cayine

I am trying to date a Gibson J 50 Adj that belongs to my father 'n law. Not selling it or anything. Just having fun. It has a serial number on the back of the headstock: 306327. The guitar looks basically like the others out there: natural finish, large pick guard. The saddle appears to be rosewood, if that means anything.

When it comes to shipping guitars I"ve always been meticulous at packing. I usually slacken the strings, fill any empty areas in the case and then pack the case with several inches of bubblewrap before boxing it. Lately I've noticed more guitars simply being stuck in a box (in their cases of course) with full string tension. Have I been the anal retentive guitar shipper this whole time? Is it necessary to slacken the strings or have redundant wrapping when the guitar is in a form-fitted case?

I’ve never tried a Gibson J-45 with the adjustable saddle. They have an 11/16 neck, which likely works for me. Just curious how they sound? I know there is a school that thinks all of these saddles should be converted to a fixed one, but I’d love a real world tonal opinion. Thanks!

I'm planning to list a Telecaster on eBay within the next few days. I haven't shipped a guitar before, and I'm hoping to get some advice from people who've been there/done that. I want to be able to offer the buyer a safe, reasonably priced, insured method, whether that be via Australia Post, a courier, carrier pidgeon, whatever. Any suggestions/advice re: methods and prices will be much appreciated.

I picked up a J45 about a month and a half ago. Not super stoked on how the element sounds when plugged in. It sounds very unbalanced, emphasizing the high end and muffling/muting the low end, and just sounds a bit strident, totally kills the overall vibe of the guitar and sounds nothing like it sounds unplugged. I also discovered I have to alter my playing style, primarily my attack, otherwise it just sounds pretty horrible. My primary use for this guitar is singer/songwriter stuff, with the occasional band situation, but most of the time it's just me and the guitar. I'd hate to go ripping out the Element, especially since I just had a bone saddle made for it, and would have to have yet another saddle made for it if I pull out the UST, but it's worth it if I can get a more natural sound that responds better to my attack and style. I've always shy'd away from dual source because I like simplicity, but if it's a better choice I'm all ears. Is there a dual source that you can combine and balance each source onboard and just have a regular 1/4" out on the guitar?

So I'm one of those worship leader people who stand on stage and strum chords pretty much only.. haha. However, I love the look and feel of a good J45 (my field is pretty much dominated by taylors) but when doing some research some folks say that its primarily a fingerpicking guitar. Is this true or just opinions just like pretty much everything else.

Was advised today by a local luthier it needs a neck reset. Action was always a tad high but lately seemed higher...hence me taking it in. Guitar has been well cared for and used sparingly. I have two questions: 1. Would there be any chance of Gibson doing anything on this under their warranty? Logistically tricky I know. 2. What’s a reset likely to set me back - ballpark? Any fellow Australian’s advice much appreciated with question 2. Thanks very much.

In my search for slope shoulder I can’t find anything that I like the sound of as much as the Gibson. As much as I wanted a Bourgeois or Santa Cruz to be the answer they just are not. The problem is that I can’t put my hands on any of these guitars. I’ve found videos of each brand by the same player using the same recording setup for each of them and the Gibson does it for me. Can anyone advise me on your experience with the Gibson as far as quality and playability? Thanks!

I just finished the book and walked right in here to post this. Great job John. When I'm performing, I know that I'm doing it right if I can make someone laugh, or if I see a tear rising to someone's eye. That is what this whole story telling gig is about, telling a story in a way that lets people feel the things experienced by your characters. Well this book made me laugh out loud a number of times and I choked up a few times as well. I'll say it again... Great Job ! I have a couple almost Gibsons... a 1940 Carson J Robison Recording King, and a 1938 Gibson built Washburn Solo, but now I guess I'm gonna have to find myself a banner J45. BTW add this to your collection of Gibson trivia. The 1938 Washburn has a 5 piece laminated maple neck, with a non adjustable metal truss rod, that was originally built for an archtop. You can tell because there's a big old wedge down either side of the heel which was used to lessen the neck angle from arch top to flat-top. There was some other thread here awhile back that showed a number of late 30's Gibson flat-tops with these wedged neck heels. I'll post a link if I can find it. Did you mention that your guitar has one of these archtop necks?

Is this a real or fake Gibson Hummingbird Pro serial number is supposedly from 2011. has anyone ever seen the Gibson Hummingbird Pro faked? The only thing I’m suspicious about is it is supposed to have an LR Baggs pick-up system and I don’t think this pick-up is. Otherwise plays great and looks great. thanks in advance.

My Mates and I have some pretty good nicknames for our Wives. These were either given by the Hubby or in worse cases given by the mates after displaying behaviour that warranted a name. My Wife gets “The Sheriff” She’s always snopping and prodding for info to bring undone our fun.

Hi everyone, I’m looking to buy a used Gibson J200. The bridge and pick guard are lifting off the top. What are some probable causes? Unfortunately I can’t afford an issue free J200. Grateful for any advice.

My wife heard a new G-45 the other day and was so impressed that she ordered one for me. It came today. Workmanship is perfect. I can't find anything to complain about. Even the tuning machines are aligned perfectly. Frets are great, nice thin nitro finish, clean inside and out. The walnut back includes some sapwood and looks nice. Playability is great. The guitar is light as a feather, very responsive, and sounds great. Tone is somewhere between mahogany and maple. It has the good Gibson mids with a little growl, plus a rather sparkling top end. Lots of chime. The much ballyhooed "Player Port" is very well done, and finished in beautifully. It does allow you to hear more, without diminishing normal projection. I don't mind it. But it's really neither here nor there for me. The guitar is light as a feather, with very quick response. The body is thinner than my four other AJ-shaped guitars, which range from a 1958 Gibson Country Western Custom Shop reissue to an Epiphone FT-79 Texan "Inspired By 1964". All are mahogany, except one rosewood sunburst model. This is a great guitar for the money. Very plain, but playability, sound, and comfort are first rate. It is worthy of the Gibson name. You get quite a good guitar for the money, with a little extra sparkle and chime on top of the underlying Gibson mids. Taylor lovers would like this one. I'd highly recommend them. At the price, you'd be hard pressed to find a better guitar.

just saw another thread where a nice rosewood guitar developed a crack - the back, along the grain. No idea how. At the same moment, I rudely knocked my mahogany OM into god-knows-what, for the 1000th time. Once again, right as rain. The thing is a tank, wrapped in Valerian steel With that, what are the more durable backs & side woods? Contrarily, which are most fragile, once transformed into an acoustic guitar?? Lots of variables here - understood. Curious about the generality in this case. Let me re-premise. In your opinion, what are the most worry-free woods that still make for a fine-sounding instrument? Which should I handle like a sea-sick newborn baby with the flu? Thanks to you fine people, as always.

am seeking opinions on this strange guitar. This is a 1952 Les Paul that may actually be a very early prototype made in 1951. It is early enough that it was made before they started putting serial numbers on. This guitar has been in the closet for about 15 years. Took it out and have been contemplating what to do with it- keep and refurbish or sell. As you can hopefully see from the pics, the guitar has had significant work done to it- mostly, i would assume to deal with that weird '52 tailpiece that everyone hated. The fretboard has been shortened to compensate for the replacement tailpiece. an abr was added. according to my guitar tech, the neck appears to have been shaved down/slimmed. So, yes....a frankenstein job. But, the guitar sounds transcendent to me. All the electronics are original and working fine. It is one of the nicest sounding guitars I have ever played. And even with the weird fretboard and the thin neck, it plays like butter (at least with .9s).