Antoria Jazzstar Solidtop

Early 70,s made in Korea Jazzstar. All the standard Antoria fittings when purchased 3 months ago fron a dealer for ?199. No case. Built like a concrete outhouse with goodish quality fittings. Everying original and only one small ding on the binding bottom back. Not sure what the wiring or electrics are truely like but the wiring is sheathed but the picks ups are a touch muddy (aging).

Bought for use with a big band/ swing band/ dance band/ jazz quartet.
Bought to replace a 1944 Epiphone Zenith with a Kent Armstrong single floating p'up, which is getting too valuable for carting about at mad rehersals. I also carried a 335 dot for the more up tempo modern sound needed at times.
I now need only the Jazzstar using the neck pup for the rich jazz tones and the bridge pup for other things (mavericks etc).
Play through a crate GT212 at rehersal and gigs and a Fender Frontman 15R at home. I have a Zoom 707 which through the Crate clean channel gives me anything I need plus lots lots more.
Only dislike is the weight of the instrument but I play sitting down and somehow the weight gives a sort of comfortable feeling.

When I got it there was a bit of choking on the treble side past the 14th fret and the bridge pup tone pot was shot. The dealer replaced the pot and fitted a new set of flat 12's. Everthing else was pretty spot on.
I have had the thing pro set up with a small adjustment to the neck relief the frets dressed and fitted with Thomastik flat 13's. The bridge pup has just been changed to a Kent Armstrong Classic '57 PAF alnico.

Difficult to say what sort of use this has had in its first 30 years of life (not much I'd say) but everythin on it has lasted perfectly to date. I'm gigging with no back up, holds tuning perfectly, nothing loosed cracked or suspect.
Finish top notch, the 7 ply front and 5 ply back body binding has 'yellowed' a little over time as has the natural finish on the body. The original retailers label was still on the back of the headstock but was lifting so I took it off and there is a small paler patch where it was. This shows how the natural finish has 'richened'. The gold makers 'Made in Korea' and EG794N lables are still well fixed as is the inner paper label.

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Been playing for over 40 years. apart from the Zenth and the Dot I have a 1972 Japanese LP in black (pristine) and an Epiphone EJ300s with upgraded bridge and nut (bone).
The build quality on this Korean guitar is far superior to the Jap LP.
It is a real eye catcher and it certaily has the look and feel of vintage jazzer. The sound is out of this world. If It ever went I would search for another and be prepared to pay a lot more to replace it than this one cost.

Bought in 2001 for #300 incl hard case. Previous owner was jazz player hence tape wound strings. Not sure about age ! possibly 1979 as original serial No. on bridge heel has ***79* included.Same pots selection as others on this site including crackly "humbuckers".Allmetal work with Chrome finish which shows no signs of wear/corrosion.Lovely thin neck.

I play lead/rhythmn in a rockabilly/rock and roll trio through a 1983 Peavey Classic combo . I also use a Boss Delay pedal .
Originally it had a warm sound obviously having been set up for jazz styles but after spending months of tweaking the pick ups and trying various strings and gauges I found a reasonable sound but still lacking in cut. Eventually the neck pick up stopped !! and so I thought of getting rid of her .I tried some mighty expensive semis out but nothing felt as good as mine so I had new Kent Armstrong P90s put in and new pots and wiring and selector switch. New bone saddle and new jack input.I can now get anything from a dull bass thwack sound on muted neck p/u to a beautiful clean mellow jazz on mid select with the bneck p/u volume pot turned down a touch, right up to a cut through walls distorted toptwang sound on bridge p/u and pots full on.

A couple of the machine heads are worn and the post will rise when re-stringing if you are not careful. The body is "natural" sorry dont know my woods! and varnish and binding and chrome in almost as new condition .The neck has been filed down on the edge binding a little too much in places (why) The neck itself is lovely to play with just a hint of varnish cracking at the heel- shoulder joint which is the same as when I bought it.

This lovely guitar gigs all over the country every weekend for up to three hours a gig . It is played with passion , thrown around in the air, shaken but not hurt. Considering the weight of this guitar the strap buttons are dependable considering the punishment they take live.The guitar is 100% dependable with a fantastic ability to remain roughly in tune even after a big hot shaking gig. It is wiped down after each gig and normally re-strung every third gig with Gibson BB King strings. 10 to 54 which are perfect for my style. The Gibson vintage reissue 11 to 52 were great sounding but unbalanced gauge wise.I use this guitar without a back up for every gig . Totally dependable and built like a tank !!

never tried to contact co. but pleased to find this site !!

I have been playing for about 25 years a. I also own a 1970 EKO 12 string which I have owned for 23 years and love dearly and a Takamine Jumbo which I have had for two yeras and dont play.If stolen or lost I would possibly buy a Gibson Switch master or the real thing if poss.
I love the look of the guitar , its so right for my kind of music and image.It is quite a rare guitar in my world of Gretsch 6120s etc and it has a unique sound . THe guitar chose me !!Will forward E.Mail address later.
I was talking to someone afetr a gig the other week and he said "Ive seen hundreds of rockabilly/rock n roll bands but have never seen a guitar like yours! It must be worth thousands of pounds whats it woth ? " I said about #400 he replied " F**k Off whats it really worth " and would not believe my answer !! a true story!

I bought this white beauty as a gift to myself in 1987 for 150 pounds - I was going to play Jazz! I left it in the case for 7 years and then started to rebild it.
It's a full size arch-top style with two "humbuckers" and really crap wiring.
Nothing special at this point.
3 way switch, glued neck. The neck is nice and flat with a Gibson style scale.
I put a Seymour Duncan Jazz special on the neck and a hot SD "Fred" on the back.
replaced all the wiring, switches.
Had a refret done with a complete setup.

I play mostly contemporary jazz, with a good mix of Jeff Beck, the Crusaders, Rippingtones, Special EFX, Spiro Gyra, Thin Lizzy, Whitesnake and of course some jazz standards.
I use a Peavey Classic 30W valve amp with a POD.
When called for, this thing is extremely sweet. It can also rock when I'm in the mood.
I use 13gauge Chromed strings
I could not replace this instument for any reason or cost.
I would only play a 335 as an alternate (which I am saving up for)

The initial setup to the starry eyed purchaser (me!) was irrelavent.
Now it is a great instrument to play. Very easy action and the finish is fine.
The only flaw is the gloss finish has yellowed.....gives it a "distinguished" look

100% reliable (bullet-proof to date)

Warranty??????????

I have a friendly Luthier that babies my baby once a year.

I've been playing for 22 years and have played almost all styles.
I want a new 335 and the new Roland VGA-7 V-Guitar Amplifier
I could never replace this guitar if it were lost, I could buy another, but........
I could spend thousands of dollars to find anything that sounds a sweet.

Made in Korea 1989. Gibson L5 Copy (full bodied slightly bigger than a jumbo acoustic) semi acoustic guitar. I have two, one black painted, the other maple ply bodied with a solid maple neck. Two pickup floating bridge two volume and tone, the usual stuff!

They sound fantastic. One sounds darker than the other, but both are incredibly expressive and can be used for most styles that want a big fat sound. Can't impersonate a strat but thats not what you want this kind of guitar for.

Both bought secondhand (not made anymore) and both fairly appallingly set up. However will take a good set up and can be made to play well.

Gold plated hardware wears as on most guitars. Bulletproof tank like consruction. Very good binding and finish considering this wasn't an expensive guitar when new. The one I have gigged with hardly has a mark, the other is immaculate.

Company doesn't exist anymore. Hard to find any info on it.

Have been playing over 20 years. Also own a strat, Gordon Smith an Aria 335 copy a nice Ibanez acoustic. These are my favourite guitars. I would have been devastated if I had my First one stolen or lost, so I've got another one already!
I'd also be interested in trying other Antoria guitars and hope to come across one of the earlier ones made in Japan.

1976 Jazzstar
Simple and traditional jazz guitar styling.
Thin beech neck. Beech solidtop body. Nice big F holes and b/w ivory style detail on body edges.
2 Humbucking pickups [Antoria made??] + 2 volume / 2 tone pots.

Gets very heavy when standing with the thing for any length of time!!
Taken me quite a bit to find a strap that can cope with the weight.

Really is perfect for jazz, country and blues.
Sounds good with a VOX AC30 and the big Fenders.

Can be a little noisy on the pickup selector and tone pots but that's expected with the age, it all adds to a genuine Jazz guitar sound...
Effects like wah pedals can emphasise this, especially on the ryhthm setting.

Really nice action for a semi and very easy to play all over. Can be a bit fiddly playing right up the fretboard due to the bulk of guitar.

Buzzing on E/A string on F/Bb and F#/B.

The build is generally good with only a few discrepancies in some of the detail on the body.

The floating bridge is fine; easy to adjust etc..

The original 70's wiring is going a bit crackly inside, I think the soldering is failing on the jack input so that'll all have to be looked at.
Strap buttons are a little loose.
The Jazzstar is reliable and durable and has been out on gigs without any trouble whatsoever. The finish is still relativley unmarked and is seemingly quite tough.

None whatsoever...

Good compromise for the price. Looks nice and sounds nice.
Don't think I'll be getting rid of it.

Year of manufacture: approx. 1975 (Japan)
Condition: Almost as new. Had been played as there had been slight fret wear.
Features: Soild top in beech. Nicely crafted f-hole guitar. Two square single coil pick-ups, treble/rhythm selector twin volume and tone controls. Neck is beech with rosewood fretboard and pearl inlays.

Sound: Ideal for jazz, blues and country. A very warm sound and precise tonality. Played through a Peavey VT series amp, distortion can be achieved at relatively low volumes. Controls are precise.

Action easy to change on floating bridge, but does buzz a bit on the 5th fret if too low. String-to-bridge alignment very accurate.
Slight inaccuracies in F-hole cuts and fret inlays shows you why the equivalent Gibson costs a whole lot more!!

I play it live, but I have to say it needs about half an hour to equalise with room temperature, otherwise the tuning can go out a bit. Not a guitar for 'thrashing'. Finish very and strap buttons are solid. Reliable and giggable. Haven't had any trouble so far.

Antoria used to be represented by JB Music Ltd in the UK., but support no longer exists

Mainly being a piano player, I play mainly rhythm guitar. I use mainly a Fender Telecaster and an old framus semi-acoustic as a back up. The Jazzstar complements ballad accompanyment and jazz standards well and was much cheaper than a Gibson!! Everyone remarks on the colour and finish after gigs. I only wish I could get some history on it. Not much out there now on Antoria.