TEST: Framus AZ-10

 Full resonance electric guitar...jazz guitar......Archtop.....”big Berta”......whatever the description for one of the visually and acoustically most outstanding subgroups of the E guitar, almost everyone has seen it, many have heard it but only very few have held it in their hands, an interesting parallel to a super model by the way...;-)

The soft, warm, sometimes bass-heavy “glove sound” is the rule, if not mandatory, in jazz or jazz-rock. The Hungarian guitarist Attila Zoller is one of the protagonists of this genre. The artist, who died in 1998 and whose folkloristic Hungarian approach was always evident in his playing, can be described as one of the original endorsers of the Framus company.

With the AZ-10, Framus is reflecting on old virtues and re-introducing a classic from the company's early history in a modernized form. The model I have in the single pickup version is based on the AZ-10 model from 1970 and is part of the instrument series of the same name, which was built in the 1960s for the jazz legend Attila Zoller and was played by him for a long time is.


Construction:

The AZ-10 is available in Almond Sunburst, Vintage and Blonde, all of which, as is usual with Framus and Warwick, are also available as a left-handed version at no extra charge. For an additional charge you can also get the shellac version in Vintage Violin and Natural, the Blonde as a natural high gloss with matching headstock and elaborate mother-of-pearl inlays or with the special woods Markassar Koa or Pomele Bubinga. The instrument has a solid, arched spruce top, which has two expansive F-holes. The pickguard, which is made of ebony, was very tastefully provided with a visually identical recess in the shape of the front part of the lower F-hole recess. The volume and tone controls were also integrated into the same pickguard. The connecting cables to the pickup are therefore routed through the upper part of the lower F-hole.

The sides of the instrument and the two-part back are made of solid AA flamed maple, as is the one-piece, lacquered neck. The neck profile is of average width but unusually flat, so that a fairly flat “D” profile can be certified. The neck is unusually easy to play for an archtop; the usual “archtop fight” with the mass of wood is completely ignored here.


The fingerboard, equipped with mother-of-pearl custom inlays, is made of Tigerstripe ebony and has medium-thick jumbo frets. All frets were cleanly dressed and give no cause for complaint. When it comes to the scale length, the Gibson size was 24.75" (628 mm), which is a touch higher than the standard short scale length of 625 mm. The truss rod hole is covered with a small metal plate that has the Framus logo decorates.

The body was framed in a three-part celluloid binding; the one-piece version was chosen for the F-holes. The color of the binding, which is now still beautifully white, will probably be the first to turn into the beautifully “shabby” vintage yellow due to environmental influences. All you need is a little patience (from around 10 years old and up...:-)).

For adequate tone pickup, a specially tuned MEC humbucker is used in the neck position, which is mounted in a free-floating manner together with the carved pickguard. A mirrored cap completely covers the two coils.


The well-known Framus locking mechanisms are used as tuning mechanisms, which leave an excellent impression. As is usual with upper-class archtops, the bridge is not made of metal but of wood for reasons of sound and, in particular, vibration. So Framus opted for a solution with an adjustable, length-compensated bridge made of ebony that both provides the relevant adjustment options and allows for the woody sound. The trapeze tailpiece is elaborately decorated and has an "AZ-10" engraving.


The guitar is equipped with befitting 012 flatwound strings including a wrapped G string and weighs 2.8 kg. The instrument is delivered in a deluxe line rock case.


Sound:
Ask an electric bass player what it feels like to hold a double bass in your hand. He will probably say that the two instruments have nothing in common with each other, leaving aside the tuning of the instruments. Most guitarists who have only ever held solid bodies in their hands will probably feel the same way. Apart from the fact that these are 6-string instruments, you can really speak of a completely different instrument. Sound quality features of a solid body, such as extensive sustain or playability in high registers, are as relevant to an archtop as personality is to a DSDS participant, they are not only not necessary, they are even annoying.

For this type of instrument, a 012 movement is considered a “light gauge”, string bending is considered nonsensical and distorted sounds are even considered a perversion of the tone. An archtop, especially if it is in the AZ-10 league, must have a basic level of “grace”, it must be a respectful playmate for the artist who you first have to convince to do what you want from her . (Yes, I know, there are parallels here too...;-) The AZ-10 offers all of this in abundance, a stately appearance and high-quality workmanship allows the artist to take a step backwards to get a better picture to be able to.

If you take the lady in your hand, no one dares to serve at least a minor 7, let alone a “power chord” (...ugh...!) to your ear. Here the instrument dictates where to go, not the artist! It is all the more surprising that the AZ-10 is actually quite easy to handle. The flat neck and an unusually low action put no obstacles in the artist's way. Up to the 12th fret the playability is excellent, from the 13th fret onwards we encounter the standard huge neck foot which, as expected, limits handling somewhat, but let's be honest, which jazzer voluntarily stops above the 14th fret?

In terms of sound, the AZ-10 offers the expected sound at a high level. The wood-heavy orientation is warm, soft and has a high-quality sound. You can see the tradition that Framus has had in the archtop sector for several decades now. From the basic volume, the instrument offers a moderate spectrum when not amplified, which is quite sufficient for solo playing, but this is not enough to assert itself in a band structure.

Here you rely on the help of the pickup in combination with the right amplifier. Did someone shout “Marshall…”? Let him go into the corner and be ashamed, unworthy one! Polytone, Fender or similar boutique clean specialists are in demand here. If you have the same protagonist at hand, nothing stands in the way of jazz sound at the highest level. Using the tone control you can “muffle” the very lively basic sound again according to your personal taste in order to achieve an extremely high-pitched sound.


Conclusion:
With the AZ-10, Framus has a top-class genre-technical instrument in its range. If the artist still has the ability to combine harmonically ambitious craftsmanship with rhythmic taste, he will find in the AZ-10 an outstanding tool for his creativity, perhaps even a little more…….

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Additional Informations:

Framus jazz guitars stand as shining examples of German craftsmanship, meticulous design, and sonic sophistication. Rooted in a rich tradition of luthiery and innovation, these instruments have played an integral role in shaping the landscape of jazz music. This article embarks on a comprehensive journey through the history, design principles, notable models, and enduring legacy of Framus jazz guitars.

**Origins and Early Innovations:**
The story of Framus jazz guitars traces back to the post-war era when Fred Wilfer founded Framus in Erlangen, Germany, in 1946. Initially focusing on crafting stringed instruments such as violins, cellos, and guitars, Framus quickly gained recognition for its commitment to quality and innovation. In the 1950s, as jazz music surged in popularity, Framus introduced its first jazz guitar models, blending traditional craftsmanship with contemporary design elements to create instruments tailored for the unique demands of jazz musicians.

**Design Principles and Construction Techniques:**
Framus jazz guitars are renowned for their impeccable construction, attention to detail, and tonal versatility. Drawing inspiration from classic archtop designs, Framus guitars feature meticulously carved spruce or maple tops, solid or laminated bodies, and elegant f-shaped soundholes, all meticulously crafted to optimize resonance, sustain, and projection. The use of high-quality tonewoods such as mahogany, maple, and rosewood further enhances the instrument's tonal richness and depth.

**Notable Models and Signature Features:**
Over the years, Framus has produced a diverse array of jazz guitar models, each offering its own unique blend of tone, playability, and aesthetics. From the majestic Strato de Luxe to the sleek Hollywood, Framus jazz guitars have graced the hands of legendary musicians and discerning players alike. Signature features such as floating pickups, adjustable bridges, and ornate inlay work have become hallmarks of Framus jazz guitars, setting them apart as instruments of unparalleled elegance and sonic excellence.

**Endorsements and Collaborations:**
Framus jazz guitars have earned the admiration of countless jazz luminaries, with many artists endorsing and collaborating with the brand to develop custom instruments tailored to their specific needs and preferences. From the smooth jazz stylings of George Benson to the virtuosic improvisations of Joe Pass, Framus guitars have been trusted companions on stages and in studios around the world, earning praise for their impeccable craftsmanship and exceptional tone.

**Technological Advancements and Modern Innovations:**
While rooted in tradition, Framus jazz guitars have embraced technological advancements to meet the evolving demands of contemporary players. Recent innovations such as carbon fiber reinforcement, proprietary pickup designs, and ergonomic neck profiles demonstrate Framus's commitment to pushing the boundaries of guitar design while preserving the essence of its heritage. These advancements ensure that Framus jazz guitars remain at the forefront of innovation and continue to inspire players of all generations.

**Cultural Impact and Enduring Legacy:**
Beyond their technical prowess, Framus jazz guitars have left an indelible mark on the cultural landscape of jazz music. From smoky jazz clubs to prestigious concert halls, these instruments have provided the sonic foundation for countless performances, recordings, and artistic expressions. Their enduring legacy speaks to the craftsmanship, passion, and dedication of the artisans who have crafted them and the musicians who have breathed life into them.

**Exploring the Legacy of Framus Jazz Guitars: An In-Depth Exploration (Continued)**

**The Evolution of Sound:**
Framus jazz guitars have not only shaped the music of their time but have also evolved with it. From the warm, mellow tones of traditional jazz to the fusion experiments of the modern era, these guitars have adapted to a diverse range of musical styles and genres. Whether played with a delicate fingerstyle technique or a fiery bebop solo, Framus jazz guitars deliver a dynamic range of expression, articulation, and tonal nuance, making them indispensable tools for the contemporary guitarist.

**Craftsmanship and Artistry:**
At the heart of every Framus jazz guitar lies a dedication to craftsmanship and artistry that transcends mere instrument-making. Each guitar is meticulously handcrafted by skilled artisans who imbue it with a sense of character, personality, and soul. From the precision fretwork to the flawless finish, every aspect of a Framus jazz guitar reflects a commitment to excellence and a passion for the craft. It is this attention to detail that elevates Framus guitars from mere instruments to works of art worthy of admiration and reverence.

**Global Influence and Recognition:**
While rooted in German tradition, Framus jazz guitars have enjoyed global recognition and acclaim, earning the admiration of musicians and collectors from all corners of the world. Their presence on stages, in recording studios, and in the hands of celebrated artists has helped spread the legacy of Framus to every corner of the globe. From the jazz clubs of New York City to the concert halls of Tokyo, Framus guitars have become synonymous with quality, innovation, and sonic excellence, cementing their status as icons of the guitar world.

**The Pursuit of Perfection:**
Throughout its history, Framus has remained steadfast in its pursuit of perfection, constantly striving to innovate, refine, and improve its instruments. From the selection of premium tonewoods to the development of proprietary hardware and electronics, Framus leaves no stone unturned in its quest to create the ultimate jazz guitar. This relentless pursuit of excellence ensures that every Framus guitar meets the highest standards of quality, playability, and tone, inspiring confidence and creativity in the hands of its players.

**Community and Connection:**
Beyond their role as musical instruments, Framus jazz guitars foster a sense of community and connection among musicians and enthusiasts alike. Whether discussing tone woods on online forums, swapping stories at guitar conventions, or jamming with fellow players in local jazz clubs, Framus guitars serve as catalysts for shared experiences, friendships, and collaborations. It is this sense of camaraderie and mutual appreciation that imbues Framus guitars with a special significance and endears them to players of all backgrounds and skill levels.

**Conclusion:**
In conclusion, the legacy of Framus jazz guitars is a testament to the enduring power of craftsmanship, innovation, and artistic expression. From their humble beginnings in post-war Germany to their global recognition as premier instruments of the jazz world, Framus guitars have left an indelible mark on the history of music. As they continue to inspire and delight players around the world, Framus guitars stand as symbols of excellence, creativity, and the timeless pursuit of sonic perfection.