DiPinto Philadelphian

An entry level semi acoustic Jazz guitar with maple neck, rosewood fingerboard with 20 frets. Maple back and sides and solid ply spruce top that is very thick hence the lack of kerfing. Single mini neck attached humbucker, volume and tone controls.Enclosed retro styled tuners, wooden bridge.

I am new to the Jazz genre and bought this guitar without playing it because it was an outstanding deal. I have played for 25 years in the rock scene and am now interested in branching out. I have a 73 fender twin, Hughes and Kettner Duotone, 84 JCM800 combo and a Mesa Mk1 combo. This guitar sounds great on all of them. With careful EQ i can get what I would call authentic Jazz tones.Acoustically the guitar sounds very resonant.

I was amazed at the playability of this guitar straight out of the box. The action was perfect with no fret buzz whatsoever. The neck is certainly not fat and this guitar with it's flat wound stock strings just has you bopping along in the zone in no time. The finish is excellent for the price

Only just got it so no opinion here

Hav'nt had to deal with them but i couldn't care a less, unless it gets stood on i can fix what ever it needs.

I have to give this instrument a 10 because it is so much bang for buck. I have looked at other similar guitars in the price range but they always felt cheap. This guitar is certainly well made and should be a popular choice amongst first time jazz players. I will certainly be recommending them to my students.

Made in korea 2008,jazzbox,blues fully hollowbody with cutaway,16" wide,3"deep,20 frets,251/2"scale,plywood spruce top with flame maple back and sides,natural finish,fat Maple neck with a Rosewood fingerboard and medium frets,floating humbucker pickup,One volume and one tone control,rosewood bridge,trapeze type tailpiece,art deco enclosed gear style tuners

Sound was quite decent unplugged and it seemed to have that woody jazz guitar sound even though is was equipped with round wound strings,I was not able to audition it plugged into a guitar amp.The neck was fatter than the average guitar neck and for some it might take some getting use too.

The actual setup action seemed be good, I didn't notice any
fret buzz,intonation was very good especially for a wooden bridge
except the "g" string was a little off.
Body woods were very good, nicely applied finish, the headstock,
trussrod cover and bindings are attractive.
However there was cosmetic,build quality and workmanship issues:
for instance the neck is made up of three pieces, headstock is a
seperate piece of maple that is glued (scarfed) to the rest of the
neck then another block of wood is used to make up the neck's heel,
I imagine the fatter neck was employed to eliminate the possiblity of it breaking in the scarfed area,plus these unmatched pieces are not aesthetically pleasing to the eye.This all seems to be a cost cutting measure to conserve on wood.
The rosewood fingerboard has some grainy openings.
Looking inside the body I noticed that there was NO KERFING (the wood
reinforcing strips that provide a gluing surface to join the top,back
and sides together to make a solid joint),Steward-MacDonald referred to
this type of construction as a "big time" no,it appears that this was done to save on time and labor.
Also inside the body I noticed that the wooden support block for tailpiece was almost totaly unrecognizeable due to the fact that
it was covered with globs of hanging dried glue imbedded with wood shavings.
On the spruce top there was debris under finish next to the lower "f" hole and below the pickguard(reddish in color)and another spot on around the bottom part of the neck near the headstock looked
like some sanding dust got encapsulated under the finish,
The wooden bridge slots for "b'and "e' strings are cut too deep into the wood.
The gold plating on tuners is spotty or blotchy in appearance.
Nut slots were roughly cut and had edges and it looked like super glue was used to build up low "e" nut slot, plus there where
small splinters of wood where the nut meets the fingerboard.
There was no serial number or paper ID label.

the finish seems to be quite adequate,the gold plating on the
tuners is already spotty or blotchy,and it is questionable as to
whether or not a body without any kerfing would hold up to long
term use.I personally would not want to take that risk.

After having this guitar for two days I decided to return it for a refund,I was told to ship it directly to di pinto guitars,the dealer(ADIRONDAK GUITARS Hudson Falls,N.Y.,adirondackmusic.com) refused to make any sort of a refund for my shipping costs($40.61)saying that di pinto guitars said that there was nothing wrong with the guitar, after much correspondence with di pinto guitars itself they refused to help me in any way to recover my losses and it was indicated to me that this is what should be expected for a guitar in this price range.so what's the moral of the story:buy off a dealer and manufacturer that are sensitive to and willing to address the customers needs,views, rights and feelings.

I have been playing the guitar for 48 years,i have owned many guitars gibson,gretsch, guild, fender,ibanez,etc.i presently own a aria fa71 and a aria fa50e both of which i am very satisfied with,they are hard the beat as far as value,quality,playability,and sound,but as you have seen in the this review the di pinto guitar had too many issues to warrant keeping it.I wish that i could have seen the di pinto or for that matter any other guitar before buying it,however i am housebound and do all my buying either by phone or the internet.