62burst
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Posts
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Joined
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Days Won
3
Posts posted by 62burst
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5 hours ago, DanvillRob said:
The piano is an 1871-74 Carl Ronisch piano.
. . . .
Here's an example of how it sounds:
Bravo! I didn't think you were going to do the whole song. +1. Were you leaning a bit on the sustain pedal, or does the piano just sound that cavernous ?
'Wonder how many times the strings have been changed in all of those years. 😀
9 hours ago, zombywoof said:Me being me what caught my eye was not the guitars but the piano with the two candlesticks attached. That is about as cool as it gets.
Yes, that is an excellent touch, especially when rooms were lit with oil lamps. My eye went to the retro looking table radio behind the bar- 'had Heathkit radio flashbacks til it looked more like a modern Sangean WR-11.
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13 hours ago, E-minor7 said:
The 2020 just after landing > PLAY ! LOUD
which means new steelIt is good to get a reminder that Gibson has some iconic guitars that aren't acoustic, and this is just one of the flavors that the ES-335 can do.
PS: stop having so much fun.
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11 hours ago, zombywoof said:
I think the reason is precisely what others love about them which is they are voiced more to the upper end than their slope shoulder kin. Then again, I could be on puppy chow.
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. . . .
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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.
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1 hour ago, groovadelic said:
Interesting... Epiphone just released a J180 LS without the pickguard, mahogany bs and neck, and has a 25.5" scale length which is what I'm assuming "LS" stands for.
I wonder why they didn't at least go with maple and a 24.75" to have feature parity with Gibson...?
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.
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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.
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5 hours ago, Buc McMaster said:
Dave is kind enough to indulge my curiosity and has done this mockup of a black guard with a small maltese cross cutout. The silhouette is not quite right for a 185 but it's close enough to see what it would look like.............. I think I like it.
What does the herd think?
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.
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13 minutes ago, MorristownSal said:
I owned the 50s reissue, as well as the American Eagle, which I gave to my son a half dozen years ago or do. He still loves it. The AE neck is much less full than the 50s reissue. But they both sound fantastic. I love that model.
here was mine.
Sounds sweet, Sal.
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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:
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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.
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34 minutes ago, MorristownSal said:
Boyd, I measured around the neck at the 1st fret… fret metal around to fret metal… on the following:
2009 Martin D15 11/16 nut MLO : 2.5”
2023 Martin 000 Cherry Hill 1.75 nut MLO performing artist taper: 2.7”2023 Gibson 60s J45 Original 11/16 nut : 3.0”
it feels meaty.
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.
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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
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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.
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1 hour ago, E-minor7 said:
'Xactly.
Very good pic btw. - Is it a Fokker D VII ?
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.
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1 hour ago, E-minor7 said:
I began putting on an extra ball-end maybe a year ago. Don't know, but had an idea the flat b-plate contact is milder than the round. May be nonsense.
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.
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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.
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1 hour ago, Murph said:
So, what are you saying....
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.
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10 minutes ago, DanvillRob said:
What caused you to have a concern?
Maybe he IS Uncle Jesse. 😎.
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It’s a beauty. Please buy it to keep me from being tempted any longer
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5 hours ago, Buc McMaster said:
. . . I think my M2M Gibson acoustic would be a 12-fret Hummingbird..............
That would be bizarre. Although I don't hear "warm" with the '185, it's the mini Jumbo's (?) bass note clarity and general projection that catches my ear.
Now, a 12-fret '185- that might warm things up a bit.
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5 hours ago, Dave F said:
From my experience, the maple guitars are not that loud but have a very balanced sweet tone. The J200's (I'm on my 5th one) are not known for being extra loud and that's with the long scale.
4 hours ago, Buc McMaster said:I agree. The three J200s I have owned in the past were not loud instruments. It must be the maple. The J185 I now have is short-scaled maple and not loud at all.........quite warm with a lot of low mids. I do think I J200 is better balanced in comparison.
Agree here, too. Imhop, the '200's are more known for their incredibly balanced tone.
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Looks amazing. Ready to go on the road with the TCB band.
Good idea to have the b/w pickguard- that thing would just disappear. What's with the gold (?) bridge pins?
Happy NGD.
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7 hours ago, The dman said:
. . . The guitar in the link has gold tuners and the one I bought does not and the listing stated spruce and not Adirondack. It says "Style Vintage" on the tag on the guitar but I'm not sure exactly what that means.
Fairly sure the Vintage series guitars have torrefied tops. I had a 2016 Hummingbird Vintage- Sitka spruce. Beautiful guitar, too nice for the likes of me.
Congrats on the incoming HB-V . . . nice case, too.
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5 hours ago, cshrpminor said:
Had this guitar for about 5 months now, got it new. Couple of days ago I noticed this...
That is so Gibson.
Quick- everybody: is your tang showing?
I would leave it, C Sharpe. . . it's unique, and almost endearing.
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Is it stupid to have redundant guitars?
in Gibson Acoustic
Posted
It's convenient to see this conundrum as some sort of dualistic situation,- want vs need, but hopefully there's some sort of gray area between the two. Is there any room for someone's interests and their wanting to learn, to experience all of the items on the menu before deciding on a favorite? Even if that favorite changes as does the styles of music that they're into at the time.?
'Absolutely agree that a guitar is just a guitar. . . a vehicle that allows us to get the music out of us. And if I'd just put three kids through college/ two through grad school, I wouldn't feel too terribly guilty about exploring what comes up when I rolled the Gibson dice- they're Gibsons- you know they're always gonna be just a little bit different, even if they're the same model, blonde or 'burst.
Awaiting that a/b