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Everything posted by E-minor7

  1. Thanx Nick ^ that link sent me directly further to The International Forestry Forum. I am now a newbie there. .
  2. Agree - there are so many factors to consider and it's a bit absurd to scan one out. 🙄 But still I haven't really figured the logic. First, the grain itself - it's the dark year-rings, right. Second, what is more dense, the rings or the light wood. My guess is the rings. Ergo = Tight grain means a stiffer top. But does a stiffer top vibrate more !? Thought we wanted flexibility to get the party goin'. 😵
  3. I'm among the kids who took their bicycle and drove to the neighbor town to see the original when it was fresh - BIG night out ! Really look forward to the new angle. And the B-camp couldn't have chosen a better person to re-cut it = Peter Jackson. BIG nite ahead ! O dears, , , even the anniversary releases come to an end. Help !
  4. And here's the real deal ~ a clean 1965 w. porcelain
  5. T. Hoffmann is a fine player, who we have seen before on these pages. His CW sounds good, but very dry. Here's a new model, which seems looser and more lush. Sat up only yesterday.
  6. Didn't Crow just fall in love with the square Gibson sound like so many others before and after her. Believe it's a 1962 or 64 with a fixed saddle - she met then took it home as late as 1991 and (almost) never looked back. .
  7. The Maton and Taylor present what must be the something between severe silking and crossgrain. The Marts 18 too, but the HD28V is very straight forward where mine has significant zones of bearclaw. I actually like both, , , silking/crossgrain bein' somewhat sophisticated - bearclaw raw and dramatic. Lowden O22 cedar almost a block of cheddar, , , if you allow this daft first impression. All in all grain from coast to coast in that herd. I guess the luckiest destiny for a piece cut wood is to end in an instrument and learn to vibe. .
  8. Totally butter-tight 45 there, Sal. .
  9. E-minor7

    New song

    An honest and shady tune this time. And a very good performance. There is a connection between the gloomy mood and the purist melody which works fine. If it must be dark, then call down darkness. .
  10. ^Talking about new black. .
  11. Something indicates that no-rules-or-consensus regarding W/T is the new black. Collective conscience has found out that it's a bit absurd to focus on the top-grain-nature. Not so with bone nuts, saddles or of course braces. Pins, , ? , , , oh no, that's another thread. Have to say 2 of my very good sounding guitars have hyper-tight, almost invisible grain. Especially the re-topped/necked 1966 Country Western. It's like gazing on peanut-butter. Then again the wides sound fantastic too. .
  12. Jaw-dropping news - Neil on a Bird, , , I just can't see that happen - never ever.
  13. Read a post on some Forum where a luthier said he didn't relate to grain because experience had taught him there is no overall pattern to figure'n'follow. He did the tap-dance however and always let his fingertips cross the floor. Another mystery there, , , tap tada tatap tap tap, , , "aaaahhh yes ! this will make a sublime guitar. . "
  14. Eeehh, is the logo dot missing. .
  15. Okay - I'm kind of caught on the island of wight. . Spruce with clues and enigma from Engelmann to old sitka and Adirondack o lala I looked at wood this way So did you have it quarter-sawn or was it plywood and forlorn I wonder how your top was born and just have this to say I looked a grain from both sides now from tight and wide and still somehow it's grain's illusion I recall I really don't know grain at all
  16. Beautiful Jumbo - no Tune-O-matic, no dots on the bridge. Probably a 68er, , , but then we should be able to hear it, right. The fortification wouldn't go unnoticed. And I think we can. Norman's, , you are hereby challenged - sink the mirror, check the bracing. Ouhh, , , stingers are so hip - they'd make me a kooler player. .
  17. Relevant Q's, , , couldn't tell you. But if you investigate the attached 2013 thread, Nick claims it has to do with stiffness. Tight being stiffer is my guess. But do we want 'stiff' and why - does stiff vibrate better or differently. Something tells me flexible (wide) would be preferred vibers, , , or is the other way around. Admit being confused. Yes, agree, , , and it's what most of the responses say. Perhaps this was a hotter topic earlier on when the big collective acoustic epiphany happened in the 90's and 00s. The era when every aspect of acoustic guitars was sat under (theoretical) looking-glass, analyzed and discussed. Some even claimed that the ideal pattern is wide goin' to tight towards the seam. Now a days the scientists may not be that certain and Bozz obviously has a strong point by mentioning the many factors involved. "A good guitar is lucky a combination of components". Interesting thoughts, BK777 ^ - as said. Molly's hog dread is wide, , , and P-W btw. would never have brought her a weaker instrument.
  18. Plus a little silking. . ?
  19. Been looking a bit into this lately. Not really sure what to think or which logic to follow - and it seems there's specific consensus or rule hammered in granit. It was one of sweet'n'stunning Molly Tuttle's PRE-WAR dreads that me wonder. Been sleep-walking around thinking tight was preferred, but her top is wider than wide. So what do you think - W or T or T or W ? ? , , , , and why ? Of course the topic has been up before. Was about to revive this old thread, but it would have prevented the poll.
  20. I see, , , perhaps a few tattoos too. . Be glad you changed course.
  21. Aha ^ something is reached. Where did the Pyramids do good ?
  22. Is he mentioning the interesting black insert at all - wood or tusk, , , probably the latter. When was that - and did you see any Gibsons over there at the time, , , or other well known brands for that matter. Can you describe the acoustic scene'n'situation where you were. .
  23. E-minor7


    "Everything is poetry, , , except poetry", , , how about that. Well, there's definitely a Dove-player ^
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