Levinson’s design brief for the Sangamon range was to create an instrument that responded quickly to the player’s touch, but without sacrificing volume. I’ve been fortunate to have had this guitar for a while and one of the first reactions when I play it, is how loud it is for its size. The choice of the rosewood gives it a rich/warm under tone and, combined with the deeper body (around 1’’ more than a regular concert design), you get more volume than you’d imagine from a guitar of this size. One strum and you realize that there’s something special going on here. On picking this guitar up, you would be expecting a small, bright sound - lively even, but without the bottom end of say, a dreadnought.
Understandably, you would expect any guitar of this quality to be made from the finest woods available, but it’s also the combination of those woods that gives an instrument its tone, resonance or that special something which (for each individual) makes it stand out from the crowd. The “voiced” solid Engelmann spruce top is a constant throughout the Sangamon range and the back and sides on this particular model are solid East Indian rosewood. The bridge is also ebony and sports a compensated bone saddle. Binding for the head and neck is a striped Ivoroid. The fingerboard is ebony with abalone fret markers and a bone nut. The compact headstock has Levinson’s ‘Flying Fish” logo set into an ebony headplate with butter bean vintage-style machine heads. The neck is a solid piece of mahogany with a modern, low profile C shape and feels very comfortable indeed. The LS-43 is one of four guitars in the Sangamon range, which are a deep-bodied concert shape with a narrow waist and slightly shorter scale length at 24 ¾”. Small amounts were hand-made from his workshop in Basel in Switzerland to fund his studies at university there in the late '70s prior to the success of the electric guitars, and those 40 years of designs and techniques are implemented here in the current collection. Although this acoustic range is relatively new, it has actually been over 40 years in the making, with Gary building and repairing acoustic guitars since the mid '60s and early '70s in his native Illinois. If you persist across zoning there, will definitely try this skyscraper.The Levinson LS-43 Sangamon is one of a range of acoustic guitars from Gary Levinson, the American designer behind the Blade electric guitar company and the iconic RH-4 Superstrat from the late '80s. Euros announced for 1460 is admirable and deserves here.
#Gary levinson guitars pro#
This is the perfect guitar for the pro studio or its sub account for lovers looking for a good guitar that will not change often. On a par with most of the cream of great folk guitars up to 3000 euros, but with a little more ease of play all at a very competitive price. In fact, simply put, the LD-47 was on the verge of my references, the Martin HD-28 and the Guild JF-55. It will be said diplomatically "it does not lack." It's not a large auditorium, either, but it is sending. It also does not cross the ropes when you attack, what I like personally very much.Īs for power, we are in the right average dreadnought. It has a grain a bit softer, which runs a bit higher in the medium without running out of race to attack. Compared with the cream of the cream of Martin, Levinson gives less grain. All frequencies arrive with a little more air without losing significant ground. It is the rope that is not highlighted, but the air. The Gary Levinson is clearer, but here we must understand "brighter".
I apologize for not having also noted the reference to that guitar. I would still insist that it is simply left to play the 3000 ball to Taylor that the maker had put aside. Comfort also in high positions of the handle. It reminded me a little stick of white falcon gretsch (neither large nor end, nor big, but really effective). Tested directly next to Furch, Taylor and Normann, the Gary Levinson has a handle moderately large, moderately thick, but that falls perfectly to hand and around which rotates without worry. I have not looked if the guitar was balanced, I tend to throw myself on acoustic, in any case very slight.īut the grip of the handle was a real reference. Shrinking perfectly finished, no zinc plating, even in the most extreme positions. Oh yes, the handle was very nice, and this is a good instrument. The difference you will see, will come earlier. Good solid Indian Rosewood for the back and sides, ebony fingerboard beautiful, beautiful solid pine table, no smudges, nothing chiard, x reinforcements made goods as well (always look in acoustic, always). The LD47 is downright shocking to see land. Perhaps it is a registered affiliate of Blade, I know.
To fix it all, I have not found a site on Gary Levinson. Gary Levinson is indeed a brand maker, producing guitars in small quantities. I do not know if I have already put this guitar in the right brand.
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