jedzep

I seem to adjust to different neck shapes easily, it's narrow string spacing that makes me reject a guitar. Yet, even though I have times it's a strain or pain to play, if I trace backward to what I have been using my old hands for, I can almost always connect their condition to what I've been doing with them during the rest of the time. I'm in light construction and live a moderately rustic self-sufficient environment, firewood, carpentry, repairs, etc. I've had to be more mindful about the level of abuse I subject my mitts to, and find that rest and caution leads to more playing time and less play strain.

No one can calculate the value of that move in your world but you Roger. Don't overthink it, if you can easily afford the de-valuation. For me, I don't understand the logic of having two nearly identically toned guitars in any collection, so I'm not a good choice for opinion.

Almost any artist you listen to has 3 or 4, maybe more, 'watermark' songs that float and make them noteworthy. I've found this to be true from the early days of album buying until now. There are exceptions. Not many.

I'm a Martin player, and I've found that the extra 1/4" body depth on the 018,028 Standard Series makes a positive tonal depth difference, compared to the 4" depth of 00 and 000 body. The J certainly removes that dynamic.

Which Martin?

See you guitar nerds over on the UMGF.

That doesn't bother me or have a bearing on our generation, in fact future citizens of the planet could possibly benefit from the progressive thinkers and movers like Gates, who wants to develop sustaining technology. Problem is, the backward thinking mega-resource users like China weigh heavily on the best of futurists intentions. We're goin' down as a species, eventually.

Congratulations on achieving something I'll never enjoy, as I planned stupidly from 7th grade on. Ahhh, so what?! Does this self-indulgence explain why you didn't kill the Joey Chestnuts discussion?

Cleaned skillfully, then re-glued, clamped, then bolts reattached (or not). If you're good about hooking the ball end to a clean bridge plate before tightening the strings, the bolts are superfluous, except that it keeps the guitar original. I'm someone who throws adj bridges away and has a new slotted saddle RW copy installed if I'm in that situation, but that's me.

I don't know what to say, but I know what to feel. OLD! Could that be a lowly B25 that Dylan is hardly playing? There's one guy who looks better now than when he was young. Lyle.

30's L-5? Wadda' beauty! Wadda' guess! Archtop nerds, I mean experts, will know fer sure and chime in. http://www.guitarhq.com/gibson2.html#l10

A bridge plate mod, providing it wasn't a hack job, would help it retain it's value for playing. I would never want a plastic bridge, original or not, but you're not going to make drastic alteration of it's value either way.

Amazing! They made the move when it counted. Are you turning the 'music room' into a spare BR and filling the fridge?

I wondered if that was an ebony copy, Nick. Glad you spotted the original. I try to block those out of my consciousness.

If it's as professionally installed as it looks, then it's perfectly functional. Cost of restoration to a 'period correct' bridge (unless it's a plastic one) and pick guard would likely be half the market value of a '65 LG1, which may be in the $900-1100 range. You can probably find similar on Reverb or Ebay to make comparisons.

It is an LG1, with what looks like a replacement bridge. That particular pick guard is replaceable, but I'd first be concerned with the playability and go from there. If the neck angle is such that the strings aren't too high off the fret board, and you like the tone you get out of it then just enjoy it. If the strings seem overly high take it to a shop for analysis and possible setup. I wouldn't worry about the so-called 'batwing' guard until I knew I liked the guitar.

I did, but figure for most of us, if we sold a 2K guitar on Reverb, we probably lost a hundred bucks overall, or at best, broke even. Guys in the habit of buying and selling don't necessarily have to pay out taxes when it all shakes out. Those in business to sell guitars are pretty much used to the tax breakdown, like any retailer. I remember choosing Reverb because and before they hadn't caught up to collecting sales tax.

Isn't that the lowest saddle height y'all have ever seen?

That works. Now I miss mine again.

Great little guitar, sure you know. Hopefully, your guy/girl knows the ins and outs of restoring high value vintage Gibs.

The dots did cover screw-downs, but I could never figure out why Gibson defiled the tops. Can you see holes from inside, or possibly the bolts and nuts still intact?

That was pretty much my response to the ones I owned. Sturdy little buggers, but a little 'tight' to my ear.

Smoked over green apple wood in Cooperstown.

You're probably not near enough to that shop to make returning it an option, but their policy is a 'no hassle' one, except for both way shipping. My advice would be get your ear and head ready to have a new guitar tone, and an instrument that you'll hear loosen up with play time, likely years, as it acclimates, absorbing and shedding moisture while it finds it's eventual voice. String experimentation alone will kill the 1st year. When someone in this group buys a new guitar, we all get a little envious. What's not to like?

For sure! With the right attack, and assumed expectations, the L00 can do anything/any song/any style a D18 can.