E-minor7

Don't give any from the old Board-guard any good ideas. We need vintage knowledge on these pages like a good song needs bass - and luckily we have it. But where's fx Old Cowboy, , , and blindboygrunt (I believe he was the eldest member ever). Djust kiddin' bbg - only tryin' to wake you up. .

This is the ultimate tribute to the tune-o-matic concept. The sound of this beauty represents the quintessential clear'iron'-nylon-soft-dry-wood blend, which came/come from these old creatures - and the J-200s. Btw. no one yet has told us why Bozeman chose to feature the t-o-m on the maple guitars only. Where they considered over-mellow. . What a joyous film - one can feel the excitement oozing from the screen - and see/hear why it happens. Hope to receive more footage from the happy owner - he should be a member here.

Jeps ^Micro truss rod adjustment is a crucial factor in getting the action/set-up hyper right. It shouldn't be feared or avoided - nor overdone.

My take is that these 2 are supposed to be similar in the Bozeman-book. However we know that fx Hummingbird back-braces differ from Std. to True Vintage/Vintage. - the latter bein' thinner. My pair of TV Birds, both from the spring of 2012, have exactly the same back(and top)-braces - yet 2 completely different bridge heights !!! , , , but that's another story. . Btw. went and checked the 2010 Std. J-45 bbs here and they seem to be like the long carved ones to the right. These variations are an intriguing sometimes challenging charm. Now you really know where to look next time you encounter a 45.

If you go silk & steel or silk & bronze just remember it's something completely else - an another game, , , or field. You may also wanna try Martin Flexcores. A soft or mellow version of ordinary bronze or phosphor ditto.

When Ren Ferguson reinvented and made them live up to their myth. A mission that can't be honored enough.

An almost philosophical question brought up there. Guess the answer might be yes, , , but you just don't pronounce it in awe. Or maybe you do. In that case not shining awe, , , or maybe you do. Pass. . .

, , , the Dove. Enjoy these masters roll it all out. Not Least T.E. who is wonderfully loose and casual here. There's a whole series to explore. Only seen this 1 so far. .

Agree ^ the bridge between bridges

Good advice - will definitely follow. Though insecure 'bout what to expect.

I don't think everyone loves adjustables - there are still pro and anti. Exactly like it should and we would expect it to be. But Boyd, the (rose)wooden saddle insert is by definition the quiet version. Suited for certain tasks fx while recording. The attractive and characteristic claang of the clay is much louder and more distinct. Apart from that zomb has a point when saying Kalamazoo wasn't particularly loud. There are reasons to believe modern Bozeman wanted to raise the volume a step. Still, , , especially my 1963 Southern Jumbo couldn't be called a whisper. Actually significantly more full-voiced than my fixed saddled Country Western from one year later. Though rare and rather pricey go see if you can find a ceramic insert. You'll be amazed, , , and suddenly almost have 2 guitars. . 😉

Never heard of one, but James Taylor has a rosewood back'n'sides James Olson with cedar top. Think it's his favorite guitar, both in the studio and on stage. I sometimes wonder if my re-topped (and re-necked) 1966 CW got cedar - but don't know how to tell/check. The look is so peanut-butterish and tight grained.

A strong and very convincing pair. Actually played a Mart GP 28E last Sunday and it impressed a lot. Keep them both if possible. That would be my basic trio : The J-45, the Bird and 1 scalloped rose-Mart dread. The 2 Gibsons are too intriguingly different to cut down. Moving around in between the 3 and reaching out depending on feel'n'mood is bound to be a daily pleasure. Enjoy every nuance

Way to go - top-contact is wanted. Sometimes I raise either treb- or bass-side/screw a hair though. Cant' be heard really. Still have the spring in my plastic bridged 1963 J-45, but removed it in the SJ from that same year (just what felt/sounded right). Nothing wrong with the volume in the two 1963ers mentioned above - why should there be a difference as long as the adj. saddle has top-contact. Ordinary slim bone saddle in wood better vibe-transmitters than solid burned clay !? Listening to and comparing with my 1964 fixed Country Western doesn't indicate that.

P.S. - new readers of this stuff ! do remember that you can place an ordinary sized bone-saddle in a block of wood and drop that in the original adj. groove. That way you (almost said we) keep the opportunity to go back to Kalamazoo-genius.