jedzep
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Posts posted by jedzep
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Gold letters? White? Smooth or textured surface? What color is the lining? You can probably google case photos and pin it down.
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Very cool, if you're a JP fan. Who isn't? Weird straight people, I guess.
I didn't recognize any names until '64 Stones and Nashville Teens reference.
Thanks for the link.-
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I also don't live where you can try before you buy. If the seller is truthful about the playing condition, it should go for a book value near or equal to the current market. He refers to 'any issues' all resolved, and his 100% feedback tells me if a buyer had a legit gripe, he would be helpful. You won't know about the tone until you own it. If you don't like something about it and resell, consider you just rented a nice guitar for a little while and learned something.
I don't know what the current value of a '93 in nice condition is. -
Is it this one? What would you like to know?
https://www.ebay.com/itm/285028018696?hash=item425cfe6a08:g:rrIAAOSw-1RjXErJ&amdata=enc%3AAQAHAAAAoMm1mRVLYr6%2BH%2BS3DdOtxhPAkJl6nGepMh1xgVB0P52cF%2FPRTMwtXgBUnZq7Q8N4kjrs83uNfuBzlqWKpk0dYOPn3PwSjShkAN5bWQrqMo2VseJGx8GYu25Bl0M15mK8kGhEhysD9NdQ7bvGnvprcAhvIyqJ%2FnZKaS2dlewLOni7lpM%2BTdO6pi8lXPI8%2BbKtqhohzZWOnstCNPSL1KUXgzM%3D|tkp%3ABk9SR8jZlJaLYQ-
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I like the checking, frankly. It's called mojo. It's a good looking J.
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Pretty sure I'd just ship it.
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That's the other thing. I get down when I see old rockers my age who keep going, though I admire them for it.
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Johnny Depp, huh? Boy, what a world!
Jeff Beck is someone whose songs never grabbed me. Like Zappa, I know they're masterful players, but it was more work than fun to listen.-
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Extra vocal key access is largely why I switched to D. Plus, 13s tuned down like that still have 130+ lbs of pull, 30 or 40 pounds less than 12s in concert pitch. Better for my hands and still enough to push the top.
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Yeah, good luck. That's a funny string tension threshold. You might know right away, but why not just play the song in a key that's good for your guitar's tone. Are you playing along with a track in C#?
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That's pretty loose. I'm always two steps down on all my guitars using 13's, but I don't have anything parlor. You could potentially not even have bridgepin holes and nut slots on such a little guitar big enough to accommodate the bigger gauge wound strings.
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12's will work on a small bod, especially a true parlor.
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No phone calls? We'll see how long it takes. They're funny. Even though it's been explained that I don't buy 'amplification or recording gear' or even guitars, only strings for my vintage (which they don't deal in) acoustics, I got my call when my so-called 6th sales engineer relocated. The new engineer called and offered assistance with my 'gear' in any way he could. What a rough, often demeaning life it must be to be my personal salesman.
I don't eat candy.-
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Me also. My squared off fingers can't walk that plank.
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Use of the 2 in LG2 is a little misleading in this guitar's description, as the 2 insinuates X-bracing, while the model is a ladder braced instrument.
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Pretty sure all the 3/4s have the same bout dimensions, but there may be scale variations.
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I like your full finger pick (bondage) immersion methodology, BK, but spending all my playing years flat picking has relegated me to a tricycle rider finger style level. I'm working on it, with YT lesson suggestions you made. I've failed hopelessly with the fingers, but I have at least made peace with a Fred Kelly Slick Pick thumb pick, which I've shaped, rounded and shortened down. This pronounced bass volume has helped me with my rhythm and timing, making finger style playing enjoyable. Redundancy is the mother of retention, of course, but maybe 'Salty's' B25 tone (if he's a finger picker) would even out with thumb picked bass strings and natural finger tip mid and treble. You can't make a house cat roar, but perhaps, with a couple minor set up changes and a some string combo experimentation, he can get it to voice out to a pleasing compromise. A couple nickel bronze strings here and there on a quiet guitar...?
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Tricky on the pick guard. They come off easily enough, but the shading underneath won't match the color of the aged top. I've done it and used UV and light blocking cutouts to re-color, but it's a tedious and long process.
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Very cool. Thanks for that.
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Honestly, any B25 I have owned or played has run on the quiet side. In my opinion LG2's and 3's, though vastly 'snappier' have a somewhat muted bass side voice. Both are small bod sturdy builds with seemingly thicker tops, which contributes to volume and resonance or lack thereof. I'm no friend of the bulky adjustable saddle bridge, and have actually removed that contraption from the top of one of mine, including brass threaded inserts, and replaced with a standard RW belly up Gibson slotted bridge with bone saddle. The results were improved, but not that impressive, even next to the LG2s, so I feel there's an engineered-in design, whether it be bracing or general construction that makes them durable, but quieter beasts.
You may get a bit of satisfaction with bone over RW saddle, and it looks like your break angle off the pins is still good, but the B25 tone is embedded in that overall model construction. Those thick oversized pick guards don't help either. If you have a trusted luthier, I'd get the bridge re-seated properly. He/she might find other setup geometry that, when remedied, will add some meat and shimmer to the sound.
I've had good results improving resonance on basket case guitars, sanding down the tops to a reduced thickness, and lightening up on the lacquer coating. Crazy talk, I know, but if I owned a B25N these days and the stars were in alignment, that's what I would do with it. Might even have a tech shave down the braces. The guard would go right into the garbage. -
OK, OK, maybe a psychologist, not a philosopher.
We're similar age and time frame, probably with plenty of similar experiences. I feel I'm morphing to some of what you describe. -
If you're a musician, it pays to also be a philosopher.
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Oh boy! You're in 'guitar heaven' with good hunting for your Gibson restorer. Keep us posted.
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Congratulations! Good thing Dave revisited and caught the confusion. That's a sweet little guitar, running in the vintage price realms above 3K these days. Nevertheless, since you have a center seam top crack forming on a burst top, it's important you seek out an experienced vintage Gibson restoration guy, so the guitar doesn't devalue. How sturdy AND how visible the repair is may affect it's worth. Typically, the guitar will be kept in a humidified room to help rejoin the seam naturally, then the repair will be made. Let us know what part of the country you're in and folks here can find you a Gibson vintage luthier.
I'm within an hour or so from a couple good ones. Might be a couple hundred bucks to do it right. Meanwhile, you might want to buy an in case humidifier system to keep the crack stable, or have an experienced repair shop simply put a temp stop cleat or two underneath if you feel it will take long to find the right luthier. Also, I'd recommend light (10-47) strings until repaired, or slack tuning, or better yet taking the strings off until repaired. With a missing brace, depending on where it was, the tension could cause top distortionHaving owned a couple early 50's LG2's, I'm a big fan.
Dave
3K for an Epiphone?
in Epiphone Acoustics
Posted
Granted, nice tone from that Texan, but why would Gibson start building these at home when the bigger dog J's are already in the line at nearly the same price point.
https://willcuttguitars.com/products/epiphone-texan-usa-antique-natural