Gibson Guitar Board: J 35 - Gibson Guitar Board

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J 35 CME custom

#21 User is offline   davenumber2 

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Posted 02 March 2013 - 09:28 AM

Music Villa (The Acoustic Letter) has filmed a video review of the new J-35 and will be posting it soon according to their Facebook page.
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#22 User is offline   michaeljohnr 

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Posted 02 March 2013 - 11:21 AM

View Postdavenumber2, on 02 March 2013 - 09:28 AM, said:

Music Villa (The Acoustic Letter) has filmed a video review of the new J-35 and will be posting it soon according to their Facebook page.


I can't wait to hear it. I really want this to be a nice sounding Gibson at an attractive price point.

It'll be tough to resist, although Music Villa is firm on the $1699 pricing and they seem to be everywhere else for $100 or more less.

That disappointed me because I really wanted to get one from them, I was really happy with the J45 I purchased there.
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A lonely, unoccupied second guitar stand.
A few Diamond Bottlenecks glass slides.
A capo or two.
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#23 User is offline   davenumber2 

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Posted 02 March 2013 - 11:30 AM

The Acoustic Letter's words... They know acoustics.

"Just filmed it, coming soon. Great guitar!"
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#24 User is offline   J-1854Me 

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Posted 02 March 2013 - 11:42 AM

View Postmichaeljohnr, on 02 March 2013 - 11:21 AM, said:


It'll be tough to resist, although Music Villa is firm on the $1699 pricing and they seem to be everywhere else for $100 or more less.

That disappointed me because I really wanted to get one from them, I was really happy with the J45 I purchased there.


This has happened to me a number of time too at MV -- they dug their heels in on price for some guitars, and I went elsewhere to find it, or simply took a pass on buying the particular guitar at the time.

To be fair, though, I have also received some outstanding deals from them.

The marketplace is big enough that there is plenty of competition out there, and you should be able to find a deal that suits you.
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#25 User is offline   michaeljohnr 

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Posted 02 March 2013 - 12:02 PM

View PostJ-1854Me, on 02 March 2013 - 11:42 AM, said:

This has happened to me a number of time too at MV -- they dug their heels in on price for some guitars, and I went elsewhere to find it, or simply took a pass on buying the particular guitar at the time.

To be fair, though, I have also received some outstanding deals from them.

The marketplace is big enough that there is plenty of competition out there, and you should be able to find a deal that suits you.



Agreed.
Gibson J45
A lonely, unoccupied second guitar stand.
A few Diamond Bottlenecks glass slides.
A capo or two.
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#26 User is offline   rbpicker 

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Posted 02 March 2013 - 03:17 PM

Just played one here in the metro Detroit area. It was ok... Not great, just ok. I suspect within 6 months of being played it will improve a lot. Needs a bone saddle. The tusc sounds quite brittle.

BTW, this one has the banner headstock and very light mahogany B/S like the J50's.
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#27 User is offline   eltonwce 

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Posted 02 March 2013 - 07:26 PM

Wildwood ad. has specs as solid mahogany with banner. $1699.00.
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#28 User is offline   duluthdan 

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Posted 02 March 2013 - 08:08 PM

View Posteltonwce, on 02 March 2013 - 07:26 PM, said:

Wildwood ad. has specs as solid mahogany with banner. $1699.00.

Curious that they would issue these with Banners? http://wildwoodguita...egoryID=432&n=0
and why a rectangle bridge, but a drop-in saddle?
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#29 User is offline   michaeljohnr 

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Posted 02 March 2013 - 10:04 PM

Gads.....You guys are killing me.

I really like the looks of these.
Gibson J45
A lonely, unoccupied second guitar stand.
A few Diamond Bottlenecks glass slides.
A capo or two.
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#30 User is offline   Red 333 

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Posted 02 March 2013 - 10:58 PM

View Postduluthdan, on 02 March 2013 - 08:08 PM, said:


...why a rectangle bridge, but a drop-in saddle?



To accommodate the compensated saddle, which is pretty much a stock size, and for the Baggs Element pickup transducer.

Remember, this J-34 is a modern interpretation, not a strict re-issue. The rectangular bridge recalls the bridge shape on a vintage J-35 guitar, but beside being slotted for a modern saddle and fitted with a pick up, its been redesigned in another respect, too: it's even in height on the bass and treble sides. The original was higher on the bass side.

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#31 User is offline   duluthdan 

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Posted 02 March 2013 - 11:18 PM

View PostRed 333, on 02 March 2013 - 10:58 PM, said:

To accommodate the compensated saddle, which is pretty much a stock size, and for the Baggs Element pickup transducer.

Remember, this J-34 is a modern interpretation, not a strict re-issue. The rectangular bridge recalls the bridge shape on a vintage J-35 guitar, but beside being slotted for a modern saddle and fitted with a pick up, its been redesigned in another respect, too: it's even in height on the bass and treble sides. The original was higher on the bass side.

Red 333

Ah, I see. Wait a sec, no I don't. The bridge height all the way across is the same in height - but the two rectangle bridges I have on other guitars, slope a bit towards the treble side. Does that give enough compensation for the B string? I wonder if the Gibson folks were thinking that perhaps the new LR Baggs "Lyric" would be in high enough production by this time, and they could have been release together, ala the J-45 "PureVoice" - even though that is a different company. I know the thru bridge saddle cannot accomodate an under-saddle, it would have been interesting with the new Lyric.
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#32 User is offline   Red 333 

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Posted 02 March 2013 - 11:46 PM

View Postduluthdan, on 02 March 2013 - 11:18 PM, said:

Ah, I see. Wait a sec, no I don't. The bridge height all the way across is the same in height - but the two rectangle bridges I have on other guitars, slope a bit towards the treble side. Does that give enough compensation for the B string? I wonder if the Gibson folks were thinking that perhaps the new LR Baggs "Lyric" would be in high enough production by this time, and they could have been release together, ala the J-45 "PureVoice" - even though that is a different company. I know the thru bridge saddle cannot accomodate an under-saddle, it would have been interesting with the new Lyric.


The sloping of the wood thickness from maximum height on the bass side to thinner on the treble on the vintage style rectangular bridges is not for compensation. The theory of the time was that the greater mass on the bass side would produce deeper bass response. You can see this variance in thickness by looking at the bridge from the endpin.

Higher on the bass side is a design characteristic of Gibson rectangular bridges from the 30's and early 40's, not Martins. It's not really known whether the design actually has an audible effect, but Gibson reproduces that style of bridge for vintage reissues because that's how the original guitars were equipped. The vintage style bridge would not not work with a standard, modern compensated saddle, because the extra height of the bridge's wood on the bass side could potentially cover up some of the saddle on that side, change the break angle of the strings, etc. Slotted saddles on the vintage style rectangular bridges are especially shaped to prevent this, as they are shaped to be much higher on the bass side, the way the bridge is.

Compensation is achieved in the vintage style rectangular bridges (and every style of bridge) by the angle that the saddle is set into the bridge. The saddle is further from edge of the bridge on the bass side and closer to the edge on the treble side to slightly change the speaking length of each of the strings, which is necessary to keep the guitar in tune up and down the neck. A modern compensated saddle has a little notch at the B sting position (or on other stings) to further fine tune the string's length by individually adjusting its point of contact with the saddle, which is also called the crown.

You can find the mathematical formula for determining string compensation, and a first-class explanation of why its necessary, on the Stewart MacDonald lutherie website if my attempt is unclear.

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#33 User is offline   Bryn6490 

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Posted 03 March 2013 - 03:14 AM

That is on beutiful guitar.
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#34 User is offline   Lefty Guy 

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Posted 03 March 2013 - 05:52 AM

Just wondering why the end of the fingerboard is so much further from the edge of the soundhole than on a J-45?
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#35 User is offline   ThemisSal 

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Posted 03 March 2013 - 05:57 AM

View PostLefty Guy, on 03 March 2013 - 05:52 AM, said:

Just wondering why the end of the fingerboard is so much further from the edge of the soundhole than on a J-45?


I just looked at my J-50 and noticed the fingerboard is much closer to the soundhole than the J-35 pictured too. Strange.

I will try to play it later today.I'll bring my Zoom to Sam Ash (if they still have it).
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#36 User is offline   Red 333 

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Posted 03 March 2013 - 08:50 AM

View PostThemisSal, on 03 March 2013 - 05:57 AM, said:

I just looked at my J-50 and noticed the fingerboard is much closer to the soundhole than the J-35 pictured too. Strange.

I will try to play it later today.I'll bring my Zoom to Sam Ash (if they still have it).


If you look at an old J-35 (or some early J-45's or LG's, etc.), you will see that's how Gibson made guitars in the thirties and forties. At that time, Gibson fretboards had 19 frets (which means it was shorter than the one used on most guitars today), so the fingerboard ended well before the soundhole.

In the early fifties, they got 20, which extended the overall length of the fretboard, bringing the bottom closer to the top edge of the soundhole, where they are today.

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#37 User is offline   ThemisSal 

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Posted 03 March 2013 - 09:19 AM

Red, you are treasure trove of accurate information.
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#38 User is offline   JuanCarlosVejar 

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Posted 03 March 2013 - 09:30 AM

That's not the same guitar Don had at Namm .

Banner or no banner she's a beauty ... I wonder if you can order both versions ?



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#39 User is offline   zombywoof 

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Posted 03 March 2013 - 09:42 AM

View PostRed 333, on 02 March 2013 - 11:46 PM, said:

The sloping of the wood thickness from maximum height on the bass side to thinner on the treble on the vintage style rectangular bridges is not for compensation. The theory of the time was that the greater mass on the bass side would produce deeper bass response. You can see this variance in thickness by looking at the bridge from the endpin.



Back when I first got my hands on an old Gibson I noticed the height diffrence in the bridge and assumed it had been shaved and done poorly which was why it was thicker on the bass side. In the early 1970s I spent some time learning how to build guitars and brought my Gibson in so the guy I was working under could look at the bridge. He told me exactly what you said - that it was just the way Gibson made 'em.
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#40 User is offline   ThemisSal 

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Posted 03 March 2013 - 11:57 AM

Just came back from Sam Ash. They had one J-35 - so they must have sold the other one. The strings were horrible. If this had Lifespans on it it would sell to the next guy who walked into the acoustic room. The bottom line is if I didn't already have a J-50 it would have come home with me. Picture and ZOOM soundclip follow. Excuse the warts in my playing as I was trying to record quickly in between breaks of Stairway to Heaven and Green Day songs permeating the store...

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https://soundcloud.c...son-j-35-at-sam
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