[Pascal]

I believe that John Levoi passed away. I don't think you can get anymore of his guitars, except for second hand.


Please tell me that you're confusing him with UK luthier (David?) Hodson, who did pass away of couple of years ago. John certainly was alive and kicking (http://www.alfordfestivalmusic.org.uk/festivals/festival2008-Sataft.htm) last month. And he was apparently also in Gossington for the GJ guitar festival the following weekend (pics on his myspace (http://www.myspace.com/johnlevoiguitars)).

Do you have any link, source?



Thanks

[morphthecat]

I haven't done any "surgery" on any of my guitars before, but am tempted on one of these guitars. What is holding the skewer down - did you glue it, if so what type of glue did you use OR is it just held down by the strings? Was there a specific grain of sandpaper you used?

Thanks for any answers and for putting your project up!

[Rob DiStefano]

I haven't done any "surgery" on any of my guitars before, but am tempted on one of these guitars. What is holding the skewer down - did you glue it, if so what type of glue did you use OR is it just held down by the strings? Was there a specific grain of sandpaper you used?

Thanks for any answers and for putting your project up!

What holds the skewer saddle down to the bridge is string tension - no need for any adhesive. The rosewood is quite hard, so if you needed to hand sand only, I'd start off with 50 or 60 grit coarse, then work up to 120 grit for a smooth finish. Keep the top that yer sanding nice and level and flat. Whatever dowel or 'boo skewer you use for the saddle that sits atop the bridge, make it a small diameter, about 1/8" to 5/32" or so. Lay down yer coarse paper on something flat, take a 5" or so long piece of that saddle material, REVERSE wrap any kinda sticky tape on three spread fingers of yer hand, press the sticky tape on the saddle top with as even an end-to-end pressure as you can, and move the saddle lengthwise on the paper to get the bottom flattened. I did all of the sanding on a station sanding wheel and 120 grit abrasive. I also tapered the ends of the saddle for hand comfort.

Slide the bridge under the detuned strings, measure the treble side of the bridge about 12-3/4" from the middle of the 12th fret and the bass side of the bridge about 12-7/8" from the middle of the 12th fret, place the saddle on the bridge and under the strings, align the string spacing on the saddle to your preference. When it all looks good, tune to concert pitch. Check the string alignment and distance from the 12th fret. Tap the top of each string, as it sits over the saddle, with a hammer - this sets the string grooves with perfectly rounded bottom for the best transference of tone.

There now, not all that hard and surely not rocket science! :D

http://img.photobucket.com/albums/v82/rfdee/guitars/djg5.jpg

http://img.photobucket.com/albums/v82/rfdee/guitars/djg6.jpg

I just did a full fret level and crown, with polishing to 12k grit. Installed a set of Daddy'O Gypsy Jazz copper/steel 11-45 strings. Plays nice, still not the tone I'm after, but close, more string types to check out. During the process, I was going to rout a 1/8" slot down the middle of the bridge top to allow inserting a buffalo horn saddle, but lo and behold the well crafted rosewood bridge is underside hollowed ...

http://img.photobucket.com/albums/v82/rfdee/guitars/djg3.jpg

http://img.photobucket.com/albums/v82/rfdee/guitars/djg4.jpg

... how's that for cheap crappo GJG? ;)

Forms like TGP are venues for sharing good stuff and I'm always glad to share.

[morphthecat]

Cool! Thank Fret Tech Rob for sharing!

[Pascal]

As I was browsing another forum, one of the threads reminded me of the bridge height/action/tone discussion we've had here...

A forumite bought a high-quality gypsy jazz guitar (Dupont MD-50) and posted a video of it:

http://uk.youtube.com/watch?v=h5wqICS4FW8

His video was commented by a quite knowledgeble forumite who said that this is not how a Dupont-MD50 was supposed to sound: too bright and metallic, too much buzz. He recommended checking the height of the bridge.

Here's video #2, with a higher bridge (Dupont guitars are shipped with 2 bridges of different heigths). Everything else (pick, strings, neck setting, etc) is the same as in the first video:

http://fr.youtube.com/watch?v=RyIjnW356wM

Huge difference in tone, no? And of course, video 2 is how a Manouche guitar is indeed supposed to sound. Lowering your bridge might lower the action, but it could at the same time lead you from tone 2 to tone 1 (I'm not even talking about fret buzz here, just tone). I thought this was a very nice illustrated example for one of the discussion we've had here.

Here's the original thread (in French) for those interested: http://www.manoucheries.com/phpBB2/viewtopic.php?t=12214&postdays=0&postorder=asc&start=0

[Pascal]

i have a john levoi that might be my favorite guitar

I just found a second-hand one for a great price. I now have one too!

http://img.photobucket.com/albums/v633/pascalcortes/john-le-voi.jpg

:BEER

[Pascal]

I believe that John Levoi passed away. I don't think you can get anymore of his guitars, except for second hand.


Oh, and BTW, an update on this: John Levoi is still alive, indeed (or he is undead)... because I can't imagine a properly dead person replying to emails and still accepting work orders. ;)

He will be looking at my new acquisition tomorrow (it needs a new tailpiece, and a refret might be on order too).