62burst

Another vote here for the Masterbuilts being on your new J-45. If they're the D'Addarios (& not re-branded to Masterbuilts), look inside for the colored ball ends. Use an image hosting site like imgur & share a snap with us. Congrats on the nice guitar. As far as rebranded D'Adds; quite sure Elixir does this as well, but the ball ends are unpainted for the E's.

"The Gibson Amplifier" newsletter? Love it. Very cool, Ned- thanks so much for coming aboard to share your info, and that charming newsletter, looking to be made with not much more than a Smith-Corona and a copy machine. The quality of light coming in through the window of that cover photo is quite familiar to those of us who've studied the Banner-era photos also taken at 225 Parsons. Emin7 raises the point: which came first- the guitar, or the name?

Ryan A's amazement about the change in "Stunt Buc's" sound after the neck reset, fret job, loose brace repair, and set up is a fine testament to how an old guitar that's been sitting for years, unused because it was difficult to play with it's high action and poor sound, can become someone's absolute favorite after quality work by a professional luthier. Still not sure of how that whole process of silk screening works, and how those stars and the lettering got put on to the new headstock overlays.

Mr Woodford probably knows what happened. Have you considered these lacquer pens? The above is only a screen capture. Scroll down on the link below; Stew Mac has brown and black as well. Maybe try a hobby shop first to get around Stew Mac's notoriou$ mark up. http://www.stewmac.com/Materials_and_Supplies/Finishing_Supplies/Colors_and_Tints_and_Stains/ColorTone_Touch-up_Marker.html The narrow width of the scratch gives you a good chance of making it much less noticeable. Lacquer's strong suit is it's workability. You could follow up the touch up with Virtuoso Cleaner, then V. Polish.

As self-appointed Assistant Mayor of Munchkin City, over at the G. Acoustic Forum, I have to say this is the funniest, and most appetizing ongoing thread on the Lounge, bar none.

Good of you to put up that how-to of the Jack White song. What's also interesting: that guitar. . . remembering when your 12-fret SJ-200 was the subject of some discussion down below on the Gibson Acoustic forum. The thought of what a 12 fret '200 would sound like in person was something that was on the mind since seeing the late Stan Jay of Mandolin Bros. doing a demo with it. Hope you, and the guitar, have been doing well.

At the temperature you've mentioned, all will be fine, but there will be a definite shift to playing less detailed songs- more towards chord jamming. I'd rather be playing a beater- a fallen good guitar that has had a rough and tumble past, rather than some engineered guitar-like object meant to play (almost) in the rain. If it's that bad, we wouldn't be out there, anyhow. The biggest threat would be the campfire jam- some volatile conditions that change over the course of inches. Feel the top, and back off if necessary. Not for the cream puff guitar. Another vote here for the having more than one guitar category.

No experience with the mahogany Guild; just pointing out an occasion, one of the things Sal was mentioning on the Thanksgiving thread: 'just appreciate being introduced to some good music by someone on the forum. Thanks Rough Diamond. You may now resume your mahogany GAS.

This is true. To exaggerate the point, putting a capo up the neck, out of cowboy chord territory does add a sense of intimacy to the sound. As far as maple goes, the question to be considered might be how it acts on a large, square-shouldered short scale guitar vs, say, a small Nick Lucas or 00-sized guitar. The SJ-200 is admittedly a bit of an anomaly, but to those who have both; is the maple louder than the rosewood version? It could also depend on your playing style- if you were more of a strummer, vs trying to make some big reaches for some cleanly-fretted fingerstyle or maybe some country blues pickin'. Yes, PeteJMurray from the Hummingbird Selection thread could always get a recent 'Bird in the iconic red 60's burst in mahogany to get the true bird flavor. . . and christen it with his belated father's name, etc. in his honor. Well, she was fairly preoccupied with styling pretty, so . . .

One Bird to rule them all. Rdnzl, that photo is growing on me.

Good one, Ponty. If you have a B-25, any chance of putting a high intensity light up against the back, comparing with a solid back?

Not to my (limited) knowledge. The only contemporary lam that comes to mind would be the reissue of the J-160; the ladder braced John Lennon J-160 with it's laminated top. Any others?

A Humming Southern-Western Country Jumbo Bird would be an interesting find in a lam. I do recall a '60's maple example on these pages a few years back; 'would be good to check for laminate construction there. Your standard checks listed above are all good. Some will also try to give a close look at the soundhole cut-out. But what the luth told you held some interesting findings just now, as a few maple Gibsons are around here . . . one being a lam. Using a (blindingly) high intensity LED lamp with fresh batteries, the light was directed point blank up against the back from the outside, allowing the light a chance to shine through to the soundhole. The guitar with the sunburst maple back allowed the grain to be readable, when looking inside. But the lam guitar only allowed for the smallest amount of faint light to be seen from inside- a moderately dark amber (the glue?) color. Attempts to photograph this dim glow were futile. The other giveaway: the weight.

I would open for Bubinga Honeymoon. KSDaddy has a good point about how the sycamore would be no match for the drama to be had in the flame of a good maple wood set. Haven't played a syc. Maybe the tone of the gods, idk. Dave F- that's a nice way of offering your guitars to some of the forum regulars, the +100 posts idea. I suppose there's some room for negotiating on some of those fine guitars. Jesse might really find that Walnut J-100 to be a perfect mix of warmth, clarity, and eye-catching appeal. The walnut actually sounded too pretty to me when I moved the Jackson Browne guitar along, but the biggest thing that did not work for me was the shallow neck profile on the 1.805" nut. What the ear wants to hear can change. Probably would like the sound now.

Boyd- To these eyes, your guitar's top just looks like a regular bookmatched set; if you put a left and a right index finger on the photo, at least 4 or 5 matching areas, with either darker wood or grain similarities, can be seen when counting out from the center seam. Nicely aged, too.

And sometimes new is old. Post #30 revived a five year old thread.

'Woof: did he have that same, almost vertical "plucking" style back then as he's using in this Martelle demo? Fairly unique/ works for him.

I've been stuck on this video of Eric Schoenberg and the Martelle Deluxe for the last month or so. Just made a wisecrack text reply 15 minutes ago to a guitar playing friend who saw the Hank Williams version of played with Hank's late '40's early '50's SJ. Friend trying to tell me the SJ is/was most awesome guitar from Gibson, to which I replied the most awesomest guitar Gibson never (officially) built was the Martelle Dee-Luxe! Eric is as talented a player as he is a luthier. Much fingerstylie to sink one's fingers into in his version of Hey Good Lookin', which starts at t= 4:11 in the Martelle vid.

Yes, that kinda threw me a bit, as well. I think the OP may have been referring to the 2015 Southern Jumbo 12-fret (?).

Welcome to the forum, Dream. As a person who likes to keep acoustic guitars acoustic, not much of a fan of onboard electrical hardware here, but one person on the forum, DuluthDan, is one who comes to mind as frequently mentioning his preference for the Trance (Amulet?) system on his guitars. He's probably busy enjoying his new J-45 ADJ addition to the flock, so he may not have seen your question yet. 'Didn't want to leave the newb hanging. Again, welcome & hope to hear how it plays out for you-

That was cool, and cute. A nice oriental rug & wall treatments would help rein in some of those waves bouncing around(?), but a thoroughly enjoyable video. Loved the novelty of the typewriter; didn't notice Mrs F was sitting on a cajon until she spun around & started to play it! Looking forward to hearing more from you on the Acoustic forum.

Duane- That sounds nice. The little iPhone device captured it just fine. I'm sorry about the loss of your friend; this song has become a way to remember those who have gone on before us; unfortunately, I've also used this song to remember my main musical partner who passed 2 years ago. I'm sure you were thinking of your bass playing friend when you recorded this. Best to you- . . .

Krasi- I echo the sentiments of Dan; your new/old Martin sounds beautiful, and I would love to hear it in a warmer setting. But your song is not limited by a language barrier... absolutely haunting, especially the first half. Thank you for sharing.

No, seriously, I posted my reply down in the main acoustic forum. Honest.

posted down in the main acoustic forum...