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ksdaddy

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Everything posted by ksdaddy

  1. Be careful what you have done and who does it. It's quite valuable. Don't have any more done to it than absolutely necessary.
  2. Late 40s Southerner Jumbo.
  3. So is the finish actually stripped now? Or has it just been disassembled in prep?
  4. L7s had split parallelograms starting earlier in the 40s. Not sure exactly when but definitely all post war models.
  5. If you’re looking to sell it, you’d be better off auctioning it as is. It’s lost any collector value from it being stripped. And the fretboard has been replaced. I doubt you’d recoup what the refinish would cost. Best to let someone else use it as the base for a custom finish.
  6. This guitar has already been discussed lol.
  7. They went to a belly down sometime in 1967 or 68.
  8. It was stamped on April 26, 1979, made in Nashville and was the 24th guitar stamped that day.
  9. It's a Gibson Mark series. If it's mahogany sides and back, it's an MK35. If blonde maple, MK53. They also made a rosewood MK72 and a blinged out MK99. These were made from around 1974-5 to 1978 or so. They were not a commercial success. It's not so much that they were bad guitars, but rather that they were so "non-Gibson" in construction and appearance that the public shyed away. The bracing was a radical design, as were the bridge and headstock. There's a lot more to this story but that's the gist. They're not collectible and they are a hard sell. If they are ever worth anything, then so will AMC Matadors. They suffered the same maladies as other 70s Gibsons. Necks are more likely to twist, truss rods are less likely to WORK, other problems. If you play it and like it, then fine, but I've seen better looking examples for the same or less money. B prefix on the serial number is 73-75. I don't know specifically when the MK series came out, could have been late 74 but more likely 75.
  10. I’d be hesitant to spray anything. I’ve used dryer sheets for decades. One wipe last a long time.
  11. Wipe a dryer sheet over the plastic parts. It’s static. This happens to my Telecaster every winter.
  12. It’s your guitar and you can do what you want, but I try to keep guitars as original as possible. Yours was made in Nashville and was serialized (early in the build process) on February 15, 1980.
  13. Epiphone began importing in 1970. They used up many, many leftover blue labels (from Kalamazoo) at that time, so don’t rely on the label. Post some pics.
  14. Definitely not a knockoff but Gibson may have ordered some models in small lots. Or maybe that 46 was supposed to be the prefix for a lot and they never bothered individually serializing them. All bets are off with Japan back then. We tend to think of Japanese guitars (like Epiphone at that time) as being built in the "Epiphone factory" when in fact, they were made under contract by the ABC Manufacturing Company or Kyoto Musical Instrument, Geisha Hairpin and Tuna Canning LTD. Gibson orders X amount of this type and has the Epi name put on them.
  15. Gibson didn’t start making Epiphones in Japan until 1970 and wouldn’t have referenced Nashville until at least 1974(?) when they built the Nashville factory. I don’t know when headquarters moved from Kalamazoo to Nashville, I only know Kalamazoo closed in 1984.
  16. Don’t let it confuse you. What the neck does with no strings doesn’t matter. All that matters is the relief under string tension. Adjust as necessary.
  17. Press the string at the first fret and also at the fret where the neck meets the body, not the last fret. There should be a slight gap at the 7th fret, about the thickness of your high E string. Adjust your truss rod with that goal.
  18. I can only guess. It looks like a typical 16" body as found on many Gibson archtops. The fretboard is typical of an L-50 made between 1946 and 1954 (crowns and 19 frets) and it has a newer logo, which is hard to pinpoint....some models held onto the old logo later than others but seems like they had all made the switch by 1948. There's a couple things that jump out at me. The sunburst doesn't look right for that era. It looks more like a mid 60s sunburst. I'm also looking at the wood in the cutaway and the staining job doesn't look as 'even' as I'm used to seeing. It looks like it has light spots. Also, what is going on with the binding in the cutaway? It looks weird. Not the size or shape, but rather where it's chipped or something. It just doesn't look right. I'd love to have it on the bench with my blacklight from Hades.
  19. Indonesia in the 70s. Not a Gibson.
  20. You're opening up a huge can of worms asking for string advice. My two cents is to start with a set of 12-52 round wounds. It is my opinion that one should use the heaviest string that you are comfortable with. 12-52 is a good starting point. If they're too heavy for you, then fine, go with a lighter set. But at least give them a chance. And it will depend on the guitar. I have 12-52 on my Telecaster, 11-49 on my Strat, and 10-46 on my Les Paul. I've got 13s on a couple hollow bodies so it can go that way too. Lighter strings are fine but if I can avoid tuning problems and just get an overall bigger sound by going heavier, I will. Especially if my fingers can handle it. Again, depends on the guitar. But 12-52 is a good place to start. As to flatwounds, I have used them for years. They feel great, they're quiet, there's not THAT much difference in tone....but I feel like I'm getting more tactile feedback with roundwounds. It's tempting to go with them, and I have, and I probably will, but then I find myself almost bored. I go back to squeaky roundwounds and it just feels like I am more in control if that makes sense.
  21. That’s a serial number found around 1973-73.
  22. Looks real to me. Right down to the pancake seam.
  23. It’s not a Gibson product. It resembles some guitars I’ve owned that were made in India. Someone might be interested in it based on its merits but not the brand name.
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