So I've been wrestling with wanting to get a 17" big box, after borrowing my buddy's Eastman and just feeeling the 5120 coming up short in the acoustic response. No matter how I slice it or sell it, a CC is just out of reach right now.... and sadly, even this was out of reach without parting with the 5120. Sorry friends, that I had to make that sacrifice; I will miss it and I hope you'll still let me play here and hang out. I made out just fine on the sale,and even made a little to boot, which will help.

But what I found was this: A Samick Greg Bennett JZ203, Korea, with -- and this is what made it special for me -- TW Doyle pickups.

17", 3" plus in depth, 25 1/2 scale, spruce top --- probably not a solid top, cant tell cause of the binding. Everything i was looking for.

Lovely bookmatched back:

These pickups are extraordinary .... ; low impedance, very clean and responsive, quite organic, and really pick up the acousticness of the box. I did some research, he's apparently quite well regarded and reknowned, so this was a cool find. i dont think these pickups are available anymore, so I'm quite lucky to find them.

wiring is bizarrely complex, and the shop really had no clue. I still dont either: varitone switch, two additional toggle switches and two output jacks. Its some kind of stereo wring, obviously , but it doesnt seem to be pickup dependent (with both jacks engaged, the volume knob acts as a pan sweep control between the two outputs, regardless of the pickup selection ).

I emailed Tom a week or so ago when I first played though this at the store, but havent heard back.

I think some more attractive knobs and a Bigsby are in order; debating on a B6 /60 or a B70, as I think the bridge is pretty low, neck angle shallow, and Im worried about the string angle. Id prefer a B6/60 aesthetically speaking (A B60 with some gold lacquer may be the most affordable route)

I still have the Eastman on loan, so it will be interesting to compare the two acoustically --- not a fair comparison at the moment as Mr. Eastman has newish rounds (012-054)and Mr. Bennett has oldish flats. Mr. B will get similarly equipped when i get the Bigsby.

i'd love to know more about that switching system.

me too , lol I'll keep folks posted...

Seems like it has worked out for you.But I know a Samick,that`s nicer BTW: I guess the Bridge angle is enough for a B6

i'm intrigued enough that i Googled around about it last night, but could find nothing whatsoever other than vague descriptions of the "varitone and two toggles" type. this does, however, appear to be the standard Doyle setup.

Way cool guitar. When I worked in a music store I got to play a lot of these and I was always impressed.

I'm thinking by the angle in that pic that you could get away with a B6. I would try the B6 first as there is no drilling into the top and then if it doesn't work out you could sell it and pick up a B7 at the last resort.

That wiring is very custom and cool. Let us know more

That is a very interesting guitar indeed. The quilted maple back is stunning. I think maybe the two mini-toggle swithches are coil taps???.

I also think a B6 will work out okay for you.

thanks everyone! i did some googling too over the past week, and didnt find out a whole lot. I may have to call Mr. Doyle, since I've had no email response yet.

hoping to fire this up through my own amps today...

B6 it is! i think a long Chet arm would look nice...anyone have an extra set up like that?

If the B6/B60 doesn't give you enough break angle, you could use a B-3/B-30, which is shorter, but also would require no drilling into the top. I have one on my Epiphone Sorrento, which has a bridge mounted right into the top, and it's functional, so I'm sure it would work with your LaSalle with its raised bridge saddle.

thanks to fellow GDP'er gasmoney for selling me the B6 Chet fixed arm unit! Long handle from Angela Instruments. Both received on Monday, had it installed professionally yesterday. I also replaced the knobs with Q parts pieces (the gold chicken head for the varitone switch is fun), and here it is:

Havent plugged it in yet, but played with it acoustically last night. i like the wire handle response very much so far, and the fixed arm isnt as limiting as i thought; could always get a swivel bracket later if need be.

there isnt much of a break angle at all with the B6, though, but nothing seems to be popping out, so i think ill be OK. I do wonder if im losing some tone and transference to the sound board.

all in all, this can be a cool little guitar! Its not a Country Club by any stretch, but it's got more acoustic mojo than the 5120, and i think will be a nice little piece.

last mod to consider is a tru arc bridge. The tone and sustain is a little plinky wth the TOM, a characteristic enhanced with the Bigsby now in place; perhaps its the break angle. I'll be in touch with Proteus for his recommendations!

Very nice. I like it a lot.

Proteus just got back to me about a custom TruArc.

finally was able to fire it up through the two Bassmans today. OMG!!! Very nice and glorious -- Thick, chewy, juicy and super resonant -- great singing overtones and feedback on demand when you want it, but controllable.

Trying to learn a bit re the wiring - got an email back from Tom Doyle himself , but I still have some more questions, so I'll post when i have fuller details.

whether its the pickups or the guitbox or the combo, its an interesting tone -- it can get jazzy, but its not a thick, muddy dead sounding jazz box either. Fat but articulate, with just enough high end definition to make it sing and cut while still having plenty of girth.

Onlything it doesnt seem to have yet is Deep Twang, but depending on how i have it switched , its getting very very close. Tru -Arc may be the missing link.

i'm loving the response of the fixed Chet Bigsby; Having to work my hand position around it and may pull back the arm a bit --- its almost a tad too long, but i know the short handle is too short; need somewhere in between , ideally.

I'll try to post samples soon!