I bought a 1995 Washburn Orleans J-10 last year and I just love it. Sounds great both acoustically and plugged in. Full, rich sound with a very natural tone. Very happy to own it.
Very nice sounding instrument. I have a Korean-made Washburn J-6 Montgomery and really love how it sounds too. I think its sound is fairly similar to your J-10, although mine actually has Seymour Duncan Phat Cat P90 pickups. It's quite responsive and dynamic, which suits my predilections well.
I am fortunate to own a blond 1989 model J-10. Thanks for all your input. Your information has helped to see just how blessed I am to have purchased this guitar a year ago. Thanks.
@henrycavanagh No, you are thinking of the J-10 Orleans which was a later 1990's, 17 inch model with a single floating pick-up. That sounds like the guitar you had. This is the very first incarnation of the J-10. It was made in Japan and I believe only sold in 1989. Very few were made as they cost new almost as much as a Gibson ES-175. They are becoming quite sought after now as the woods used are more on a par with something like an L-4. They also play great and sound amazing!
That honey-sunburst is gorgeous. I wish there were more archtops with that coloring, I'm not a fan of brown-burst. And Washburn!? Whodda thunk it. Of course, MIJ explains it.
@ditdacoms I don't think that is an issue. What is the difference if the guitar is played for hours a day, every day for a year, versus the guitar not being played at all for a year?
If you're going to leave a guitar unplayed for protracted periods you should de-tune (loosen off) the strings to prevent the neck from warping. You don't need to completely remove them.
But dude, this isn't a J-10, is it? I have a J-10 (which is also called the "Orleans"), and it's a replica of a 1930s archtop with a floating pickup and a very big acoustic sound. [Edit] Sorry, my mistake. I checked the 1990 Washburn catalog, and your J-10 sunburst is definitely in there. So I'm not sure why they also called mine a J-10, which is so different. I'm also sure it has a solid top, as the top is very thin and precise-unplugged, it has as much volume as a flattop acoustic. Yours sounds great too, though, in a different way. Cheers!
The most interesting man in the (guitar) world; "I do not always play a Washburn, but when I do I prefer a J-10" Seriously though, very interesting videos, thanks for sharing!
@reno145 I'm not sure of the why, I'm a musician not an engineer. It's the advice I've always been given by guitar builders and manufacturers and I'm just passing it on. Maybe it has something to do with variable string tension while you're playing versus static tension if the instrument is left unplayed? Either way if you want to leave your guitar tuned up and unattended, there's nothing to stop you doing that.
Perhaps you're thinking of the famed Washburn J6S Wes Montgomery model, that does possess a solid spruce top, but they were produced in the 90's, and didn't feature Ebony fretboards. Great guitars, but not as rare as this guitar, which by the way I've never seen on the used market. Owners must be keeping these in their collections.
I hate to question you sir, you're a great mentor and an accomplished artist. But isnt' that a J-6? I used to have a J- 10 as in this video ( ). Note that this one I posted shows up on your page when I searched for J-10. But the 10 is monolithic with nothing but the sound holes on the front, with a huge arching bulge front and back and a large body. It beats the J6 hands down for wood tones and the playability is about equal.
+Dave Kana Hi! Dave, to answer your two comments. The two main releases featuring this guitar are "The Gift" (2003) and Warm Ghosts (in a) Cold World (2009) both on Innervision Records. Of those two CDs only two tracks don't feature the Washburn: "You Can't do That" and "Champosium". Both those tracks are from "the Gift" and were recorded with an Ibanez Johnny Smith style guitar. The pick-ups on my J-10 are a Gibson Classic '57 in the neck position and a Gibson 498-T in the bridge position (which to be honest I don't use that much but it does sound nice). I still use the J-10 a lot and it's one of my favorite archtop guitars ever. We just started work on a new CD. There's no title yet but look for it in late 2016. Thanks for your interest..JD.
+ditdacoms Hi JD, thanks for your replies. I'm actually a sax player that teaches for Jamey Aebersold's Summer Jazz Workshops, that's taking a serious interest in this style of guitars. I have a Cort Yorktown for now that needs some help w the warm sound that you get that I love! I really enjoy you yids, think I've liked all of tham, thanks again Dave. I will puchase your CD's?
I had a lovely blond J10 a long time ago - for reasons that are inexplicable now, I sold it to Mike Britton!! You sound like a Bristol man Jon? Rich Alvey
Yes I am absolutely sure it is a J-10. I've owned it for nearly 30 years and recorded three albums with it: "Treetops" (Dit Da Communications 1992) , "The Gift" (2003) and "Warm Ghosts (in a) Cold World" (2009 - Innervision records).
It was a vanishingly small batch. I know several people around the world who are looking for these and they just can't find them. A dark sunburst was sold in the UK about 8 years ago for next to nothing and then resold for a lot more right away. I know that Mike Britton a fine jazz guitarist from Bristol, UK has a blond example he was sold by Rich Alvey (He installed a Charlie Christian in the neck position I think). I also had a contact from a guy in the Pacific Northwest who has one and also a guy in South Korea: "Rich Firyn 4 years ago I couldn't find a single 1 of these for sale anywhere on the planet. And i'm still looking too."
The early models made in Japan just didn't sell well. They used the best materials (I think this was actually designed/specified by the US importer) and as a result were too expensive. When I bought mine it was almost as much as a new ES-175 which people thought was just too much money for a "copy" but it's not really a copy, it's an extrapolation. The later, Korean made, J-10 is a decent enough guitar in it's own right but it doesn't bear any relation to this variant. BTW I also have a customized and "acoustified" Loar LH-650, neck shaved a little and then refinished in classic tritone sunburst by Seth Mayer at California Vintage Guitar & Amp. I play that all the time at home now. Thought you'd be interested judging by the videos on your page?
I bought a 1995 Washburn Orleans J-10 last year and I just love it. Sounds great both acoustically and plugged in. Full, rich sound with a very natural tone. Very happy to own it.
I couldn't find a single 1 of these for sale anywhere on the planet. And i'm still looking too.
Me too...6 years and counting!
Excellent!!!
Very nice sounding instrument. I have a Korean-made Washburn J-6 Montgomery and really love how it sounds too. I think its sound is fairly similar to your J-10, although mine actually has Seymour Duncan Phat Cat P90 pickups. It's quite responsive and dynamic, which suits my predilections well.
Your good advice at the end about not needing expensive guitars is so very true!
Your story's are very interesting, can't stop listening! Thank you!
I am fortunate to own a blond 1989 model J-10. Thanks for all your input. Your information has helped to see just how blessed I am to have purchased this guitar a year ago. Thanks.
You were indeed very lucky Marc, they're becoming almost impossible to find now. Enjoy your guitar.
@henrycavanagh No, you are thinking of the J-10 Orleans which was a later 1990's, 17 inch model with a single floating pick-up. That sounds like the guitar you had. This is the very first incarnation of the J-10. It was made in Japan and I believe only sold in 1989. Very few were made as they cost new almost as much as a Gibson ES-175. They are becoming quite sought after now as the woods used are more on a par with something like an L-4. They also play great and sound amazing!
That honey-sunburst is gorgeous. I wish there were more archtops with that coloring, I'm not a fan of brown-burst. And Washburn!? Whodda thunk it. Of course, MIJ explains it.
@ditdacoms I don't think that is an issue. What is the difference if the guitar is played for hours a day, every day for a year, versus the guitar not being played at all for a year?
If you're going to leave a guitar unplayed for protracted periods you should de-tune (loosen off) the strings to prevent the neck from warping. You don't need to completely remove them.
I am indeed originally from Bristol, UK and I'm pretty sure I've seen Mike play that blond J10!
But dude, this isn't a J-10, is it? I have a J-10 (which is also called the "Orleans"), and it's a replica of a 1930s archtop with a floating pickup and a very big acoustic sound.
[Edit] Sorry, my mistake. I checked the 1990 Washburn catalog, and your J-10 sunburst is definitely in there. So I'm not sure why they also called mine a J-10, which is so different. I'm also sure it has a solid top, as the top is very thin and precise-unplugged, it has as much volume as a flattop acoustic. Yours sounds great too, though, in a different way. Cheers!
@reno145 Well, you'd change the strings for a start. Not to mention the humidity issue.
The most interesting man in the (guitar) world;
"I do not always play a Washburn, but when I do I prefer a J-10"
Seriously though, very interesting videos, thanks for sharing!
@reno145 I'm not sure of the why, I'm a musician not an engineer. It's the advice I've always been given by guitar builders and manufacturers and I'm just passing it on. Maybe it has something to do with variable string tension while you're playing versus static tension if the instrument is left unplayed? Either way if you want to leave your guitar tuned up and unattended, there's nothing to stop you doing that.
cool : )
Perhaps you're thinking of the famed Washburn J6S Wes Montgomery model, that does possess a solid spruce top, but they were produced in the 90's, and didn't feature Ebony fretboards. Great guitars, but not as rare as this guitar, which by the way I've never seen on the used market. Owners must be keeping these in their collections.
I hate to question you sir, you're a great mentor and an accomplished artist. But isnt' that a J-6? I used to have a J- 10 as in this video ( ). Note that this one I posted shows up on your page when I searched for J-10. But the 10 is monolithic with nothing but the sound holes on the front, with a huge arching bulge front and back and a large body. It beats the J6 hands down for wood tones and the playability is about equal.
Video by Talented Productions Culver City CA:
what shuld i do when i leave my guitar in the case for 2 years?
What Pickups, neck, a Classic 57, this sound right for the bridge, 49018? Thanks, love how it sounds!
+Dave Kana Hi! Dave, to answer your two comments. The two main releases featuring this guitar are "The Gift" (2003) and Warm Ghosts (in a) Cold World (2009) both on Innervision Records. Of those two CDs only two tracks don't feature the Washburn: "You Can't do That" and "Champosium". Both those tracks are from "the Gift" and were recorded with an Ibanez Johnny Smith style guitar. The pick-ups on my J-10 are a Gibson Classic '57 in the neck position and a Gibson 498-T in the bridge position (which to be honest I don't use that much but it does sound nice). I still use the J-10 a lot and it's one of my favorite archtop guitars ever. We just started work on a new CD. There's no title yet but look for it in late 2016. Thanks for your interest..JD.
+ditdacoms Hi JD, thanks for your replies. I'm actually a sax player that teaches for Jamey Aebersold's Summer Jazz Workshops, that's taking a serious interest in this style of guitars. I have a Cort Yorktown for now that needs some help w the warm sound that you get that I love! I really enjoy you yids, think I've liked all of tham, thanks again Dave. I will puchase your CD's?
I had a lovely blond J10 a long time ago - for reasons that are inexplicable now, I sold it to Mike Britton!! You sound like a Bristol man Jon?
Rich Alvey
I did a gig with MB in Abergavenny about 25years ago. I may as well have gone home!!!
@henrycavanagh my comment wouldn't post with the link, see side of your page the mainline music store video with a girl playing it in the store.
What's the mane of your recordings that feature the Washburn?
Most J 10s have 1 floating pickup.Are you sure it says J 10?
Yes I am absolutely sure it is a J-10. I've owned it for nearly 30 years and recorded three albums with it: "Treetops" (Dit Da Communications 1992) , "The Gift" (2003) and "Warm Ghosts (in a) Cold World" (2009 - Innervision records).
must have been a small batch before they released the J 10 with floating pickup.
sZ
It was a vanishingly small batch. I know several people around the world who are looking for these and they just can't find them. A dark sunburst was sold in the UK about 8 years ago for next to nothing and then resold for a lot more right away. I know that Mike Britton a fine jazz guitarist from Bristol, UK has a blond example he was sold by Rich Alvey (He installed a Charlie Christian in the neck position I think). I also had a contact from a guy in the Pacific Northwest who has one and also a guy in South Korea:
"Rich Firyn
4 years ago
I couldn't find a single 1 of these for sale anywhere on the planet. And i'm still looking too."
The early models made in Japan just didn't sell well. They used the best materials (I think this was actually designed/specified by the US importer) and as a result were too expensive. When I bought mine it was almost as much as a new ES-175 which people thought was just too much money for a "copy" but it's not really a copy, it's an extrapolation. The later, Korean made, J-10 is a decent enough guitar in it's own right but it doesn't bear any relation to this variant. BTW I also have a customized and "acoustified" Loar LH-650, neck shaved a little and then refinished in classic tritone sunburst by Seth Mayer at California Vintage Guitar & Amp. I play that all the time at home now. Thought you'd be interested judging by the videos on your page?
@@ditdacoms I have a J9, it;'s a thinline with block, opinion please.
Never seen a J10 here in South Africa.
Why shouldn't you leave your guitar in the case, in tune?
stop talkin
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