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62burst last won the day on May 12

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  1. That's what it looked like, but couldn't see the O Port's ends at the fretboard extension. I'd tried one in the sunburst EJ-200 I had- bought it used, so it was a cheap enough experiment. If fast at taking it in and out, I suppose a difference could be heard. But it does make one wonder about how sound moves around inside of a guitar.
  2. yeah- the whole “gotta drive that big top” thing- not always what you’re going for. I too, have found value in going light on string selection, especially when you want to hear the other side of maple. Also- nice photo. . . but what’s in the soundhole of the Epi’?
  3. Maybe when this thread gets to seven or so pages. It took a while for Gibson to stop locating J-45 pickguards over top of the rosette .😐. In the meantime, if I found a Hummingbird that had what I was looking for, a lifting pickguard would not stop me. Press it down, and play on. Or remove, clean, and reattach with the 3M 467MP adhesive sheets. Saturday morning job. < 2hr.s. Done.
  4. Very good. Peace in the Valley/The Lion sleeps tonight. hopefully.
  5. Yes, the preference here would be receiving a guitar with action on the high side and a proper neck angle, than too low and nowhere to go. And a question: (ok, 3 questions)- do any of the larger guitar companies (& you know who you are) make a guitar that comes with a pickguard the size of, with the 3 or 4 points of, the p/g on the Hummingbird? and- I suppose the Epiphone Hummingbird is immune from this problem (?). Is the Epiphone version of this guitar finished in nitro or poly? Under normal circumstances, the Bozeman factory strains to meet production numbers. Freshly sprayed nitrocellulose lacquer really needs time to off-gas before working it, let alone attaching anything to it. Unlikely Gibson Montana is in the position to let the guitars cure before installing the guard. A stronger adhesive could be used, but when humidity changes and the guitar top expands and contracts, this would risk a crack in the top in that area. Lesser of two evils?
  6. The shredding of the Elixir coating was more likely to be on well-aged Polywebs, especially the earlier formulations. Word of the PTFE coating spread on the internet. Elixirs next offering was the thinner coated Nanowebs, which you might see shredding on if left on the guitar for an extended period of time (years?)
  7. Two piece tops, Birdman, so it would only be good to avoid dramatic swings in the conditions with which your bird lives. Also, the nitro finish sinks into torrefied wood differently. Wood treated with torrefaction is supposed to be more stable, but let's try not test that. The finishes on these are supposed to be thin, so this would be unlikely, but are those finish cracks in the treble bout, or just scratches: Also would be curious to know if you've found your HB Vintage to have opened up after these few years (?)
  8. The 1939 J-55 was long scale when initially introduced, and Gibson kept that long 25.5" scale for it's re-issue in the current lineup. While we're talking scale length, Gibson went back to the original scale length for the slope-shouldered guitars when things got going at Bozeman, but the Hummingbird was kept long scale until '97.
  9. That was fun. Maybe they should do one showing a bevy of iconic songs done on a certain iconic Gibson acoustic.
  10. Fine playing, and cool camera angle, but I don't recognize the song (?) I have the same gear as well, and can't figure out the best way to boost the signal strength.. Of course, mic placement is important, but the sound quality shown on the below embedded video is mind blowing, compared to what I've been able to come up with. A few folks here have the same setup, (Lars, and SalfromChatham, MissouriPicker, (?) to name a few), but their sound levels let you hear much better. When adjusting the gain higher, the mic is more prone to prone to clipping if the sound source is too close. Check out some YouTube acoustic guitar recordings made with the Apogee MiC 96k to get an idea of mic placement, etc, but this one seems to defy all odds:
  11. Did I not hear something about James Taylor retiring his old J-50, saying something approximate to "the sound is worn out of it", or some such. If so, I'd imagine there's still some good sound in there somewhere.
  12. Could someone please explain to me what is up with the interest in playing in non-standard tuning? NO foreseeable situation where you might be playing with others, learning a song that's in Standard, find no transition time necessary when switching back to standard (vocals involved?), or is it all about coming from Electrics, and want to make fretting easier? Thank you. As to your question- switching to a heavier gauge normally does not cause any change in setup, other than possibly how deep the strings sit in the nut slots. Going the other way, heavier to lighter, might cause more slack, setting you up for potential buzzes.
  13. The tuner buttons are giving me the heebie-jeebies
  14. Consider it done. After all he’s been through with Gibson, yet it’s still the guitar with which he chooses to make music, we certainly don’t want to see him in the “Whatever happened to...” thread. Best to him, and to you, for taking the time to pass this along.
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