62burst

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. . . .

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.

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.

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.

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.

Sounds sweet, Sal.

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:

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.

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.

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.

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.

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.

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.

My guess: The 80/20 Bronze lights that aged in 6 months sounded much better than the Coated 80/20 Lights that were brought up to pitch and uninstalled 3 times over the course of almost three and a half years.