NS A-150 Humbuckers

Does anyone here know enough about the bracing pattern on these to know whether they can be fitted with Humbuckers?

They have X-bracing - I haven't just read this, but I've looked inside of one.

So, if what I've seen on other guitars is true oh the Guild (the crossing point of the x is about level with the top of f holes) I should have room for some Humbuckers above and below the the crossing point.

Well...yes, but I don't know if the top would stay happy with two humbuckers in it, in the long run!

What about a custom pickgard mount?

DeArmond mount?

Why not go with something like a X175 or X170?

guitarslinger said:

Does anyone here know enough about the bracing pattern on these to know whether they can be fitted with Humbuckers?

Click to expand...

Not a good idea IMO. The guitar would squeal like a pig. I mean, the feedback problem would be overwhelming. I had NS X175, and I found the top is very thin, and it was laminated. I did switch the original single coils for humbuckers, though... I needed it for jazz, so I rarely played it loud enough, but when I did, I had to always turn off the volume on the guitar between the songs. I can only imagine what it would be like on a solid top that thin.

OK, bad idea. X-170 would be one if my finances were right. I really like the NS CE-100D, BUT, I prefer a Venetian to Florentine cutaway and would like to see some wood on the back and sides. Also would like the HB1s. If I'm patient I'm sure something suitable will materialize. Thanks all for the input.

I have a NS A-150b Savoy, and love the tone of the stock DeArmond.

If you haven't tried one, it's worth a test spin.

Solid topped archtops with floating pickups are great sounding Jazz guitars, but they are a fairly specialized type of instrument. As mentioned, many of these designs are X braced and they are not really suited to mounting pickups directly to the top. They are not built with feedback resistance in mind and, from my own experiences jobbing with a Gibson Johnny Smith model, these sort of guitars are not fun to play if the venue demands much in the way of volume. These are basically acoustic guitars with a pickup added on.

In the big band days, huge, boomy sounding archtops were the rule of the day and that's what it took to cut through. As amplification became more common, especially after WW II, adding a DeArmond to an existing rhythm axe was a common practice. These guitars were spiritual descendants of the L-5 and became ever more elaborate with 18" and even 19" archtops being developed, still similar in concept to the L-5. The thing is, even with a DeArmond floating pickup added, they were quite different from the purpose-built electric guitars that followed. They still had a lot of acoustic guitar DNA and they still would feedback at the drop of a hat. Controlling feedback while playing rhythm is a far different proposition from controlling feedback while playing single-line figures.

I recall reading, with great interest, in Adrian Ingram's book on the Gibson L-5, that the L-5 CES was braced differently from the L-5 C. The reason, being one of feedback control. A friend of mine has a Super 400 CES that reputedly was once owned by Chet Atkins and that guitar is not particularly live acoustically; in fact it's surprisingly quiet for such a huge body. When the ES-175 was first manufactured, they chose a laminate top, instead of the solid spruce top of the L-4 which preceded the 175. If anyone is interested, I have an article on the subject on my web site, which delves into the subject.

I have an A 150, and it's a wonderful guitar. The stock floating pickup sounds pretty decent, although I would love to have the Artist Award pickup in its place. But it is strictly a Jazz axe, in my book, and even at that, it's not an instrument I would take into any situation that required more than coffee shop levels of volume.

I have an A-150 blonde and you are absolutely right. It is a great guitar. I was thinking of a sunburst as a project. But, I guess I'm not going to turn an A-150 into an X-500. (LOL)

So, back to my sour beer. Something I don't have to think about so much to enjoy.

Hi, I m new here, I have a savoy anybody knows how can I put a tone control to get that dark jazz tone, unplugged sounds great but when the vol knob its above 50% its sounds very trebly. I dont wanna to ruin the pickguard. Thanks

Arnesto said:

Hi, I m new here, I have a savoy anybody knows how can I put a tone control to get that dark jazz tone, unplugged sounds great but when the vol knob its above 50% its sounds very trebly. I dont wanna to ruin the pickguard. Thanks

Click to expand...

i. e.: http://www.stewmac.com/Pickups_and_...entiometers/Schatten_Thumbwheel_Controls.html

Great, do you know if I m only use the tone control and keep the original vol knob?

Arnesto said:

Great, do you know if I m only use the tone control and keep the original vol knob?

Click to expand...

they say yes, ask them:
http://schattendesign.com/thumbwheels.htm

Has anyone ever added a bridge piezo pickup to cover acoustic tone?