A classic archtop congfiguration, the uncluttered look of these instruments is part of the appeal for me. It should be on the list for consideration for anyone looking for a jazz or big band instrument. I purchased mine about August 2010.
Though originally available in three different finishes, only the natural finish is now easily available.
First the flaws, then the good parts:
When delivered, mine needed a string setup to correct buzz. I also had the string spacing increased. Just by visual inspection it was obvious the low "E", for instance, could be moved 1 to 1.5 millimetres nearer the edge of the fingerboard. It would depend on the player, but I had the spacing of the strings increased.
Second flaw: Inlays were set a whisker below fingerboard level, and with a smidgeon of a gap, in some cases, between the inlay and the wood. But it doesn't interfere with playing.
Third flaw: My guitar resonates to "D" below middle "C', it is not the tailpiece but rather the whole body of the guitar. This is with string gauge 13 to 56, and moderately heavy attack for rhythm. I corrected this with two little baffles, sized to fit beneath the tailpiece fittings that the strings hook into. I made them of styrofoam covered with felt to match the colour of the guitar, it's fairly discreet. Someone with a gentler playing style or lighter strings might not encounter this, but I play big band rhythm and it could show up in any tune where we go to a loud volume passage. (The acttion of my guitar is set up accordingly)
Now, the GOOD PARTS:
The binding around the guitar is immaculate, finish looks good as well. The Korean-built guitars have a reputation for consistent build quality, and this one appears to be no exception. It is not heavily built, but seems securely built.
Bexause the guitar is not too heavily constructed, when played acoustically it seems to be "alive" in its response. The frequensator tailpiece also helps tonal fidelity a smidgeon. On mine there would be "ping" noises from the strings between tailpiece and bridge, were it not for the baffles. Gentler playing styles I think may appreciate the "aliveness" I mentioned. The sound is rather more briliant than I expected, this with half-round bronze strings. Not at all a bad sound acoustically.
The magnetic pickup will give a useful jazz sound, all depending on where volume and tone controls are set. On the feedback issue, I've had no problem as long as my amp is not too close to any other amp or microphones and such. Other players may have encountered some, but I can crank up my amp as far as I need to without a problem. The floating pickup seems to collect some of the acoustic quality as well, unless my ears are playing tricks!
A note about the Frequensator tailpiece: When buying a set of strings, watch out for the length of the "D" string in particular, as some brands are too short.
ALSO: I modified my guitar by adding a thumbwheel pot and twin disc transducers, sandwiched in the adjustable bridge. The first time with this setup at a gig, I was pleasantly surprised. It was like going back in time about 75 years with a big acoustic-only archtop. It had that kind of sound.
This guitar is one of the very few in its price range. I would recommend it for serious consideration for anyone interested in a big band or jazz guitar. I can gig with this anywhere, because it's not top shelf in price and I have peace of mind. It is now my main gigging axe.
