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Yes Willie, I am well aware of Heinz Seifert, my question mark ? was just to show surprise that such gems come to be in a 'flea market'.
So you think that one labelled Neubauer could be a new copy or maybe a restoration of a 19th century instrument?
The yellow note mentions a certificate and 1790, so I think it was restorated by Neubauer.
(I guessed from the "tone" of your question that you know Seifert, the link was for those who didn't.)
Well, I'll contribute a picture of my 1953 Höfner 465.
Its very narrow nut (1 1/2") makes it extremely hard to play anything resembling chord melody, and despite its carved top the acoustic sound is rather metallic and thin – nowhere near that of my old 17" Epi, and actually less compelling that that of my Loar LH-700. So I may have to let her go if and when I'll fulfil the dream of getting an early 30s De Luxe. She's not seeing much use…
But she has many things going for it. True to the spirit of the Schlaggitarre, her big neck is perhaps the most comfortable I've found for chunking fours. Her electric sound with a Rhythm Chief is really good, and the neck is a delight also for single note runs. Plus she looks stunning.
Mmmmh… might wanna keep her after all!
Quite a beauty.
Love the ornate headstock.
Like that? How's this for a Hofner headstock? Part of a 1954 Committee that I sold a while ago. As I said before, I like and appreciate the fancier German archtops but I do not always get on with the shape and feel of the necks; this was one of those I could not get to work for me.
Always a pleasure to see other Hofners. I totally agree about the feel of the neck but otherwise that is one beauty that should be a delight to play. Regarding your issues with the acoustic tone I have found these can be very hard to get the best out of according to string choice. For Hofner archtops I usually start with Martin 80/20 phosphor bronze strings, a light gauge 12 - 54 should get close, or go up a gauge if you have to.
I'll try that. It has gone through a few string changes and it still was a little bit of a strident clang, I guess it may very well be its voice.
I think it wants to be loved on its own terms: not a wannabe golden era American archtop, no tool for intricate acoustic chord melody, lots of zing and clang on the 4-to-the bar to be heard in a noisy environment, and a delicious little electric guitar with a floating pickup. Writing about her is making me want to keep her… we've been through quite a few big band gigs, before the Queen came to the house.
By the way, here's how it sounded on my very first test (with brash Monels). Note that the solo is not mine – it's by the wonderful Remo Palmieri (check out his sessions with Teddy Wilson!)
PS: that headstock you posted!
Great chordal work.
How could you part with such a good-sounding instrument?
(Wish the 58 Hofner Senator on my wall was still playable)
Wait...you knew Remo or this was before you had this guitar? His album with Herb Ellis, Windflower, is one of my favorite jazz records ever.
Hello Buco, what I meant was that I did not improvise the thing but rather played note-for-note (if not with the same crisp sense of time) a little break that Remo Palmieri recorded in the 1944 with Teddy Wilson on "Stompin'". Here it is and the whole session is pure gold:
And here is the man with Teddy Wilson and Red Norvo, I suppose during those sessions.
He is one of my favorite guitarists, and by all accounts must have been a real gentleman – I never had the pleasure, unfortunately. Sorry for the confusion!