X170 Manhattan - Info Neded

[raywood1]

I'm considering the purchase of a X170 that acording to the serial number was made in 1996.
Would this guitar also be called the "X170 Manhattan"?
Does anyone have or know where I can get specs on this model (pu type, body thickness,etc)?
Are there any known issues with this model? (feedback, poor tone, wiring issues, etc)
Price range?
Looking to play straight ahead jazz so I would like something with good tone. Any info will be deeply appreciated.

raywood

 

[jp]

This site always has good info for the models shown.

 

[raywood1]

Thanks...It says that the body is Hollow with soundpost...what is a soundpost?

 

[Mark51]

The soundpost is a small block of wood glued inside between the top and the back of the guitar directly under the pickup area. Helps stop feedback.

I got a Bluesbird one year ago and a Starfire IV a few months back. I got an X170 a couple weeks ago and like it the best of them all. Put some Flatwound 11's on it and start playing. Everyone I've talked to about X170's love them.

Mark

 

[Guildmark]

Violins all have soundposts, too. It is literally a small dowel between the top and bottom in the lower bout. It is critical to proper tone and setup and requires some skill to adjust it correctly - partly because it is NOT glued. I wonder if it serves something of the same purpose in an archtop? Violins don't get a lot of feedback in the orchestra so it must do more. Any violin luthiers out there?

 

[fronobulax]

Violins all have soundposts, too. It is literally a small dowel between the top and bottom in the lower bout. It is critical to proper tone and setup and requires some skill to adjust it correctly - partly because it is NOT glued. I wonder if it serves something of the same purpose in an archtop? Violins don't get a lot of feedback in the orchestra so it must do more. Any violin luthiers out there?

My son played cello for a while and taking care of one was a whole new experience for me. That said what I was told was that there was nothing inside of the cello except two posts. The posts had to be carefully placed under the feet of the bridge. If the posts became loose (due to heat or humidity changes) and fell out the consequence was that the bridge would punch a hole in the top. Depending upon the instrument and its environment there might be a need for two sets of posts, one longer than the other, for summer and winter. There was no discussion about effecting tone or sustain but I would presume there would be some effect because the structural problem was solved by two unglued posts. A better mechanical solution would be a fat glued block.