Figuring out the nuances between archtop guitars can be a journey, especially when you’re starting out. They possess a certain vintage charm and, in skilled hands, produce a captivating sound. Like many guitar enthusiasts, I’ve gone through phases of buying and selling, gradually honing in on what truly makes an archtop guitar resonate with a player. This guide aims to offer clarity and direction, particularly for those venturing into the world of Archtop Acoustic Guitars.
Understanding the Acoustic Nature of Archtops
It’s a common misconception that all archtop guitars are inherently acoustic. While their design evokes a classic acoustic image, not every archtop is primarily built for unplugged playing. The presence or absence of pickups, and the type of pickups used, significantly influences an archtop’s acoustic properties.
Some archtops come without any pickups, emphasizing their acoustic nature. Others feature pickups, which can be either “floating” or “inset”. A floating pickup is mounted to the neck or pickguard, hovering above the soundboard and near the fingerboard. This design aims to capture the string vibrations without significantly altering the guitar’s acoustic resonance. Conversely, inset pickups are embedded directly into the soundboard, requiring a section of the top to be cut out. While inset pickups can deliver a powerful amplified tone, they often dampen the natural acoustic sound of the instrument, resulting in a less vibrant and dynamic unplugged performance.
An example of an archtop guitar with inset pickups: Joe Pass’s Gibson ES-175, favored for its amplified jazz tone but less resonant acoustically.
The Gibson ES-175, famously played by jazz legend Joe Pass, exemplifies an archtop with inset pickups. While Pass himself did explore acoustic recordings, the ES-175 and similar guitars are primarily celebrated for their amplified tones, often at the expense of rich acoustic projection. A floating pickup, therefore, can be a clue that the guitar was initially designed with acoustic performance in mind, though this isn’t always a definitive rule.
Carved vs. Pressed Soundboards: Shaping the Acoustic Tone
Within the realm of acoustic archtops, the construction of the soundboard is a crucial factor shaping the guitar’s voice. Soundboards can be either carved or pressed into their arched form. While some purists might consider pressed tops as less desirable, many exceptional acoustic archtops, including my own D’Aquisto New Yorker, utilize this construction method.
Carved soundboards are sculpted from solid pieces of wood, a labor-intensive process often associated with higher-end instruments. Pressed soundboards, on the other hand, are created by applying heat and pressure to laminate or solid wood to achieve the arched shape. A carved top generally resonates with a complex and projective acoustic tone, prized for its volume and dynamic range. Pressed tops often offer a beautiful acoustic sound, albeit potentially with slightly less projection compared to carved tops. However, pressed tops have an advantage when amplified with floating pickups: they are less susceptible to feedback. This can be a significant benefit for performing musicians who frequently play through amplifiers or PA systems. Crucially, pressed-top archtops still provide a far richer and more nuanced acoustic sound than those equipped with soundboard-mounted inset pickups.
A pressed-top acoustic archtop guitar: The D’Aquisto New Yorker, offering a beautiful acoustic sound with feedback resistance when amplified.
For players prioritizing a purely acoustic experience, a carved-top archtop, whether with or without a floating pickup, is generally the preferred choice. The increased craftsmanship involved in carving soundboards naturally translates to a higher price point, but for many, the enhanced acoustic performance justifies the investment. While I was content with my pressed-top D’Aquisto for some time, the allure of a meticulously carved archtop from a top-tier luthier eventually led me to upgrade to a Frans Elferink all-acoustic archtop.
Navigating Price Points in the Archtop Acoustic World
The market for archtop guitars spans a wide range of price points, each offering different features and levels of craftsmanship.
Low Price Range:
The affordable end of the archtop spectrum is dominated by electric models from brands like Eastman, Epiphone, and Ibanez. However, finding quality acoustic archtops in this price range can be more challenging. Modern low-priced acoustic archtops often compromise on soundboard construction, utilizing plywood or simply pressed tops, sometimes without even being properly arched. For players seeking a genuinely acoustic instrument on a budget, the vintage market, particularly brands like Hofner, can be a viable option. Hofner guitars frequently appear on platforms like eBay and can offer surprising value. While vintage instruments might require some restoration work, such as addressing warped fingerboards or fret wear, it’s possible to find a diamond in the rough – a good-sounding acoustic archtop at an accessible price. Don’t be overly concerned about body cracks, as they often have minimal impact on the instrument’s sound, unless they are extensive.
One notable exception in the modern low-price category is The Loar, a brand paying homage to Lloyd Loar, a pivotal figure in archtop guitar design at Gibson. Their LH-700-VS model, in particular, stands out for featuring a fully carved soundboard at a remarkably affordable price. While I personally sold mine due to the V-shaped neck profile not perfectly suiting my playing style, many players find this neck shape comfortable, especially those who frequently play with their thumb over the top of the neck. The Loar LH-700-VS offers a compelling combination of carved-top construction, attractive aesthetics, decent acoustic tone, and affordability.
A standout affordable archtop: The Loar LH-700-VS, featuring a carved top at a competitive price point.
Medium Price Range:
Stepping up in price reveals brands like Eastman and Peerless, which offer a stronger selection of well-regarded acoustic archtops. The Eastman AR810, available with or without a cutaway, and the Eastman AR605 are both fully carved archtops deserving serious consideration. Both Eastman models often come equipped with floating pickups, providing versatility for both acoustic and amplified playing. The Eastman AR804-CE, with its oval soundhole, presents a unique tonal character, blending archtop and flat-top sonic qualities.
Peerless guitars are also prominent in this range, known for their Martin Taylor signature models and noteworthy carved archtops like The Imperial and Contessa. Aria guitars, produced in Japan under license from the esteemed D’Aquisto company, offer exceptional value, particularly their New Yorker model. While perhaps a bit heavier than some might prefer, the Aria New Yorker delivers a pleasing acoustic sound and often includes a floating pickup. Other brands to explore in this mid-price bracket (roughly $1,000 to $2,500) include D’Angelico, Guild, and Godin, among others.
High End:
The high-end archtop market is the realm of master luthiers and bespoke instruments, representing the pinnacle of archtop craftsmanship. In Europe, renowned luthiers like Slaman and Elferink in the Netherlands, Sonntag in Germany, Mike Vanden in Scotland, and NK Forster in England craft exquisite, highly sought-after archtops. The United States also boasts a wealth of brilliant archtop luthiers, including Comins, Koentopp, and Dale Unger, to name just a few. These instruments are often built to order, allowing for extensive customization and representing a significant investment, but delivering unparalleled acoustic performance and artistry.
Internal Bracing: Shaping the Sound’s Character
An often-overlooked aspect of archtop construction is the internal bracing pattern beneath the soundboard. Early archtops typically employed parallel bracing, with bars running parallel to each other. Modern archtops predominantly utilize x-bracing, where two bars cross in an “X” shape. Parallel bracing tends to emphasize the mid and high frequencies, resulting in a brighter, more focused tone characteristic of early jazz rhythm guitars. X-bracing provides a more balanced frequency response across the tonal spectrum, from bass to treble, offering a more versatile and contemporary acoustic voice. Understanding the bracing pattern can be relevant if you’re aiming for a specific vintage archtop sound or prefer a more modern, balanced tone.
In Summary: Defining Your Archtop Acoustic Ideal
This website and this guide are dedicated to celebrating the archtop acoustic guitar in its truest form. If your goal is to embrace the acoustic essence of the archtop, prioritize instruments without pickups or, at most, those equipped with floating pickups. The choice between a carved or pressed top depends on your budget and tonal priorities, with carved tops generally offering superior projection and complexity, while pressed tops provide a balance of tone and feedback resistance. Consider the historical context of archtops: some vintage models were designed for rhythm playing, utilizing heavier strings and higher action. Modern acoustic archtops may be set up for lighter strings and medium action, catering to more contemporary playing styles. Before making a purchase, carefully consider your desired sound, playing style, and budget to ensure you choose the archtop acoustic guitar that perfectly aligns with your musical aspirations.
