E-minor7
-
Posts
10,727 -
Joined
-
Last visited
-
Days Won
18
Posts posted by E-minor7
-
-
The link above leads to a rather sloppy UMGF thread, but the story about Paul receiving a D-28 a few years back is probably true - why not. However he already used a Martin live as early as the beginning of the 90's. I saw him at a smaller concert round then – just after the unplugged album – and he played a straight blonde lefty 28 that night for sure. At one point he was solo on stage and said - "Bob Dylan has a stative around his neck, , , I have this". Then he called a guy out in the light who held his harmonica during an intire folksong. Can't remember which. By the way he also introduced us to his secret hobby : DRUMs ! Some night. . . .
-
Fine video -
Guess the D-28 is 'just' a terrific sounding ex.
Never saw a 28 with a label, my 35 have non, but my Custom D.18 has a paper label asymmetrically placed below the sound-hole.
Your 45 looks convincing BigK; nice warm hue. I'm sure there's a lot of tone inside that box. Yeps !
-
My then close friend C bought one MK something around 1980. He did study architecture and the lines of the guitar kinda fitted his image. It sounded rather good by the way. I was just out of my Norlin tunnel and had a solid skepticism about acoustic Gibsons. The MK changed that considerably. I don't recall it as a rock/folk guitar at all. But it had a pretty grand sound and automatically called for respect. Admit I didn't play it much – he did. Some time later, we started a garage or should we say bigcitydampcellarband and he traded the MK for a sax and a tape-loop-echo-machine – maybe also a black copy LP and a green-eyed Teisco amp. We spent a hard working year, maybe more, getting' a very fast loud original rock repertoire together. Had one success and one failure then began to corrode. He zoomed back to the academy. Is an up'n'goin' architect now – own business and stuff, , , , but no Gibson.
Funny coincidence between wily and pbailiff there – short-storyish. . .
-
arrrghhh...
Let's hear what you hear -
-
General Patton used it to great effect during the Second World War. Keep pushing, keep attacking, don't give your enemy time to dig in.
Oouuhh, the wild Mister Patton, , , ! Believe it or not, I went to Belgium to follow his trails in the Ardennes during The B. of Bulge a couple of years ago, carrying fuel for a Sherman in a vintage M3 half-tracker (that Joachim Pieper sure was a severe opponent). Unfortunately we broke down in the woods.
A bit off theme here, , , apart from my theory that the WW II US-campaigns through Europe might have been first chance for these geographies to hear/see ringing Gibsons ever.
(Btw only brought my Lee Oskar harp)
-
It is a style that is usually called either googie or populuxe. You are correct, it was in response to the interest, back in the 50's and 60's, in the space race and anything like it. Think Seattle Space Needle, Old Holiday Inn signs, LAX airport, The Jetsons and the like. I doubt Presley had the artful talent to create such a faddish design.
Seattle Space Needle - never heard of that one, but it's right on. Read that it's from 1962 and checked some photos of the interieur. It sure captures that late 50'ties/first60'ties pretty immature, but charming attempt to reach out for 'the great future'. So does the over the top Elvis guard. It would give me the migraine to have it in house, still I admire Presley for casting himself after the project. One thing must be said about you Americans - You have the spirit, guts and ability to just go for a theme, an obvious solution or a new idea, , , and then in a couple of years make the result the state of the art (okay, the guard might be an exception). Over here we tend to consult a panel of ever spooking forfathers for green light and advice, then walk around a big oak-table like longbearded philosophers for months before we even appear on square one.
TommyK - Do we see a trace of populux in the Gibson Firebird and Explorer ?
-
Makes my GAS for a J-200 subside ... relief ..lol
Just wanted to share that.
Appreciate it EuroAussie - what type of J-200 do you imagine ?
-
When I displayed this guitar last autumn under a pickguard-thread called Flora and Fauna, someone responded that Presley had drawn these zig-zags himself. Think the piece was created in the late 50'ties, which is sensed by a closer look. We are in the zone between pre-60ties western world cocktail bar and Sovjet Sputnik arts. As a matter of fact I think Elvis nailed it - he should have continued such experiments.
-
How thrilling to get insight to your version of the wild wave back then.You guys definitely stood in zenith. The 'so close to Candlestick Park' incident must have been almost impossible to bear, , , uuaaakk ! Still the adventure raged on and the drama connected to the hair vs. school tells it all. That hair thing - nothing less than a banner, a weapon meant to gain and defend freedom - was just as important as the music. Though just a 7-8-9 year old kid, I remember fighting for every half inch down the forehead myself, and how it became necessary to wear some mad hat all New Years Eve after one X-mas when the scissors ended up winning the battle. Can't believe young people of today realize how serious this appeared to be - to be frank it was the state before life and death. So of course was the outfit and electrified beat.
Look forward to a little back-stage anecdote or 2.
-
wouldn't have posted this but jumped at the chance to be the first one on this thread!
I was tryin' to figure out the recorder Santa brought me!
Dear danvillrob - You have yourself a smooth laidback swing there, good to hear that and impressing guitar too. When you and I first met, I kept givin' you headache with my chatting away 'bout the roaring 60's, remember. Well we managed and found truce, didn't we. After all I'm just a huge lover of the periode.
Now the other day while making a brief jump to the Lounge, I came across some post from your hand and could hardly believe what I saw. Please answer me, is this a mirage or something taken out of real life memory ?? If this list turns out to be the real thing, could I ask you to boil up a story or three from Buffalo S., Byrds and not least the mighty Love. I met Mister Lee in 05 and we exchanged a few words, but to hear some lines from back then, would be nothing less than terrific.
Performed with:
TheTurtles
The Vejtables
The Mojo Men
Paul Revere & TheRaiders
The Leaves
Love
TheByrds
The Animals
The Who
The Yardbirds
THEM
JaniceJoplin
Buffalo Springfield
Chuck Berry
Manymore I can't recall, (damn 60's)
In case it should be needed, I throw in a couple of tabs.
-
Might be a good idea. Same thing with the saddle, string, pins sector.
Two Q.'s here :
The - in my opinion - very important acoustic samples, A-B tests, all the good people who set sounds to sights by playing certain riffs, then picking, then strumming a certain model etc.
Do they count as performances or demonstrations ?
Is it possible for a person with an audio-clip with f.x. a 90's J-45 to deliver his bit on a '90's vs. 00's J-45s' thread ?
-
Not seldom I feel as turning deaf when tuning in on this alive and kicking board : All those guitars with no sound to them.
Your J-100 is one those one would like to actually hear. There is a Martin seriousness to it, but I believe the guitar rings GIBSON all the way. Maybe a cedar top, you say - It would mean a sensible very responsive and tender tone, I am told. James Taylor chooses cedertops for his Olsons.
Surely the threads can take odd and interesting turns - people tend to get inspired and adventurous. Remember some time ago when I commented on a huge artists Gibson-model. That theme ended like several pages of heated political discussion - a bit dramatic, but kind of funny in the rear mirror.
-
I would encourage you to get out a saw and attack. . .
He he he, guess you are the type that will also encourage a decent round of Russian roulette after a few hours of poker and 3 bottles of booze on a late 'guys without wives' night. Not sure I'm with you. The thought is exiting, but the risk is too high. Like trying to revoice a good, but not excellent guitar with sandpaper and scalpel, then finding it has got insane the next morning.
Then again, , , maybe the old cheap one from the attic could be the dummy. Still it takes a touch of carpentry.
-
Allright then, we're gettin' wiser : The B-bender - a scientific landmark. The enlarged s-hole - pure coincidence.
Have to rotate my beloved Byrdmaniax album and listen up.
-
Just had to do some measure tool math (not my strongest side). If I'm not too far off, 4 inches is supposed to be 101,6 mm. That's what I find on my 45 and 2 60'ties SJ's.
Imagine Clarence removed approx. 4-5 mm's.
rar does a good job digging into the theme, but soon bumps his head on the ceiling of contradiction.
vily isn't willing to believe there is an overall logic to trick.
I'm not that sure.
Would have been nice to hear from Mr. White himself.
Does that rare J-100 sound as convincing as it looks ?
-
Aahh yes, makes the board stick out. Is this extended diameter louder speaking. . .
-
Clarence White was the excellent guitarist in the later incarnation of the The Byrds and the inventor* of the Telecaster B-bender (try to look that up).
What he did to his sound holes is new to me. Better leave that one to vily.
My linkhttp://www.youtube.com/watch?v=M9cINH9yob4
* with Gene Parsons
-
Is it true we no longer can insert videos - I've had problems twice. . .
-
I've Clarence White-d the grammophone all my life, but never the guitars. Is it worth doin ?
-
Dear Red 333 - Thank you for your fine description of the 2 acoustics. It did cast light. I'm new in this forum and on the Gibson-scene as well. Apart from the fact that I owned a squareshouldered J-45 and a sqsh. J-50 (Norlin stuff) when I was a teenager. Been playing Martin ever since, but found that now was the time to cross over. For the experiment anyway. Keep a sqsh. 68 SJ, a brand new J-45 and a 08 AJ here in the room and have tried to dig into them and the rest of the mighty mysterous Gibson universe this summer. It has brought me around. Reading a lot on the net and testing new and secondhand models in shops and private everytime something interesting showed. So as you understand, I swallow every word of knowledge/wisdom like cocoamilk or nice cool lager.
Once again hep for the review - now one can only dream you'ld tell how to treat my - somehow too factorish - Advanced J.
-
These days it is pretty much bling - not much different under the hood.
But in the 1940s and 1950s there were some differences. Gibson used better lumber on the SJs - particularly the tops which had tighter grain. The old J-45s had a sweet deep low end and were just wide open guitars. The SJs were more detailed and tight sounding.
Mister zombywoof ~ It's always great to read your statements. In fact your expertise in one of the reasons I joined this jolly forum. I'm still close to being a 'newbe', but allready have a comment of yours on one of my threads. What a flying feeling. . .
-
I have a J45 TV and a Southern Jumbo TV. They are braced differently on the back, for sure. I'm sure they both represent how each particular model was braced at some point in time (and perhaps a DIFFERENT point in time if they have always indeed been the same model in different dress), but at THIS point in time, the True Vintage models at least are different.
I have not checked the top.
Red 333
Something fascinating 'bout having two so alike (there sure is a lot of options not chosen). How is the sound difference ?
Paul McCartney's D 28
in Gibson Acoustic
Posted
I continue to be impressed by his massive sets. Juniors Farm, , , aha.
Saw him do a groovy live version of I'll Get You on the Tube. Wonder if it's time to lite up What You're Doing ?