For those new to these guitars, Glenn was the finish department foreman at Santa Cruz guitars, was in charge of French Polish restorations for renowned classical guitar maker Kenny Hill, and is currently Bill Tippin's only employee. In other words, Glenn knows a thing or two about building exceptional instruments.
Cambridge #47 is a fascinating guitar as it imagines John Lennon's Epiphone Casino in the current day - well worn, used, and patinaed after decades of service. Can you image the amount of soul and character John's guitar would embody and what it would feel like to play it for a few minutes? Talk about a life well-lived, right? While this Cambridge may not have belonged to a Beatle, it captures the vibe with ease.
The Cambridge is a very lightweight, balanced instrument and the tones and playability are really inspiring. It sounds like an old, perfectly seasoned guitar with a gorgeous acoustic voice. Seriously, you could play it happily for extended periods of time before ever thinking of plugging it in.
Once plugged in, that same airy, open acoustic voice combines with the chime and output of a great goldfoil pickup, courtesy of a pair of Retrograde P90 pickups.
Woods, pickups, finish, specs....all that stuff aside, at the end of the day, the real question with any instrument comes down to - Do I want to play this? Does it inspire me? To use familiar language, does it have a vibe...mojo? The answer in this case is, unquestionably, yes.
- Laminate maple back/top
- Solid maple sides
- 14” lower bout, 2” body depth
- Mahogany neck
- Classic “C” shape, .840 - .920
- Granadillo fingerboard with recessed fret ends
- Retrograde P90s
- 24.9 scale length
- 1 11/16 nut width
- Three Bolt Neck Joint w/ Steel inserts
- Gotoh Vintage Kluson style tuners
- Gotoh large post Tune-o-matic bridge
- Aged Hardware
- Antique Varnish finish
- Hardshell case