E-minor7

Not a big fan of coated strings here, but actually have Elixir Nanoweb 80/20 lights on the campfire guitar, an Inspired by 1964 Texan. Feel tempted to take them off and place them on a TV. Your description and experience come close to what I'm after in my Birds.

Of my 2 2012 Birds the one called April is actually quite loud (has a higher bridge !?!). The other (May) is quieter, but also sweeter and more birdish. I wouldn't take May to an acoustic jam session, but it would the last of them to go. It's a real keeper and the best I've heard so far - went through 4 contemporaries. Playing it alone is pure pleasure - so distinct, defined and flourishing, , , let's say glazed. But yes, the longer Dove has more of everything as you mentioned before. Still the Hummingbird flies a space of its own, , , and rules there. .

Word heard ^

😇 ^

If only 1 J-45/50 was allowed in here it probably wouldn't be an ex with the hollow plastic bridge. That said, it must be must underlined that my p-bridged ceramic saddled 1963er gives away some of the most intriguing sounds of the entire herd. Fingerpicked and fx capoed on the second, it's one of the guitars here which generates lOVE. Can't be said 'bout all acoustics, you know - necessarily not the real high-end ones either.

Yes, I seriously believe the genuine Bird-voice is best delivered by faded steel. Even have 2 sets of real old factory strings here - one is in action on the May 2012 Bird. And they seem to be slightly different from the Masterbuilt Bronze 12s - if judged by the end-balls.

The talented guy seems to use the old Bird test as as window for his personal skills and deeds. I hear a fine guitar, but also an artist in some sort of pr-action. Let the Gibson be the star - play conventional styles and tunes. Well, I know some of my own old tests were quite frantic (and yes a half step down, which may have annoyed some listeners), but at least they went through the standard styles : Finger- and flat-picking, strumming etc. Anyway, , , back on the horse, young man - let's hear Where Have All The Flowers Gone, Black Magic Woman, Angie, , , , , and Angi. . 😎

Positive - I attend some acoustic kitchen-jams frequently. We shift between the 2 from session to session. Sometimes even when there's bass involved. If harp-players appear they get thrown out, , , , , , noooo, of course not, good Burst - then we steer after them. I personally never tune up - rather further down then capo.

I believe in this Dove ^ Congratulations

Always a good feeling when that happens ^

How for an amateur. What is his own take on this. He is obviously so far off that he may be burying himself in embarrassment the more you set the perspective for him. But can I ask : Are you able to hear and if yes describe the sonic difference. Good luck with a baaad situation

His vintage sounds great - torrified and kind of rumbly when fired up. It's a half step down.

Just as we went sleepwalking around the thought that this version never existed, Bozeman took us by surprise again - almost 10 years ago ! Some curve traffic where the trumpet-flower tops the white-ring rosette, but no issue really. Another extremely rare Bird - yet I prefer the faded cherry toffee brown masterpiece we know so well. But hep for the exception - that too may end up almost orange one day.

You are right - hummm. . . My Birds are a half step down and love old strings. That's where I get my quintessential Bird voice. But people are different - and hurreeyy for that. Glad you like yours ▲ just wait till the bass opens. .

I too need to harness my Bird-trebs - sometimes even use light duct-tape under the saddle (B high-E). Yes, I hear the yells of protest, but never the less. . Thanx for introducing the word harness to me ^ Never met it over here.