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pure fantasy...if you could have Gibson build you a signature model, what would it consist of?


Jinder

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mine would be a mirror-black SJ200 with Rosewood back and sides, with the standard size pickguard but inlaid with the colourful Abalone flowered vine inlay from the J185 Custom Vine. I would have my name inlaid at the 12th fret on a MOP plaque, and the guitar would also feature block neck inlays and a Prewar-style fleur-de-lys headstock inlay, both in Abalone.

 

Oh, and I'd make the guitar two inches wider across the top, too...I'm a 6'6" tall stocky guy, and most of my stage guitars look like cocktail sticks on me!

 

She would have a K&K Pure Western Mini installed, too.

 

Over to you...

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Ummm...not that I've ever thought about it, or lost sleep over it, but, it would be a pre-war Western Classic body and neck, vintage 'burst, curled back and sides, with J250 Monarch abalone inlays around the binding, soundhole and headstock w/logo, my custom ibeam/max preamp electronics with gold highhat tone and volume knobs on front ala' the J160E, 'custom' vintage truss rod cover, MOP inlaid moustache bridge with BOB COLOSI abalone inlaid bridge pins, 12th fret MOP inlay with my initials, bound satin black pickguard, Gotoh vintage open-geared tuners (gold)...and a big bumpersticker across the back, Ernest Tubb-style, that reads 'THANKS!' when you turn it upside down:)

 

And, of course, a royalty check to cover all of that heh

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Ummm...not that I've ever thought about it' date=' or lost sleep over it, but, it would be a pre-war Western Classic body and neck, vintage 'burst, curled back and sides, with J250 Monarch abalone inlays around the binding, soundhole and headstock w/logo, my custom ibeam/max preamp electronics with gold highhat tone and volume knobs on front ala' the J160E, 'custom' vintage truss rod cover, MOP inlaid moustache bridge with BOB COLOSI abalone inlaid bridge pins, 12th fret MOP inlay with my initials, bound satin black pickguard, Gotoh vintage open-geared tuners (gold)...and a big bumpersticker across the back, Ernest Tubb-style, that reads 'THANKS!' when you turn it upside down:)

 

And, of course, a royalty check to cover all of that heh[/quote']

 

No thought at all into that huh John...... :-&

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Flame maple J-45 w/maple neck (all natural, of course). Ebony fingerboard w/ no fret markers. Flowerpot/Torch headstock inlay. Gold Gibson/Kluson deluxe machines w/green keystones. Real simple.

 

BTW: I never understood why hog necks are used on some natural maple bodies (like my maple J-45 & Martin D-60). It just doesn't look right to me.

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If money and materials are no object, I would have to go with one like the Pirates of the Caribbean in Gibson's Master Museum Acoustic Guitar Collection.

 

Master Museum Acoustic Guitar Collection

 

 

But rather than a "pirates" theme, how about a guitar with the same detail and level of artwork, but with a Gibson Guitars theme, honoring the great Orville Gibson.

Perhaps an intricate carving of Orville in his shop working on an instrument maybe laid out in MOP and exotic woods.

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I never understood why hog necks are used on some natural maple bodies

 

According to Bill at Gibson they simply found that to give the best tonal balance... or the mahogany took some of the edge off anyway. At least that's what was said about the J185.

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Please pardon heist!

 

ksdaddy:

 

I just was given a 1979 SG.

 

1. The bridge is modified and shot

2. The headstock suffered the typical break and was repaired by Dr. Frankenstein resulting in stripped truss rod, glued in place, glued some more, and then glued some more. Angle is off.

3. The nut slot is gouged and a makeshift ebony installed.

4. The back has a stress fracture following the straight brace.

5. Fingerboard deep dents.

 

It is beyond my skills. Want to fix it for me. I gotta a couple of fins.

 

Here are photos: Awl, I don't have a camera, do I. Forgot. Use your imagination!!

 

big fat footnote: It still plays and sounds like a million bucks! I am sober.

 

 

Steve

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I'd ask the luthiers at Gibson to use naturally cured (not kiln dried) wood with no expense spared on either the wood or the working of it to produce the best J45 they had ever built. No frills, no fancy stuff. Plain binding, no markers, just enough inlay to say Gibson, no signature on it anyplace, no bling. More time and energy spent inside on tuning the bracing nobody could see than covering it in gaudy frills. Every cent spent on function rather than form. Not even a pick-guard - let that sounding-board move totally free.

 

And then I would not modify it with Tusq this or fossilized that - I'd just play it.

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I'm still partial to a Hummingbird, but I'm not sure what cosmetic improvements can be made to it. It's such a beautiful instrument. The black Epiphone version is very pretty, but I doubt I would by a Black Gibson version.

 

I wouldn't mind having a Black SJ200 with a Flamenco, or perhaps slightly softer style cut away.

 

On the neck, instead of the block inlays, I would like to have the signatures of my favorite guitarists inlaid.

 

As for the Pick Guard and the Body, I'm not real sure..... I like the Elvis J200 version, and Joe Perry has a custom version with an incredible paint job on it. I wouldn't mind some type of design, picture, etc. that symbolized my love of Rock-N-Roll. However, it would have to be something cool, and something that could age well as it got older. Maybe a snake or skull and cross bones.

 

Eric Sardinas has a big tatto on his back that's cool, maybe a version of it.

 

A big Celtic Cross?

 

Flames?

 

Who knows........when they offer to build it for me I'll come up with some more definite plans, but honestly, If I never own another guitat, I have a Hummingbird, so I'll be ok.

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The honey sunburst SJ-200 Koa that jchabalk sent back to Bozeman

and was unceremoniously destroyed. That guitar was amazing. I think

I would have kept that amazing guitar regardless. I think guitarstrummer

has a Koa-bodied Elite Custom that would work just as well.

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A version of the J-45 Legend but with a natural top, non firestripe celluloid pickguard, exposed slot head screws on the bridge, gold script logo with no banner, metal buttons on the open 3-on-a-plate tuners and lots of finish checking.

 

I would call it the FOLKSINGERS CHOICE J-50 model.

 

bob_dylan1a.jpg

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Jinder -- Admit it--you really crave an ebony LOO with with maple b/s' date=' white guard, MOP bow tie inlays and a flower pot HS. It would be the Mercury Uke! Peace, JK[/quote']

 

i think i'd love the L-00 in black! next in line would be a j-200 in transblue! (insert "quick! duck! flame attack incoming!" emoticon here)

jinder.....can i get my name or does it have to say "JINDER"?#-o

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yowza! 'J-200 Koa' beat me to it! (thanks J200 Koa, i'm really quite happy to hear that it left a lasting impression, it did that to me too! the thought of that guitar going through a bandsaw is disturbing)

 

i owned my dream gibson guitar until about 6 weeks ago and it met its demise in some sort of unfortunate accident/failure while in bozeman for warranty work. They're building me a new one up right now that i'll be getting in just a couple of weeks. I searched for about 3 years for that guitar, played hundreds (or at least right around a hundred) all over the country and found that one in San Francisco where i live.

 

I had a bunch of options to make changes to the guitar when it was being rebuilt and i went with almost exactly what i had in the first place, the only difference being a red spruce top instead of sitka. (thanks guitarstrummer for that tip as i wouldn't have thought of it!)

 

anxious? you betcha! #-o/

 

Here's a pic:

 

SJ200Elite-Koa.jpg

 

My new one's due to arrive right before i spend thanksgiving week on the northern california coast. I think we'll be getting well acquainted that week.

 

Jinder (or anyone else), why the K&K mini as opposed to the standard sized one? Is there any good way to figure out which would sound best with a J200 guitar? When i record i usually use a mic as opposed to a pickup but i'm interested in the K&K.

 

Keep 'em coming! (i'm going to keep my eye out for a bumper sticker for the back!)

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yowza! 'J-200 Koa' beat me to it! (thanks J200 Koa' date=' i'm really quite happy to hear that it left a lasting impression, it did that to me too! the thought of that guitar going through a bandsaw is disturbing)

 

i owned my dream gibson guitar until about 6 weeks ago and it met its demise in some sort of unfortunate accident/failure while in bozeman for warranty work. They're building me a new one up right now that i'll be getting in just a couple of weeks. I searched for about 3 years for that guitar, played hundreds (or at least right around a hundred) all over the country and found that one in San Francisco where i live.

 

I had a bunch of options to make changes to the guitar when it was being rebuilt and i went with almost exactly what i had in the first place, the only difference being a red spruce top instead of sitka. (thanks guitarstrummer for that tip as i wouldn't have thought of it!)

 

anxious? you betcha! #-o/

 

Here's a pic:

 

[img']http://www.ebokeh.com/gibson/SJ200Elite-Koa.jpg[/img]

 

My new one's due to arrive right before i spend thanksgiving week on the northern california coast. I think we'll be getting well acquainted that week.

 

Jinder (or anyone else), why the K&K mini as opposed to the standard sized one? Is there any good way to figure out which would sound best with a J200 guitar? When i record i usually use a mic as opposed to a pickup but i'm interested in the K&K.

 

Keep 'em coming! (i'm going to keep my eye out for a bumper sticker for the back!)

 

Your's is truely a thing of beauty.

 

I'd couldn't really want more than this except maybe another 6 strings and some more bling! Abalone around the sound hole and binding would look great IMHO.

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