The luthiers at B&G are creating some of the most unique and sonically satisfying instruments on the planet. Since no local B&G dealers existed, the owner of Denver Guitar Exchange traveled to the West Coast to test the Little Sister and satisfy the curiosity piqued by myriad online reviews and demos. He was so blown away by the build quality, playability, and tone of these instruments that he decided to create Denver Guitar Exchange to give Colorado the opportunity to experience these amazing instruments.
Choose from our current inventory of Little Sister Private Build, Crossroads, or Step Sister instruments. Or, if you can stand the wait, enjoy the experience of creating your own custom build. Select the maple top, neck profile, fretboard material, headstock overlay, pickups, and whatever else will personalize your Little Sister to reflect your personality and creativity.
Build time is currently 8 months for Private Build guitars. Denver Guitar Exchange places orders every month which ensures slots for faster turnaround time for our custom order clients.
Burled Maple top with Lemon Burst finish and Brazilian Rosewood fretboard with no dot inlays.
Category 1 Maple top in Tobacco Burst with humbuckers and Indian Rosewood fretboard.
With its ES-140-like body and a slot-head parlor neck, is the B&G Little Sister a retro curio or a viable player? Huw Price finds out…
Back in 2011, David Weitzman was listening to Robert Johnson and gazing at the famous photo of him holding a Gibson L-1. The `fat and throaty tones’ of early Delta blues guitarists became an obsession and Weitzman was on a one-man mission to crack the code.
He began collecting antique guitars, and in the process started learning about repair work. Weitzman ended up studying at The Algranati School of Lutherie in Israel, eventually designing and building the first Little Sister.
Weitzman took it to his friends at B&G Guitars for some finishing touches, and soon after B&G called to say it wanted to put the Little Sister into production – albeit with a handful of enhancements.
The Little Sister is now available with or without a cutaway, and customers can request PAF-style humbuckers or P-90s. B&G casts its own tailpieces and, like the pickup covers, they’re fabricated from a unique brass alloy.
Much of the tone timber is reclaimed wood, and fingerboards can be Brazilian, Madagascan or Amazonian rosewood. The options for the neck and chambered bodies are Honduras and African mahogany, and customers can choose from a selection of Eastern maple tops before the guitars are built.
B&G even makes its own glue, and the in-house ethos extends to the pickups. The review guitar was fitted with P-90s with un-potted scatter-wound coils of 42 AWG wire. Long, roughcast Alnico V and II magnets are used in the neck and bridge pickups respectively.
This example is made from African mahogany and a kingwood fingerboard, inlayed with pearl dots. The Stewart-MacDonald Golden Age Restoration tuners work smoothly, and Little Sister customers can choose whether to have the brass parts clear-coated to prevent tarnishing or simply to allow nature to do its own thing.
Brass is also used for the control cavity cover and a brass pickguard is provided along with screws – to be fitted at the owner’s discretion. A soft `V’ is the standard neck profile, but customers can specify profiles and fingerboard width. The finish is nitrocellulose and a variety of sunbursts and custom colours are available.
It’s not simply a visual thing. The Little Sister really does feel like an old guitar, albeit a factory-fresh one. Although the neck was described as having a `V’ shape, it actually feels quite rounded and the depth certainly fills the palm. Skinny frets add to the impression.
The body style and 14th-fret neck join may trick you into thinking the scale is even shorter than 622mm (24.5∫). Small-bodied acoustics first inspired the design, and that has carried over into the general feel. However, in terms of playability, the Little Sister has the fast suppleness of a well-played vintage electric guitar.
Acoustically, it’s louder than a Les Paul and sounds more like a highly resonant ES-335. The tone is also full and well balanced, which means it’s fun to play unplugged and there’s plenty for the pickups to work with.
Just because a pickup looks like a P-90, there’s no guarantee that it will sound like one. We have learned from previous reviews that winding pickups in-house isn’t always advisable, but in this case it has paid off in spades. Both of these P-90s are noticeably microphonic and produce the type of tone that would make any vintage guitar enthusiast feel right at home.
The more aggressive attributes of P-90s have perhaps been overplayed in recent times. Strap one to a mahogany plank and, for sure, you will certainly get quintessential rock ‘n’ roll tone. But good P-90 pickups can also deliver some of the sweetest, most delicate and clean sounds in the electric guitar pantheon.
The Little Sister’s P-90s are a case in point, and there are three distinct but balanced sounds. The bridge position’s midrange has a snarly quality that is coupled with an authentic vintage quack. The low strings, meanwhile, are focused and even twangy when you play near the bridge, while the treble has a chiming sheen, without sounding too bright.
In the neck position, the Little Sister is sweetly-rounded, smooth and vocal. It has just as much treble as the bridge pickup, but the clunky character gives way to a woody mellowness that’s perfect for blues and even pulls off a passable impersonation of 50s jazz tone.
With both pickups together, the phasey mid-scoop is very noticeable, and this is the position that almost compelled me to grab a thumb pick or play with my fingers. These days, it’s easy to get fixated on pedals, effects and overdrive. The Little Sister is a reminder that plugging a great electric guitar directly into a valve amp can sound magical.
But for all its gorgeous clean tone, it always feels that the Little Sister has a darker and meaner side. Unexpectedly, the Little Sister’s `acoustic’ qualities are more apparent when the amp is cranked than in clean mode. However, unlike some semis, there’s no need to struggle for sustain.
The bridge pickup produces a full-throated sprang. The lower mids growl and the upper mids bite in an undeniably bluesy sort of way. The neck setting sounds huge and fat, but still clear. Mild overdrive has a swampy and rootsy quality that morphs into a buttery smooth and roaring sustain as the gain is increased.
There’s no treble bleed capacitor, but you can still clean up by rolling back the volume control without losing clarity. In fact, the touch dynamics and clean-up characteristics are much like the ’54 Goldtop that’s also featured in this issue. However, the pickups are prone to squealing, and while the Little Sister behaves quite well with a cranked amp, using overdrive pedals can be rather problematic.
If I wanted to be picky, I could point out some finish imperfections where the fingerboard shim meets the body. A smaller neck heel may ease upper-fret access, but B&G points out that mass in this area optimises tone, and I wouldn’t argue with that. The metalwork looks bright and shiny, too, but if and when the brass and the nitro finish start to age, this guitar will doubtless look
even more beautiful.
Ry Cooder once made some observations about the `true purpose’ of the electric guitar. He said, ‘In the 1950s, electric guitar was coming into itself, from a primitive idea into something very grand and beautiful. There has to be beauty there, and character and personality.’ He might as well have been talking about the Little Sister, and if I had the funds, I would buy one in an instant.
B&G Little Sister
• Description Semi-solid electric guitar, manufactured in Israel
• Price £2,950
• Build Chambered African mahogany body, flame maple top, one-piece African mahogany set neck with soft ‘V’ profile, 12” radius kingwood fingerboard with pearl dot inlays and 20 narrow frets
• Hardware Solid brass tailpiece, gold-plated tune-o-matic bridge, Stewart MacDonald Golden Age Restoration tuners
• Electrics B&G manufactured unpotted P-90-style single-coil pickups, master volume & tone, three-way selector switch
• Scale Length 624mm/24.5”
• Neck Width 42mm at nut, 53mm at 12th fret
• Neck Depth 21mm at first fret, 24mm at 9th fret
• String Spacing 36mm at nut, 51.5mm at bridge
• Weight 3.15kg
• Left-Handers Yes (no extra cost)
• Finishes Most classic sunburst varieties, plus custom colours
Based in Tel Aviv, Israel, B&G Guitars is a company founded by Eliran Barashi and Yotam Goldstein, both of whom go to extraordinary lengths to build fine quality instruments that strive for consistency in sound and playability. To control the manufacturing process the B&G makes almost everything in house, casting their own brass tailpieces (which are designed by jewelry artist David Weizman), using thick brass pickup covers to better isolate the coils of their hand-wound pickups, creating paint and nitro-lacquer formulations, making their own glue and grain filler, and maintaining a stock of carefully aged woods.
Based on parlor guitars of the ’20s and ’30s, the Little Sister features a neck made from reclaimed Honduran mahogany (African mahogany is standard), which has a mild V shape, and transitions into a slotted headstock equipped with vintage-style open gear tuners. It’s definitely one of the standout features of this instrument. My only complaint is that the Brazilian rosewood fretboard on our review sample is just too plain looking.
The neck mates to the chambered body at the 14th fret, and the whole instrument feels very compact with a weight of 6+ lbs and a length of 38". For reference, a Gibson Johnny A looked significantly larger sitting next to it, and that model isn’t a big guitar by any stretch! The Sister’s flat, figured-maple top (which is bound in figured maple) is finished in honey-toned nitro lacquer, and it looks great with the gold-plated hardware and soulful brass tailpiece with “Little Sister” cast into it.
This guitar has the acoustic resonance that you expect from a chambered body, and it delivered a good range of tones when played through a Dr. Z DB4, a Mesa/Boogie 5:25, and a Vox AC10C1. On the cleaner side it’s a natural for front-pickup jazz and blues tones, and it also veers into twangy country territory when you flick to the brawny bridge setting. There aren’t any split-coil options here, but with the switch in the middle position the guitar’s open, stringy voice proved excellent for fingerpicking, funky rhythm playing, jangly pop, etc. The output from the humbuckers is strong, and with some distortion from an amp or pedal, the Sister sustains beautifully and has a mids-forward presence that makes it surprisingly aggressive for rock. Bottom line: The Little Sister is an expensive proposition, but its unique styling and fine build quality make it a worthy consideration if you’re in the market for something different in a single-cut guitar.
PRICE $3,450 street; $4,050 as tested
NUT WIDTH 1.68"
NECK Set Honduran mahogany ($300) with soft V shape
FRETBOARD Brazilian rosewood ($300), 12" radius, 24 3/4" scale
FRETS 22, .080" wide
TUNERS Golden Age
BODY African mahogany with figured maple top
BRIDGE Faber ABRH (ABR-59 series), brass B&G tailpiece
PICKUPS B&G humbuckers with brass covers
CONTROLS Volume, Tone, 3-way selector
WEIGHT 6.26 lbs
KUDOS Unique styling. Plays well. Light and compact.
Named the B&G Crossroads, "One of the finest electric guitars around at any price."
The B&G Little Sister Crossroads beat both Fender and PRS in this highly competitive category. The full article can be read here:
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