1965 D'Angelico "New Yorker"
This is a very late production D'Angelico guitar, undoubtedly largely made by D'Aquisto. Of course, all 1960's era "DA" guitars were made as a team effort by D'Angelico and D'Aquisto together. But for this intrument author Paul William Schmidt ("Acquired of the Angels") goes even one step further, and suggests that most likely was one of the partially finished guitars left over after D'Angelico's death and then finished by D'Aquisto. Hence the self-contradictory description above "1965 D'Angelico New Yorker"; as John D'Angelico himself indeed had already passed September 1st 1964.
Those of you who own the “Tsumura collection” book should compare the guitar to the early D’Aquisto guitars shown on pages 31 and 32 to see many similarities; like the lack of the “New York” engraving in the tail of the DA logo, and the double diamond inlay on the back of the headstock.
The New Yorker was the most elaborate and largest style instrument, measuring 18-1/8" on the lower bout. The guitar has rather bulky neck profile (but luckily I have big hands), a 25-1/2" scale, and 1-23/32 nut width. So everything is just a tad bigger than its otherwise nearly identical twin, my 1966 D'Aquisto NYer. Even the tailpiece is 1" longer.
Of course, the pickguard on this is not original equipment, and in this case was reproduced by Chris Mirabella.
In contrast to what you might expect from an 18” wide guitar, it is not a typical rhythm cannon with massive volume, nor does it have the big midrange hump that you would normally associate with a big bodied archtop. In stead it has a very clear voice, transparent, balanced with good distribution over the bass-middle-treble registers. If you want to chomp out 4 to the bar chords I would suggest getting a pre-1953 NY made Epiphone (which is not a bad idea anyways).
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