Acoustic Guitar Central: Babicz Identity Jumbo

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Babicz Identity Jumbo

By Teja Gerken

For the most part, modern steel-string flattop guitars vary more in details than in conceptualization. But the work of luthier Jeff Babicz—who is no stranger to nontraditional guitar design, thanks to his time at Steinberger Guitars in the 1980s—is a notable exception. His latest innovations, found in his Babicz acoustics, include what he calls a “lateral-compression soundboard” and an adjustable neck joint.

Construction

It doesn’t take an expert to immediately recognize that Babicz guitars are different. Although our review instrument—an Identity Jumbo—has a standard jumbo shape (measuring 16 3/4 inches across the lower bout), it takes on a radical look from the strings fanning out the back of the bridge to individual anchors (fastened with threaded posts) about 1 1/2 inches away from the top’s edge. With this design, instead of being activated by a direct pull at the bridge, the guitar top gets energized by a combination of torque in the lower bout and downward pressure at the bridge. The most obvious advantage to this construction is that it prevents the top from bellying, but it also allows for very light bracing. In fact, rather than the standard X-bracing found in most flattop steel-strings, the guitar’s primary support comes from two longitudinal braces that run almost the entire length of the top. In addition, the bridge plate is framed by two parallel braces, and the treble side of the lower bout has two short braces that attach to the top at about a 45-degree angle from the center line.

The Babicz’ other unique construction feature is an adjustable neck joint that allows you to set the instrument’s action with a few twists of an Allen wrench (which conveniently snaps into a clip on the back of the headstock). Rather than using a pivoting mechanism like some adjustable neck joints, Babicz’ system moves the entire neck up or down, keeping the action more uniform throughout the fretboard and the guitar in tune. (For more information on adjustable neck joints, see the Shoptalk article “Back to the Future” in the December 2004 issue of AG). Serving the overall goal of a completely adjustable guitar, the Babicz bridge is bolted on and can be moved about an eighth-inch forward or backward to fine-tune the intonation.

Although the Identity offers many fresh concepts, Babicz followed a proven path when it came to selecting materials. Our review guitar’s top boasted beautiful bearclaw figure, and the stunning rosewood back made me double-check the guitar’s price, as it would befit an expensive custom instrument. The guitar’s craftsmanship was first-rate throughout.

Sound and Functionality

After giving in to the temptation of strumming the fanned-out strings behind the bridge (the ploinky sound of which won’t have much appeal for anyone but the avant-garde), my first impression of the Babicz was how “normal” it felt and sounded. Some experimentally designed guitars are more pleasing to the eyes than the ears, but the Identity delivers mature, honest flattop tone that doesn’t sound like it came from a strange guitar. It’s difficult to say whether the guitar’s airy bottom-end response, which fills out bass runs and lends a big voice to chords, is the result of its large body (some “normal” jumbos offer similar qualities) or the reduced stress on the top. Whether fingerpicked or strummed, the Identity emanates a rich voice, and only players looking for the fattest of trebles may wish for a little more substance.

One important factor to keep in mind when playing the Babicz is that its tonal character changes depending on how the neck is adjusted. For instance, super-low action drastically reduces volume and overall note development, while moderately high action lends muscle and allows the guitar to breathe. It’s fascinating to hear how these adjustments affect the Identity’s sound, especially when you consider that most guitars require time-consuming detuning, saddle replacement, and retuning—at the very least—to get the same result. Even better, the Babicz neck mechanism works flawlessly and it’s easy to tweak the action to exactly the point you like best. My only criticism is that I felt our review guitar’s saddle shape was too low on the treble side. When I tried to set up the guitar for extremely low, electric guitar–style action, the high strings were more prone to buzzing than the bass strings. (Babicz says that the guitars now use a different saddle and nut). But after slightly shimming the saddle’s treble side, I succeeded in making the Babicz play as effortlessly as a Strat or Les Paul!

The Wrap
Overall, the Babicz Jumbo is a cool guitar that will appeal to players who like unusual instruments. While Babicz’ innovations are impressive, the best part is that the guitar is a lot of fun to play. Because I was able to set it up to play much easier than any of my own guitars, I particularly enjoyed playing difficult chord-melody material, and I found that the guitar responded well to a light right-hand touch. Adjusted with higher action, the Babicz also took well to more aggressive strumming, making its included Allen wrench a magic wand of flexibility.

Babicz Identity Jumbo

$1,395 with hard-shell case
Three-year warranty
Solid spruce top
Solid Javanese rosewood back and sides
Mahogany neck
Rosewood bridge and fingerboard
Grover tuners
Urethane finish
25.5-inch scale
Nut-width: 1 11/16 inches
Jeff Babicz Guitars, www.babiczguitars.com

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This article also appears in Acoustic Guitar, Issue #150

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