Phenomenal everything - the guitar.. it's electronics... the hat... and/but most importantly, the playing. You rule, Bruce. Love your podcast, especially the one with Tommy.
ALWAYS GREAT PLAYING, BRUCE ! ! ! The guitar is amazing. You made two excellent points... it breathes and resonates equally thru any key and those clusters sound very clear and distinct. this is a truly HD sounding guitar, but in a good way. Not sterile or cold. Too bad it goes for impossible money... but I understand its value, amount of work and knowledge master Parker has put in his masterpiece. Marvelous!
Ken’s guitars have been shown in museums. When he invented the Parker Fly guitar, the last person to have as many new patents for the guitar was a gentleman named Leo Fender. Ken is a first-rate sailor and a rower of water crafts, and he brings that sense of buoyancy and freedom to his design sensibilities. Google the New Yorker article regarding Mr. Parker, who was featured in the annual “Creators” issue. Prof here: www.google.com/amp/s/www.newyorker.com/magazine/2007/05/14/struts-and-frets/amp Who would think to balance the fretboard on one piece of carbon? Who would be innovative enough and brave enough to mix carbon with wood? Ken Parker, that’s who! And when we listen to the way you play, which by the bye is quite excellent, the first thing I thought was I’ve never heard any guitar sound like this guitar. I can’t quite put my fingers on it, but it doesn’t sound like a classic big box arch top, and it doesn’t sound like an acoustic guitar, nor does it sound like an unplugged acoustic/electric guitar. It does recall the sound of Charlie Christian and his seminal cuts with Benny Goodman, but even that distinctive tonality does not quite describe what we hear. And so once again, Mr. Parker has created a machine that sounds like nothing else that came before. Bravo, maestro, bravo!
I don't know what I was expecting at 4:05, but that wasn't it! Damn that's some wonderful playing I would say I'm jealous but honestly I'm just happy for you to have such a wonderful instrument in your life! Bet you smile every time you pick it up
That’s one beautiful Guitar. Because -it is so light’ - it certainly has a percussive woody Quality to it -and the traditional Arch-top Maple body would still gives it a little brilliance some flat tops lack. It’s defiantly different sounding than a 1930 L-5. Super lightweight Flat tops from the 1930s like Gibson L-00’s /L-0’s sound quite different than a 1960’s Guild/Gibson/Martin. Big weight difference doesn’t always mean a guitar is inferior especially if it’s Braced accordingly. Having the fingerboard elevated is nothing new-Loar’ incorporated that concept on fretted Mandolin family instruments-the interesting neck joint certainly adds something to its unique tonal Quality. I prefer Traditional Glued in Neck Joints over any other- they seem to give instruments a level of sustain and richness. There’s is no One Guitar can do it all. I’d love to own one of Parker’s Archtop’s. Man Bruce you got some Killer chops and really shine on that LUCKY’ Guitar 🇺🇸
Amazing guitar. $30,000 price tag prevents wide adoption. It sounds a little synthetic, like the tone wood is choked a bit. I do not like the location of the jack, it could be routed to the rear.
Thanks, Justin. Wide adoption would require a completely different way of making these guitars and then they'd not be what they are. I'd suggest you listen in person. Could be the recording that's making the sound not to your liking. There are LOTS of recordings of Ken's Archtops at kenparkerarchtops.com . Maybe take a listen to Bill Frisell's clips which are recorded pretty much completely transparently.
From Justin below who said it quite well: "It sounds a little synthetic, like the tone wood is choked a bit" That was what I heard too. It doesn't ring and resonate like my J-200... or my Blueridge 183C...just say'n,.... and to be honest,.. NO guitar should cost $30,000 dollars! That puts it in the ART Piece, or rare old Martin/Gibson/Guild territory! It looks great, I watched the video when Parker was building it... he's a true craftsman. I build guitars too,... albeit, solid body electrics,... child's play compared to what he does. But it doe give me an appreciation for what he does. If I may propose a theory as to what the glitch is: The neck attachment doesn't transfer enough string vibration.
Thanks for your comments. Could be the way it was recorded. All of Ken's Archtops I've played (about a dozen), including Lucky, have sustain for years. Tone wise, they are more like Archtops with enhanced bass. I agree that they don't sound like flat top guitars, which they weren't designed to do. Archtops are much more focused sounding and the good ones can cut through just about anything. As far as the price, that's really up to the buyer. There are builders who charge double that. There are even some flattop builder that charge more. Violins and cellos and oboes and on and on can go for more money. If you are interested in hearing others play, take a listen at Ken's site: kenparkerarchtops.com . The Bill Frisell clips are pretty much perfect sound, in my opinion.
Phenomenal everything - the guitar.. it's electronics... the hat... and/but most importantly, the playing. You rule, Bruce. Love your podcast, especially the one with Tommy.
Thanks for the fantastic review, stunning performance as well!
ALWAYS GREAT PLAYING, BRUCE ! ! !
The guitar is amazing. You made two excellent points... it breathes and resonates equally thru any key and those clusters sound very clear and distinct. this is a truly HD sounding guitar, but in a good way. Not sterile or cold. Too bad it goes for impossible money... but I understand its value, amount of work and knowledge master Parker has put in his masterpiece. Marvelous!
That guitar sounds amazing. The playing, awesome as always
Ken’s guitars have been shown in museums. When he invented the Parker Fly guitar, the last person to have as many new patents for the guitar was a gentleman named Leo Fender. Ken is a first-rate sailor and a rower of water crafts, and he brings that sense of buoyancy and freedom to his design sensibilities. Google the New Yorker article regarding Mr. Parker, who was featured in the annual “Creators” issue. Prof here: www.google.com/amp/s/www.newyorker.com/magazine/2007/05/14/struts-and-frets/amp
Who would think to balance the fretboard on one piece of carbon? Who would be innovative enough and brave enough to mix carbon with wood? Ken Parker, that’s who! And when we listen to the way you play, which by the bye is quite excellent, the first thing I thought was I’ve never heard any guitar sound like this guitar. I can’t quite put my fingers on it, but it doesn’t sound like a classic big box arch top, and it doesn’t sound like an acoustic guitar, nor does it sound like an unplugged acoustic/electric guitar. It does recall the sound of Charlie Christian and his seminal cuts with Benny Goodman, but even that distinctive tonality does not quite describe what we hear. And so once again, Mr. Parker has created a machine that sounds like nothing else that came before. Bravo, maestro, bravo!
This guitar sounds acoustic MARVELOUS (in your hands) !!!!!
Wow what a sound. You're a killer jazz player too!
I don't know what I was expecting at 4:05, but that wasn't it! Damn that's some wonderful playing
I would say I'm jealous but honestly I'm just happy for you to have such a wonderful instrument in your life! Bet you smile every time you pick it up
thanks for highlighting 4:05 - I thought these were only folk-sy guitars.
@@irishmuso7129 This dude fucking swings is what I was getting at to be honest, but that too!
@@irishmuso7129 ended up looking him up. He hasn't got a channel but there are some great videos of his playing and teaching. What a dude!
That’s one beautiful Guitar. Because -it is so light’ - it certainly has a percussive woody Quality to it -and the traditional Arch-top Maple body would still gives it a little brilliance some flat tops lack. It’s defiantly different sounding than a 1930 L-5. Super lightweight Flat tops from the 1930s like Gibson L-00’s /L-0’s sound quite different than a 1960’s Guild/Gibson/Martin. Big weight difference doesn’t always mean a guitar is inferior especially if it’s Braced accordingly. Having the fingerboard elevated is nothing new-Loar’ incorporated that concept on fretted Mandolin family instruments-the interesting neck joint certainly adds something to its unique tonal Quality. I prefer Traditional Glued in Neck Joints over any other- they seem to give instruments a level of sustain and richness. There’s is no One Guitar can do it all. I’d love to own one of Parker’s Archtop’s. Man Bruce you got some Killer chops and really shine on that LUCKY’ Guitar 🇺🇸
Amazing guitar. $30,000 price tag prevents wide adoption. It sounds a little synthetic, like the tone wood is choked a bit. I do not like the location of the jack, it could be routed to the rear.
Thanks, Justin. Wide adoption would require a completely different way of making these guitars and then they'd not be what they are. I'd suggest you listen in person. Could be the recording that's making the sound not to your liking. There are LOTS of recordings of Ken's Archtops at kenparkerarchtops.com . Maybe take a listen to Bill Frisell's clips which are recorded pretty much completely transparently.
That‘s definitely a great guitar. But I bet you would play the hell out of a guitar someone made out of your hat :-) Thanks for your great playing
I love this instrument, but can it djent?
From Justin below who said it quite well: "It sounds a little synthetic, like the tone wood is choked a bit" That was what I heard too. It doesn't ring and resonate like my J-200... or my Blueridge 183C...just say'n,.... and to be honest,.. NO guitar should cost $30,000 dollars! That puts it in the ART Piece, or rare old Martin/Gibson/Guild territory! It looks great, I watched the video when Parker was building it... he's a true craftsman. I build guitars too,... albeit, solid body electrics,... child's play compared to what he does. But it doe give me an appreciation for what he does. If I may propose a theory as to what the glitch is: The neck attachment doesn't transfer enough string vibration.
Thanks for your comments. Could be the way it was recorded. All of Ken's Archtops I've played (about a dozen), including Lucky, have sustain for years. Tone wise, they are more like Archtops with enhanced bass.
I agree that they don't sound like flat top guitars, which they weren't designed to do. Archtops are much more focused sounding and the good ones can cut through just about anything.
As far as the price, that's really up to the buyer. There are builders who charge double that. There are even some flattop builder that charge more. Violins and cellos and oboes and on and on can go for more money. If you are interested in hearing others play, take a listen at Ken's site: kenparkerarchtops.com . The Bill Frisell clips are pretty much perfect sound, in my opinion.
Not a fan of the headstock
I bet Ken's never heard that one even once since the nineties... 😂