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TomLeoni

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  1. Ciao, Optik--mi ricordo di aver letto che fra il 1981 e il 1982, Gibson ha prodotto 1000 modelli Chet Atkins, serializzandoli con l'alfanumerico A000, A001 .... B000, B001, ecc. Quindi secondo questa informazione, la tua dovrebbe essere stata prodotta intorno alla prima meta' del 1981. Non sono pero' sicuro al 100% di cio' che ti dico--che tra l'altro ti riporto a memoria. ;-) Comunque se sei determinato a sapere per certo in che hanno sia stata prodotta la tua chitarra, io manderei un'email a Gibson; ho sentito che sono molto solerti nel rispondere a domande di questo tipo. Buona fortuna e tanti saluti dalla Virginia
  2. Thanks, Jeff--you make some excellent points. I'll definitely bear them in mind and take your advice--I am in Virginia, and will be in Nashville for work later on this Spring. I've heard of Gruhn and a visit may be a must!
  3. It's been now almost a week, and no changes at all. Even string height did not change. I'm really liking the sound.
  4. I've looked inside, and both sides of the bridge are supported by parallel bracing. So far the F holes are 100% stable. Fingers crossed--it's been almost 24 hours, and no signs of structural alteration yet.
  5. Update. I've thrown caution to the wind and restrung my 1937 Super 400 with a set of D'Addario Phosphor Bronze EJ18 Heavy gauge--.014-.059. According to the package, tension with a 25" scale (mine is actually 14 7/8") is 212.82Lbs, as opposed to the 188Lbs (if I remember correctly) of the EJ17's I was using before. First impressions: the sound is considerably louder and the notes more distinct, both played with single notes and with chords. Playing quicker runs is easier because the strings move less (suddenly, Eddie Lang's cadenzas can be kicked up a few metronome notches). Tuning is surprisingly stable compared to any other set I've ever used--practically never budged after I first restrung it. I've never experienced that before. After 6 hours, no noticeable alterations to the top, neck, tailpiece, or other parts of the guitar. I'm hoping that the convex top acts like a dam does against water-pressure--rather than bearing the brunt of it in the middle, redirecting it laterally towards the edges of the lower bout. Will keep it closely monitored, ready to abort the mission at the slightest sign of structural change. So far, though, I'm mighty pleased with the result--especially the sound. That guitar--already a fabulous piece--literally came alive. Wow.
  6. I have a number of prewar archtops, some of which have a rather thick top--e.g., my 1937 Super 400. Naturally, they sound great with medium gauge phosphor bronze strings (what I use on all of them), but I was thinking of experimenting with a .014-.059 gauge set. I've done a lot of reading around, and there seems to be a school of thought by which a heavier set will help the top vibrate and therefore get the most sound-wise out of the structure of the guitar. I've also read that up to the 1960's, heavy strings (probably .014 gauge) were pretty much the norm for acoustic guitars, which means that their acoustics were designed to work in conjunction with them. Has anyone else experimented with these? Thanks
  7. So, it's that time of year again. This year we went from the days of 70% humidity to the days of 20% in a matter of a week. I have 13 guitars that I keep in their cases in my living-room. On the second floor, I have other delicate instruments that can't be moved. My house's plan is a bit awkward, since it's an open-floorplan town house and the only rooms with doors (besides the bathrooms, of course) are the bedrooms located on the top floor, where it's even colder and drier. Replacing and refilling Damp-its in 13 different cases every couple days for 4 months is also a bit awkward. I buy the big ones (for double bass, I believe), since they hold more moisture and they don't fall into the F-holes of my archtops (they are a pain to pull out when that happens). On one of my guitars, a turn of the century Bavarian shield-guitar, there is not even an open hole to put a Damp-it in. Then there are the necks to humidify too... and the other instruments upstairs... So I have decided to get a humidifier--preferably an ultrasonic-type humidifier so I don't have to mess with moldy and expensive filters. I have tried one built into my heating unit, but, again given the layout of my house, it was only making a dent in the basement, where it gets too hot in the winter and where I would never keep guitars. For those of you who have experience with humidifiers, what should I look for--and do you recommend specific models? Each of my floors is about 500 square feet--could there be one model that humidifies at least two floors? PS: this will be my last-ever town house! Thanks in advance for the help!
  8. Yes, it does. Here it is: I can't think of a better-balanced, more beautiful and easy-to-play guitar than this timeless masterpiece. Best of all? It's mine 🤪
  9. Scriv, Dotneck - thanks for the heads-up. I think the Blue Heron is exactly what I was looking for. Cheers! Tom
  10. Hi, Drathbun, Can you tell me if there's any "give" in your Gator case, namely if I could fit the extra 2" width of my Super 400 lower bout?
  11. Hi, Jeff--it's a 1937. I just got it, so I'm "christening" it this weekend. I expect it to be like my L-5, only even better at cutting through other instruments in a large session. One of the things I do most frequently is accompany fiddlers (I'm in VA, one of the capital-states for Old Time), and the bass-heavy, "reversed" BOOM-chuck of that style seems to have been designed to be played with such guitars.
  12. Hello, all, I'm having a hard time finding gig bags larger than 16" (lower bout). I have a RoadRunner that does (in a pinch) fit my 17" L-5, but my 18" Super-400, forget it. No luck even finding custom makers. I love the practicality of gig-bags, also because I carry several instruments to my weekly gigs. Yes I know, hard cases, more protective, yada yada. True, but habits are habits. Any ideas/ suggestions? Willing to go custom too--but even finding that seems to be hard: makers like MONO or even Glen Cronkite offer only up to 16." Thanks in advance.
  13. Eddie Lang Maybelle Carter Django Reinhardt (when he didn't play his Selmer) Big Bill Broonzy (really cool Style 0 guitar)... Elvis Presley (J-200!) Mark Knopfler (I hear that these days he loves his 1938 Advanced Jumbo)
  14. Hello I'm Tom from Virginia. Acoustic archtop guy mostly but not exclusively!
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