You see, when you begin to wrestle with these materials, you get used to dealing with it according to your experience.So people like Jimmy and I used to think about things a lot from a player’s point of view, and that gives you ideas, and when you have ideas, you tend to want to try them out.“They were designed for a specific style of playing. It’s the king of guitars, and there’s no limit to the number of ways you can voice an archtop.
Like many youngsters, my first encounters with archtops took place while trudging my way through the Mel Bay Method for a succession of teachers with bad complexions and big Italian cheesecake guitars, generally the Excel or New Yorker models crafted by the Lower East Side luthier John D’Angelico-D’Aquisto’s mentor.Some things may not turn out to be all that good; it’s just as valuable to learn what is wrong as what is right.” “Every time I had to cut away a piece of wood to put in a fucking piece of pearl, I pissed in my pants,” D’Aquisto would gripe in his distinctive Brooklyn cadence.“It’s pointless, but people got attached to that look and that sound and I was kept from advancing all my ideas for close to 15 years because no one wanted me to change. Well do it on Joe’s guitar, don’t do it on mine.’ Finally I got tired of building a goddamn D’Angelico. ’ ‘Hey, I’m not experimenting on you, I’ve been doing this for years-of course I know.’ And they wouldn’t give me a chance. And if they do something wrong, and it turns out good, they scratch their heads and wonder, ‘Gee, what the hell happened?Since I had a trade-in we talked values and quickly arrived at a hand-shake deal.Two days later we drove home in our "new" (to us) Volvo.