E-minor7
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Posts posted by E-minor7
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I really like the sound of a Hummingbird but, strangely for me, the pickguard puts me off getting one. Normally, I don't care what a guitar looks like yet on this occasion, I don't want to pull the trigger and buy one for that very reason.
I had it like that some 6-7-8 years ago, but have come to really love the flora/fauna. In fact especially when it's a bit worn'n'faded.
Others feel the same way. A former member here even decided to scratch the whole thing off, , , and did.
Btw. just bought a neutral tortoise Bird/SJ/CW-guard the other day - they are pretty rare. Look forward to seeing it live.
But S-Ghost - give it time, , , the garden might grow on you ;-)
, , , and did you know they say the artist was named Hartford Snyder. .
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It just so happens I bought a new Heritage Cherry Sunburst Hummingbird (2015) a few days ago and oh my, what a beauty.
Hep and congratulations on the new babe. One gets in a terrific mood from reading your welcome review ^ what a joy. And I believe more than a few here recognizes the high.
Sure hope she comes back even dreamier than when she left. You 2 will be in symbioses soon. And look at that picture - fluorescent.
Treat us a bit of sound whenever you feel like, please. .
And hep again, windhoek
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Good idea - different models have been individually celebrated over time and why not. I remember setting one up for the J-200.
But the Hummingbird, yes, of course.
Though the F-bird have been under zoom for a better set-up that last few days, I still enjoy the TV's almost daily.
The grand A/B/C/D is now down to 2 and I'm still not sure where it ends - the loose, sweety or the tighter, louder not so dripping #2. Both excellent.
I could speak a lot about Birds - and have done - but will boil it down. What I find so fascinating about the H-Bird, is the over all clarity and auditory access to every single note no matter what you do to the instrument. Add to that that treasured honey glaze around an almost primal core, which in its own way is even simpler than the 45's. That combination is unique.
The Hummingbird - a very intriguing, funky and ever alluring guitar indeed.
2012 ~
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Hi all, I'm new in here and new to being a Gibson owner - so new my instrument is arriving later this week.
Hi - 2 seriously impressing Gibson guitars you mention there. (I'm sure theYamaha's good too)
You must launch a thread down-stairs when the DIF arrives.
Pictures - Sounds - Thoughts.
CU later
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I'm a fan. Greater volume and sustain especially on vintage guitars. Also they tend to counteract the effect of a slightly worn bridge plate in terms of balance and tone. They haven't done much to supercharge three or four mahogany top Martins, all newer, of different dimensions that I've since unloaded - so can't say whether they'd benefit newer guitars with spruce tops or not.
Must say you tempt me to try a set - maybe a summer project there.
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Both guitars have since also had their factory plastic bridge pins replaced with quality brass pins.
Congrats on the ceramic saddle, they are special ^
Apart from that - any thoughts on the isolated sonic effect of the brass pins ?
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Nice little SJ-200 lecture from mister George Gruhn - wished he had strummed them a bit more.
One thing struck : The Emmylou Harris pictures in the memorabilia-section don't seem to be the blonde 200 in the shown trio (not too convincing).
Would like to have a 1 on 1 chat with this gentleman. Imagine he knows a lot about first wave squares.
Fx when did what I call the Indian stripe appear on the back of the Doves and Birds. Anyone here who knows ?
Hep for posting JCV. These kinds of videos - especially with dinosaurs like G.G. - are precious.
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Pardon my laughing above, sir - could you post a picture ?
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Preferably the dictionary that Anthony Buckeridge uses for this forum...
Ha ha ha heh hi. . .
But you do call mister B. out of the library maze there, Sal. .
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It is definitely true that the J-200 and other models have had laminated B&S at some point or points in the past.
The early 60's square trio Hummingbird/Southern Jumbo/Country Western is supposed to have examples in laminated wood.
How does one check it ?
Recognize wood-grain seen inside the guitar on the outside.
Pull out the endpin and examine the hole.
Regarding the top, a master-luthier here told me to hold the guitar towards a lamp/the sun to see if any light comes through. Guess that doesn't count for bursts.
So all in all easier said than done - any better suggestions !?
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Parts should be here Monday.
How is it ?
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Thanks again for that. I used it as a blueprint for my Aaron Lewis SJ. It took a lot of the unwanted "zing" away.
Hahe, , , just came here from playing the old SJ, which has the original ceramic in now. Third rebirth of this vintage thread.
However something tells me it could have been born with a plastic bridge back then in '63. It was replaced shortly before I bought it (new maple b-plate also). Fine job.
I use Martin Flexcore 12's and they mellow out what might be left of the somewhat hollow g-string heard after the restoration.
But of course you still experience this as a square guitar - roomier compared to the slopes, willing and able, , , luscious (as I once learned here).
Really dig it - we go symbio after 10 minutes or so.
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You'd be ok, I might work you to death though...but you'd be well fed.
Okay, sounds reassuring - I see you changed the sub-line. Should have screen-printed the former just in case.
But if there are pulled pork sandwiches w. cole slaw, I'll be there before X-mas.
C U on the same side of the fence
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You want to come for a visit Em7? I could use some help on corral fence......
Actually like corral fences* - besides they are ideel for straw in mouth J-45 playing, , , or of course old Country Westerns.
But you obviously trick me into a trap, Mr G. I say yes - you give the address and then - according to your sub-line - kill me.
Where are you goin' with this paradox ?
* prefer them in organic shaped oak.
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Just another derailed thread🚂🚋🚃🚋🚃🚋🚃🚋🚃🚋🚃
Talking 'bout derailing - where are you located, Mr G ? :huh:
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Catcher in the Rye and likely others that I don't readily recall...
I'm glad to finally see Cather in The Rye mentioned on the Board. This was the splint that made the boat float.
My favourite book as a teen and it still reverberates in some abstract form in there - now I know why I signed up back in 2010.
And I recall looking the original Burns 1792 poem up as one of the first things I did on the net.
The 1951 book has at least 2 reasons for the title.
1 is that Holden Caulfield only can imagine 1 job = Standing guard on a rye-field where kids play, preventing them from running over the cliff.
2 is that he hears a boy quote or sing the song that came out of Roberts Burns verses somewhere in the wake of the release.
The song was covered in 1944 and might have been on the little guys mind from radio.
Some say it was a children-song - others can hear unmistakable erotic undertones beneath the clean voiced innocent melody.
I personally think something forbidden is goin' on there far behind the sea waving golden straw. Won't say no more. .
A song to learn ? - why not. But it'll take one of those ancient archtops, , , and a mandolin crafted by no one else than Orville H. Gibson.
1928 ~ http://www.youtube.com/watch?v=zQ5BTAo3xtY
O.H.G. ~
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Some girls mothers are bigger, , ,
And not all girls are called Angie. . http://www.youtube.com/watch?v=Uid7RrXBY2A
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Spectators might wonder about this extra Angie called Anji. Here's a pretty good shot with an extra Simon called Eddie.
1968 ~ http://www.youtube.com/watch?v=uiGMzbvz7uU
Notice how the at the time 3 year old Day Tripper is sneaked in toward the end.
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Are we splitting Atoms at the University of Chicago or listening to Goats head soup.
Good Q - still there's nothing wrong in asking about a key or knowing what ditto the song your singing is in.
There are people who get so much into their hi-fi-systems that the thought of a recent upgrade from cobber to silver cables, totally outshines the actual musical experience.
They meet and sit in the sofa together and while the speakers glow, primarily imagine signals running through the rubbered silver.
A little dose of key-theory doesn't come near such degree of nerding at all. Besides it's every man for himself here.
Some just take that rum raw - others wan't to know how is was made, the history of the brand and even anecdotes from adventures where the liqueur played a part.
Analysing can be fun. Reading on several levels simultaneously can be highly entertaining and rewarding.
I'd never dissect my moves while dancing tho - not too deep anyway. Neither do I want to come across like the Scarecrow from The Wizard of Oz.
Those Fab-music X-rayers are close to ridigilously uncool, , , , and so un-beatles. The thought of them doin' the same with Stones music is down right absurd.
Like really overtalking the art of making love without ever bein' able to score a girl.
But let the clever boys in the class work - professors are professors are professors. They must, shall and will continue the task.
And sooner or later we'll probably need to look their stuff up. If not for anything else, then for a good smile, , , and the reassuring thought they got the job done.
Angie, , , ?
Ferociously burning she comes in C
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You seem to have confused the Davey Graham instrumental piece "Anji" with the Rolling Stones song "Angie", which is by Jagger/Richards and is on the album "Goats Head Soup".
This topic is about the latter song.
As you would know if you read through the whole thread.
Of vital importance to get this straightened out.
Apart from that a good blossoming, in glimpses even beautiful thread.
Angie ? , , ,
she's hot in the key of Cool.
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Without being professorish, I'd say it's in C. It obviously starts in Am, but the whole progression answers what normally is considered key-of-C-chords.
Someone correct if wrong.
Btw. I was serious when asking you to get the intro together in right time (4 forth) a few weeks ago. Any progress ?
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Check over at the UMGF in the Vintage Corner.
D'you have the exact link to this site - I get the Vintage Corner, but can't find G-bracings.
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I have to go find another J45 for comparison...
Yes, do that - and prepare your ears and wallet for the pre-68/65's.
Ouh, , , if you go 45 and 45 only, you'll end in the slope department.
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I have played is it VERY loud and clear with a distinct voice.
2) Compared to early in the 1960's there are changes to the bracing in 1968 or 1969 that made the guitar less desirable.
6) Is there a online site to show the differences in bracing between 1968-69 if there is a change?
I am not very concerned about collectibility, but I do want to try to be able to sell in a few years if necessary near the price where I bought presuming I maintain/improve the condition of the guitar.
Thoughts???
Lots of good'n'clean facts already delivered and only a few points can be added.
1/ Surprises me it is loud - good for you, I guess.
2/ 68-69 wouldn't make any important difference. Brace- nor else wise.
3/ Squares from 60 to 67 and the ones after that are 2 totally different animals.
Then again there are certain similarities, but the overall nature, feel and primarily projection live on each side of a fence.
Any buyer of a sixties square G should be aware of this.
68'ers and forward as we know are bulkier, but also have longer scale length. Not sure if this is counts for all, but keep an eye on it.
Regarding the colour why not call it burgundy burst. .
Keep us reported - Good luck
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Official HUMMINGBIRD owners thread!
in Gibson Acoustic
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The guitar has been through existence the last 50 + years, but all in all seems to be OK.
The original hollow plastic bridge is obviously cracked and the (bone?) saddle isn't original (don't know if screws nuts and washers are intact is the case-box).
The tuners look right, but could have been replaced at some point. The truss-rod cover is probably brought in later (doesn't really matter).
A serious and authentic old flier - we might end in competion, , , then again no - this will rise above my budget in 5 days time, wait and see. I'll follow from the wing.
Ouh, , , of course we notice the flat top back braces. 1964 was the year those changed to knife-edge shaped ditto. Again nothing to worry about, apart from the fact it (like the bridge) points back, not forward in Bird-historic time.