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Posts posted by E-minor7

  1. 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 ?

  2. They changed to the straight ones around then and continued up through the 70'ties, maybe a good bite into the next decade. Lots of other things changed as well. Someone will probably raise his voice and tell precisely what happened when. In the meanwhile, let me pass you the incrowd word for your coming research - Schyyyyyy, , , ready :

    NORLIN !

  3. Thank you for the insight. Woods - Yes, thought so. Same with lacquer, but the different X-b and altered bridge position was new to me. If the scale length is the same, it would mean the saddle is moved towards the s-hole or . . . ?


    The exchange of the adjustable system seems like a good idea. In fact I don't want too treblish or zingy highs. You say your IB has loosened up during the last 10 months. Sounds promising - I need a more relaxed, not too sharp sound from this guitar. Listening to the video doesn't really attract me to the 65. Inspiring to hear from you -

  4. If you have an orchestra behind you, I'd pick the waltz and give it a heavy treat with fiddle and everything. Else I'd go for the first one- Take a Picture - and put an extra harmony on top of the chorus.


    Did you ever hear the Dan Fogelberg album called Captured Angel. You might more than like it. . .


  5. I appreciate the tube-tests/demonstrations very much. We should be grateful for the people who takes time out to cast light upon different themes : Guitars, tone-rites, O-ports, capos, strings etc. It's a privilege to be able to tune in and be shown in case some interest or inspiration comes falling from the skies.


    Still the testers must show some niveau (and a lot do). It takes authority to be an authority.


    1- The tester have to realize they are responsible for the inexperienced and blank watchers.


    2- The tester have to realize that there is a huge percentage of hard-liners among the audience.


    The first group needs good guidance and should not be misled. The second will follow the videos with eyes like eagles and ears like wolfs. Nothing will pass unnoticed. The tester sets himself up as some kind of mentor and like any other teacher he/she is at stake, , , and very easy to overthrow, if fragile or not convincing. Not exactly the point whether the demonstration is private or pro.


    This was my quota, I'll now zip up. Keep up the good work - You have a lot to show and tell.

  6. The Gibson headstock with tuners and logo always made me vibrate. Not too keen on the old logos and specially not the 'good enough' banner (pardon Danner - know you love yours). Martin gotta have respect for the straight line, their golden logo and the est. 1833 detail - the ones with bigger letters don't hit me that strong at all. Apart from that I don't wanna be negative here (yes, the seagull is odd).

    A lot of possibilities are already used and there are some built in limitations (like creating bass-drum patterns after 30 years) - I predict it's gonna be a challenge for the designers to find new funky variations in the years to come. The audience is so conservative and we like it that way.




    BTW what's the difference between the original Epiphone h-stocks and the newer cheaper models ?

  7. I understand why you'd want to have a go with the Advanced Jumbo. So would I this past summer. On my broader search into Gibson territory I needed to compare and try a handfull of different slopes, and ended up getting a J-45 from this year and an 08 AJ in house (the 45's from the 60'ties I tried didn't come near this one). Knowing that sooner or later one of them would have to pass, I decided to give both a fair chance - experiment a bit with stings and action - before making the final choice. The fact is, that the choice was made for me. The AJ just never managed to manifest itself as more than a good and valuable guitar as the J-45 lured and charmed me from day 1. It must be said that this 45 is better than another 2010 I tried in the period and could be a lucky #. It surely represented that certain sloped-flavour that lies so far from more ordinary dreadnoughts. Down right dreamish to play on the first 3 or 4 frets, warm and bassy - 'Workhorse', , , with the built in compressor effect*, NO - soft lyrical player, poets instrument, YES. The AJ might have had its specialities too, I just couldn't find out where to look. It had great volume, full lows, but to be honest, no other character than rustic (a fact that made a plus when the buyer drew his glass-tube and began sliding - now it sounded really good). I know we have a well-skilled AJ-guy (markwillplay) here on the board, who sometimes throws in a song or 2, and he really seems to be in symbioses with his Jumbo - they sound so right together. I hereby admit, I couldn't do it. Well, there is all sorts of all sorts and thats how it should be. Look forward to hear what comes your way. (And then again - The Supreme might be something else.)


    Handling an acoustic canon may take an artillerist -


    *to my big pleasure, this compressor thing is on retreat which sends the guitar in the direction of great times'n'promise.

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