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62burst

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Everything posted by 62burst

  1. Absolute congrats. You might just have to self-quarantine. . . you know, just to be safe. You'd be in good company.
  2. Sorry 'bout that. But yeah, I forgot, or didn't know it was a short scale. That would make things interesting.
  3. Especially since it is widely known that small, guitar bridge-sized pieces of Brazilian come from larger such pieces. Maybe they were just scraps left over from when they did the FLOOR. 😬.
  4. Yeah, yeah, yeah. . . that certainly does seem to be the consensus.
  5. Here is the video explaining just a little bit more about Tex's guitar- not one word about the 12-fret neck, but that does look like Braz on the back n' sides, doesn't it? (or Madagascar) This the maple one that caught my attention years ago, demo'ed here by Stan Jay: This expired for sale listing, saying 1 of 6 ? And- . . . Short Scale ? ? ? Very interesting: https://www.acousticguitarforum.com/forums/showthread.php?t=323912
  6. yeah... thought it looked pretty dark in that soundhole.
  7. Maple + superjumbo + the low/mid dynamics increasing effect of the 12 fret design . . . what's not to love? Juan Carlos- you threw me off the trail with that thread title- here I was looking for a Tex Ritter special edition.
  8. Clear static cling pickguard will do the job. It's available in 9 inch sheets (only used one). I purchased a Hummingbird Vintage long distance, was unsure if I was going to keep it, so the clear was placed on the guard where the fingers normally brush the pickguard. The guitar opened up nicely after some time, I ended up kinda liking the lacey look of air that was trapped underneath the clear, and didn't care to remove it. Just pulled it up to see- after 4+ years, the paint stayed put. Fyi- when shopping used, I also like to see a Hummingbird pickguard that's partially worn- 'means the guitar's been played in, & just might sound pretty good.
  9. DonnieLee has definitely left us (10+ hrs ago) a bit of a mystery. Knowing the guitar's model might help in deciding how to proceed with the repair. No goop or ridge seen by these eyes- only an unbound neck, but a mustache bridge with the more vintage style circular bridge pin location, and... is that a stair step, (J-55 style) forward edge of the pickguard, but with a Hummingbird/J200 contour around the bridge of the 'guard (which seems to show some sort of graphics)? Missing some back bracing?
  10. Long time comin', that one. You were hanging your hopes on a late October arrival, and now it looks like it will soon be in your hands, congrats. Having gone from the Epiphone version of this model first, to the SJ-200, I can say you're really in for a treat. Was there a US dealer in the shipping chain that might've packed the guitar with plastic shipping bubbles? I've never seen one come from Bozeman like that (?). Enjoy the anticipation- keep expectations low, and you'll be (more than) pleasantly surprised. Can't wait to hear your report once the two of you are home.
  11. man. I need a moment. That's what I get for expecting a recounting of a lunch down at the diner in Mayberry, but getting this instead. A change of guitars has been known to inspire. . . a Montana beauty you've got there, but the impact would've been the same if played on a cereal box guitar. maybe a little cameo appearance of your four-legged pal at the end would've snapped me out of it.
  12. The old catalogs are a fine source of information- not only where each model stood in that year's lineup when pricing was given, but also for the nomenclature that Gibson used for the various features. The so-called "Fretless" Les Paul? Had to see what that was about. And the "new model" Gospel- how many of us would've ID'ed the guitar by it's headstock, which was described as an inlaid dove of peace? For me, the biggest curiosity of this well-pored over catalog listing is trying to figure out the mystery of the numerous handwritten x's and ✔️'s, and the catalog's original owner trying to make the arithmetic work for what looks to be someone who seemed to want one of each. (. . . and- I wonder if Miss Betty is still at that 643' phone number, and was that once a Nashville exchange?)
  13. Nice little guitar talk video- but mostly unbeknownst to you, your little pal stole the show. Congrats/enjoy. . . thanks for putting that up.
  14. Yep. Well, just that this thread reminded me of a couple of things: of how string tension can build up at at nut (and saddle?), how it "tries" to equalize when tuning, as well as how this attempt at equalization, and string age, could also be at play. 'Suppose this change (how much more the tuner button gets tuned in the "up" direction) could be measured after it's initial install by making a paint dot on the string someplace where it winds around the tuner post, then see where it is, weeks/months/years later, when that string is pronounced "done".
  15. what Olie said is also what's been working for me. Silly me- I thought everyone avoided coming down to proper tune for each string. If it's only slightly sharp, I'm not touching that tuner button again (especially on cranky old tuners, or lower quality ones), but rather a string pull, moving from guitar body & up the neck a ways, is enough to settle the string into tune. It's not just a "grab the nut files", or "grab the black goo for that white nut"- but. . . after initial string installation and being brought up to tune, have you ever wondered how much the length of that string along it's scale length changes (stretches) over the course of the string's life?
  16. I would pick up his dry cleaning for him. @ t= 4:55: " ... the sides are always laminated on these old Gibsons"- well, ya learn something new every day. With that stiff thumb pick, playing almost right down to the bridge, and using strings old enough to make Nick Drake (& Emin7, for that matter) envious, Steve's certainly not going for the choir of angels sound- maybe more towards the plinka-plinka being the objective- then it's more about the songwriting. The videos he's doing in the series are a nice way of introducing his online followers to some cool old guitars, and they get a song, too.
  17. How much time passed from when you made your initial order until your shop received this guitar? Was there a delay in customs? Hide glue bonds can fail at temperatures above 120° F, temperatures which are easily obtained in sealed shipping containers exposed to the sun. How long did the shop have the guitar? Long enough to inspect and do a re-glue? Many consider the bridge, bridge plate, and saddle to be the heartbeat of the guitar, and these components have been something I've paid increasingly more attention to for a while now. I've never seen a bridge plate with the smudges yours is showing, and have never seen the approx .25" "referencing hole" completely filled with glue, looking to have been smeared with a finger- it's just not necessary in the build process.
  18. They say the toasted version tastes better, but it's all subjective. Even within the same batch, there can be variations from loaf to loaf.
  19. The stripped down sound works well with your vocals. And while the strings work really well with what you're doing, at first, there was the concern that you'd gone into Dave Matthews over-instrumentalized territory. 'Wish Dave knew that less is more. And as far as your vocal influences, when you'd mentioned Sam Elliot and Cash in a recent thread, what you were shooting for made sense. What is the difference in the way you are getting the harmonies down, vs what Sal is doing? 'Sounds like he is layering them on in a 2nd track, as opposed to a harmonizer. It yields a fairly natural sound. It sounds silly to categorize it as Americana, but it sounds good- even though I don't get the baking muffins.
  20. 62burst

    1946 SJ

    Yes- been there, done that. It was all just too much. And too much value to have in one guitar when there are so many different flavors out there. But I totally understand the attraction. And to what Zombywoof said re: guitars of the wartime era –oh yeah, I’ve totally wondered about the news that was being broadcast over the airwaves, and.. “what the soundhole heard”.
  21. ✔️. Also what Sal said about the washer on the inside possibly being loose causing a strange noise. Bear in mind, that it is not too easy to get to that nut, though.
  22. That's a pretty deep pluck you're getting into there, Figgy. Do you get anything similar when you get your fingers into any other guitars like that? Open strings only, or when fretting, or using a capo, too? We tend to be more critical of things real or imagined when still at the getting-to-know-you stage with a new guitar. Was the sound there before installing the D'Addarios? Everything looks fine with the ball ends in your photo, but the electricals running around inside are always suspect, and just another reason for my preferring acoustic guitars without them. Even though I'm not hearing anything in the clip that couldn't be attributed to how those strings were plucked, ALD had good info/reminders of some classic culprits in causing fret buzz. You could check with a Fret Rocker (a StewMac tool), or maybe measure your string action height. Also- make sure any wires aren't too close to the top where they could rattle, and check that the adhesive wire stays are still where they should be.
  23. Really? Isn't that deeper than the J-200? '07 here = 4 (13/16)" at the tail pin.
  24. They are one and the same- nitrocellulose lacquer. And it ages so well. To the ears.
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