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62burst last won the day on October 10 2021
62burst had the most liked content!
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It is good to get a reminder that Gibson has some iconic guitars that aren't acoustic, and this is just one of the flavors that the ES-335 can do. PS: stop having so much fun.
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With all deference to possible influence of the puppy chow, there might be a jump-ball situation to decide which had more influence- voicing due to bracing, or merely the shape of the big square-shouldered box when coupled with the longer scaled Gibson acoustic. As far as why, after all the Gibson acoustics I've been through, I've never owned a Dove- I don't know if it's the hyper-red cherry burst most seen on the Doves , or the design of the Bridge-too-Far bridges they come with. . . just can't quite put my finger on it. . . .
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Frankly, Quinton scares me just a little bit. Maybe if he did a few less sets of curls before the shoot. But the chemistry between he and Paul would still strike me as curious. The bass that Quint was hearing on the natural-topped Dove was lost on me. At t=:18 , the cherry Dove was warm and up front. At t= :39 , the natural-topped Dove hits the same shape but not so much.
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I think you just answered your own question. Have a good look at the top on the Epi- the black finish. (?) Someone will come along and find that guitar to be just what they were looking for.
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ok. At this point (and his "points" go back to 2007), I'm going to hereby nominate Mo'Pick for saint of the Gib. Acoustic Forum. . . or, at least to be the recipient of the Jerry Garcia Laid-Back Dude award.
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That is the first thing I thought of (smaller ✠) when I saw v.1 with the large Maltese cross. That, and how Mr Emin7 is really going to think J-185 people are in some secret radical group with ties to the Luftwaffe. And the cutout lets the sunburst show thru- a nice touch.
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Sounds sweet, Sal.
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Tastes great/ less filling. I'm on my third. . . first a '49 that sounded so dry, there was no need to hang on to the '36 L-00. Then the all-mahogany which was tight, but (too?) meaty. Now, 'happy with the flawlessly built 50's LG-2, which is a nice mix of the earlier two. They can pick the blues, do the Americana thing, but with the right mix of technique (& long fingernails), mic'ing, and post production, JoiL shows how the LG-2 can be a helluva fingerpicking guitar:
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Really? Hint- lose those light D'Adds. . . maybe phos-brz 13-56's and give them a couple of weeks. Play more towards the fretboard extension. It's not the guitar.
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Gibson j-45 60s reissue (ebony and wine red models). Experience?
62burst replied to MorristownSal's topic in Gibson Acoustic
That's great to hear. 'Just measured the LG-2 50's re-ish. . . it's 2.75+". But it is full. The All-hog LG-2 Reissue was almost ridiculous, in a "be careful what you ask for" kind of way. A good neck profile would be one that is almost invisible to the player- sounds like you found yours. Awaiting your first clip. -
Gibson j-45 60s reissue (ebony and wine red models). Experience?
62burst replied to MorristownSal's topic in Gibson Acoustic
That does look good. Gibson made quite a few maple bodied J-45s in that finish… (always tempting😎). Good move changing out that pickguard, too. Were you asking about the “Ebony“ models, or is this one supposed to have Ebony board and bridge? Congrats -
Looks like that guitar has already been the recipient of some shade tree lutherie. . And it didn’t give up those frets without a fight – a good bit of tearout out at several frets, but especially fret-19. Judging by the scraping along the bass side of the fretboard extension, it almost looks like someone may’ve already done a neck reset on it (?). The rosette looks like it may have something going on in that area, too. you think that the seller being a luthier, it would just be repaired and sold, of course, after a re-fret and fretboard leveling.
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I would tell you what model Fokker that was, but I might get banned. The eight-pointed cross was showing up in the 16th century, so the design got around.
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Ok- I could see that. It might even result in more contact with the bridgeplate. . . . as long as there is little/no loss in vibrations to the top along the way.
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A noble experiment with a happy outcome. Good to keep in mind the metal fatigue that occurs on strings, or any metal, when worked, or brought up to tension. The luthier/guitar fixer person, when trying to sort out an intonation issue on an Eastman I had, mentioned intonation being one of the things that can be affected by old strings. Also- one of the reasons I like the longevity of Elixir strings is the idea that each time a string's ball end comes up against the bridge plate when changing strings and bringing them up to full tension, there is just a little more wear/gouging on the 'plate each time.