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E-minor7

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Posts posted by E-minor7


  1. My friend has a scalloped 12 fret Santa Cruz Jumbo - very fine. Last fall I ran into a maple top/sides/back high-end Furch that took me by surprice (must go and try that one again). Got a minor crush on old Framuses (don't quite know what it is, but they have it). Apart from that I wouldn't forget to mention my loyal squire and servant for the last 20 years - the 84 Martin D-35 (not many weak spots there), with rosewood now turning lighter and lighter as the bindings get yellowish, more beautiful than ever. The real interesting creature in this phase though (besides the G's), would be this Martin D-18 Custom from 05. According to the previous owner - I'm the 3'rd or 4'th - who contacted the plant, a Martin employee walked up to the chief and asked if he could get permission to make a 25,4 slope-shouldered hybrid X scalloped sitka spruce topped hog side/back guitar. The boss gave him okay for 7 ex. This is one of them and as if they remained a secret experiment, I haven't been able to find anything at all about it on the net. If somebody knows or has heard something, please speak up.

    It sounds incredible - the neck'n'action is 100 %. Knew within the first 30 second I played it and from there things just grew. Dropped D - yes, half a tone down - oh yes, a whole tone down - right so, lyrical finger picking - indeed, finger-strumming - why not, expressive right hand stuff - go ahead, aggressive or funky street attack - eeehhhh not really, , , this is a gentle soul, almost too noble and absolutely not the kind that hangs out with the local gang after midnight. Of course that limitation must be respected - so we just don't go there.

    What I really like, is to get back and pick it up after bein' out on vulcanos, weird wires and wastelands. Then it sets the lines clean straight and brings everything to order. Like once in a while visiting your distinguished uncle to get things in sober, sensemaking perspective.

    A bit boring ? , , , if you're on the wildside - eeeh yes.

     

    MartD-18Custom.jpgBut I tell you people - this is one good sounding 6-string.


  2. This sounds like a great resolution/objective for coming year. I'm going to steal this one. If that's OK with you Em7.

     

    I love my 12er but have not played it as much as would have liked this year - same goes for my others. Fingerpicking is not my strong point and on the 12er is a bit of a mystery so there's alot of work required from this side of my keyboard.

     

    Em7, do you have any songs in mind you would like to tackle?

     

    Feel free. . .

     

    The 12-string offers a good alternative when you can't get down to the 6. It opens an other gate and takes you through the rye till you find a tinkling stream. There you step out barefoot among shoals of small black fish between the swaying green seaweed. Jewels sparkle from the surface - if it's not the sun, it's the moon. . .

     

    Pardon, but that's my 12-string feeling and of course it would be too much to go there daily.

     

    Never the less I have made an intro-piece that must come under control for some recording before spring (the rest of the song is already done).But it's so damn difficult for me.

     

    Apart from that, I'll just play home-fun tunes like Suzanne, Solsbury Hill, maybe The First Cut, , , and the make more or less ordinary stuff ring different.


  3. Gonna go out to the farm this aft and see my horsey. Made her a special mash of crushed candy canes, beet pulp and carrots. Have a great day!

     

     

    Your life and relationship with horsey sounds so balanced and sympathetic. Some days ago I wondered if it's a workhorse, , , and in that case if it's called J-45.

    Best kind of New Year to you, , , and every other G-forumite on rollin' planet earth ~

     

     

     


  4. OH YEA...... IT'S ME BABY.... WELL NOT ME BUT IT'S MY DOVE AND MY FRIEND PLAYING IT...... WOW... Never thought I'd see a thread started with my (baby) guitar as the headliner....

     

     

    Fantastic!

     

    Glad you can take it (both of you). Sometimes we aspire to some higher circles of sensemaking on this Forum.

    JiveOn * * *

     


  5. ren ferguson says that from 89 when the bozeman plant opened they had to learn how the guitars were made back in the days, based on among other things sent in vintage guitars. So I would think they were still in a learning process, which would reflect in the quality of the product?

     

     

     

    It says everything about how far out the company had come. Didn't even have drawings/blueprints of their own masterpieces !?! It's more than irresponsible - it's madness.

    When I tell friends - musicians as common guitar likers - about what I learn on this trip into the world of Gibson, they drop jaws, lean back and ask for cold water.

     

    Apart from that some pattern is glimpsed. After all they were not bakers and librarians, but carpenters, luthiers, craftsmen, and to get fairly decent guitars up and goin' after opening sent in vintage models and generally kicking their own asses, wouldn't take light-years.

     

    As mentioned a few times before : We need crown-witnesses - people who were actually there.

     


  6. Nice finish as I see it - sweet caramel. Some weeks ago someone told me that Hummingbirds from the later half of the 80'ties/first 90'ties should be something special due to the then recent new direction of the Gibson ship (they seem to be rare). First they concentrated on the Les Paul, maybe the next major icon polished up was the H-bird. Can you confirm this - do you hear anything extraordinary - are you in a position to compare ? ? ?

     

    Welcome aboard -


  7. I'm not old......

     

    Don't worry - it will come to you soon.

     

    Hey fellows, thanks for the answers. Looks as if Black Diamonds covered alot of ground back in time. Great pictures, great video. The National Straights sounds like something to remember. I understand they weren't rolled up and came in long slim boxes almost twice the length of the ones for violin-bows - amazing.

     

    And what a beautiful collection on the Fretboard Site. I really fall for the artwork of these aged tone-wires. They appear like dream-cards or tickets to romance, so aware of the vibe they're brought into this world to provide ~ even flirting with motion picture poster aesthetics. I think contemporary layouters should learn.


  8. Hello beard - Nice to see a good straight J-45. What strings do you use. I have the black nut version and changed to black pins with mother pearl dots.

    It sounds better and better.

     

    People seem to dig your old oak chair. Must admit I'm more into the electric facility on the wall.

     

     


  9. My good friend opened a bar last April. I went there again tonite to hear 2 girlsingersongwriters who might be singing with me soon (they are young sisters and just sound so together). Anyway, after the show, random, but very good music came ooozing from the speakers, and then, , , , suddenly Graham Nash solo who - let's face it - isn't heard that often in public space. Songs For Beginners - a couple of tracks, Better Days and Simple Man. I love it - I can't stop loving it, , , I mean, he was one of the artists who showed me I had feelings ! Saw him live twice (76 and 92) and bought the 'Survivors' album 14 days ago - splendid too.

     

    jt - You are in the some high lounge there. The B.H. J-45 replicas sound like a diamond-vision. Having a good down to basics acoustic chat with Nash sounds even better - Wish I was there. Send him my finest regards (you know what I mean ;) and be prepared for the best of luck.


  10.  

    The Little Drummer Boy , , ,(Pa rum pum pum pum )

     

    Found out it has a magnificent line - 'The ox and lamb kept time'

    Regarding your 'otherthread' copyright Q. - There's a risk they might be heard and lifted in the or after the demo phase, through your window, sampled during your next sofa-gig, whatever. Best advice : Register them right away (and keep them close to your heart).


  11. I would like to know is what kind of acoustic steel strings were used in the 50's, 60's and early 70's. Have an idea the variety of brands, types, thicknesses and so were limited.

     

    What was the common gauge ?

     

    Was plain bronze the norm ?

     

    How did things develop ?

     

    Any major break throughs ?

     

    Can anyone recall at all ?


  12. Hurrah for your courage - the laid back couch concept sounds quite good. Did you remember Into The Mystic.

     

    I was in the sofa too. At a smaller private party with my old teenage friends. The guy I started gigging with was there - my first real companion Stoney C. We played the local school yard, pedestrian street and markets place when we were 15 (sounding like 2 passionate sheep). Yesterday the guitars came forward again and we just picked it up where we left it - it's still in our blood : Mellow Yellow, Two of Us, Love The One You're With, On The Way Home, Warm Baby and for the first time Please Mister Postman (so much gas to do the exchanging chorus).

     

    I don't perform in public any more, but have played any sized venue, day/night/out/in/tiny/huge/tent/hall 20 people, 20.000 in my rolling years. Nowadays these small intimate chamber-shows seems to be enough - and then the studio-spacecraft of course, , , which still invites me out of here in the best thinkable way.

     

    Stay focused - Have fun. . .


  13. And here the Wikileak :

     

    The intro to "I Feel Fine" starts with a single, percussive (yet pure-sounding) feedback note produced by plucking the A-note on McCartney's bass guitar, which was picked up on Lennon's semi-acoustic guitar. This was the very first use of feedback on a rock record. According to McCartney, "John had a semi-acoustic Gibson guitar. It had a pick-up on it so it could be amplified... We were just about to walk away to listen to a take when John leaned his guitar against the amp. I can still see him doing it... it went, 'Nnnnnnwahhhhh!" And we went, 'What's that? Voodoo!' 'No, it's feedback.' Wow, it's a great sound!' George Martin was there so we said, 'Can we have that on the record?' 'Well, I suppose we could, we could edit it on the front.' It was a found object, an accident caused by leaning the guitar against the amp."[3]

     

    While sounding very much like an electric guitar, Lennon played it on an acoustic (a Gibson model J-160E),[8] employing the guitar's onboard pickup and 1960s sound effect devices to make the acoustic guitar sound more electronic. The intro riff around a D major chord progresses to a C, then a G, where the G major vocals begin. Just before the coda, Lennon's intro riff (or ostinato), is repeated with a bright sound by George Harrison on electric guitar (a Gretsch Tennessean),[8] followed by the more electric sound of John on amped acoustic.[7][8][


  14. I'm almost sure the Feel Fine feedback came from one of the 2 160's acquired at Rushworths in 1962*. Remember reading a John-interview where he said the sound was discovered by sheer coincidence as the guitar was leaning against some amp with the volume still on, when the 4 of them left the studio 2 ground-floor for some upstairs listening. He also stated that the IFF intro was the first trace of heavy metal ever. A bit bold - still a fairly rousing buzzzz. . .

     

    The extraordinary cool lick itself (I always thought was totally original), was in reality inspired by an American soulblues artist whose name I don't recall. Check the tv-documentary 'Lennons Jukebox' to find out.

     

    *Well, the track was recorded in 64, which means it's another third exemplar. Lennons first J-160 E (which on paper was Harrisons - they switched) was stolen from a theater in 63.


  15. ah, i see; thanks. that was also about the time the quality dipped, too, wasn it?

     

     

    The so called Norlin era was the period from 1970 to 85/86, where the company was taken over by people who knew more about business than making guitars. If you are interested in the changing specs, you might also wanna know what went on out of eyes reach.

     

    Under the top of many acoustics, there is a wooden cross-structure called the X. This is basically what hold things together. To make the guitars stronger, a second of these were introduced and placed behind the first one in the lower direction. The downside to this, was that 2 of these 'claws' was too much and inhibited the vibe of the top-wood.

    That would be the main factor of the notorious Norlin word.

     

    A month ago I played 2 70'ties Hummingbirds on private sale just across the street (blonde and cherry r) and the seller - a semi pro - didn't know about this, guess many people don't. The cherry r was rather good, but the blonde definitely didn't live up to the price or the Gibson name. I personally owned 2 square shouldered late-70'ties G.'s as a youngster and though I had a hard time admitting it, they were quiet as nones and without any real acoustic projection. That said, I tried a 72 C&W this fall, which sounded not loud, but in a sense better than my 68 Southern Jumbo, which has the single X, though in heavier wood than earlier versions of the same guitar.

     

    So as you see, there is a lot of landscape to go through and that's what we dauntlessly do in this Forum. Don't know how much you play and how far you've come, but congrats on the new H-bird, what a X-mas gift - and if it flies for you, GREAT !

     

    BTW Birds, square shouldered SJ's and Country & Westerns hold similar DNA.

     

     

     

     


  16. 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.


  17. 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.

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