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Posts posted by E-minor7

  1. Just returned from a trip to London. Saw old hero Donovan in the Royal Albert Hall. First set was okay and growing, the second really came together. He had approx. 40 musicians and friends with him during the evening and at some point J. Page walked on stage. Those 2 cats together plus the enthusiastic audience blew the roof off the building – magnificent.


    No acoustic Gs involved – the '64 J-45 got stolen in the early 70s, as some of you might know, and he nowadays plays a hand-built green-topped guitar nicknamed Kelly.


    Of course I visited every store in Denmark Street – 6 maybe 7 ?? can't remember. Was lucky to try a Hummingbird 50th anniversary, a Hummingbird Standard, a very interesting no so deep bodied sunburst Dove something with cutaway, a '55 Southern Jumbo, a handful vintage J-45s, a '65 Epiphone Texan, a little LG-? and about 6 Martins.

    Won't go into details about these, but instead tell you that the most amazing guitar I met was the last : A well-kept J-200 from 68. I am not a maple-person, but this yellow-hued-sunburst-golden-tulip elephant definitely had it - especially on the bass-side ! What a pleasure to witness. But such a shame it also had the much too narrow 1 9/16 width. I could fumble and hear, but not play the beauty – .

    Gotta say the sales people in general were open minded and generous. Still about half of them didn't know enough about the jewelery they were dealing. Hard to understand, , , I mean this little passage is the suppose to be one of the guitar hot-zones on the planet isn't it.


    Let's be positive – It's worth goin' there – You might find your diamond, , , or at least a couple of 'timeless hours'.










  2. The thing with Richards Bird or Birds is that they might have had the adjustable ceramic saddle (look up the concept if you don't know it). The ceramic saddle would provide a clearer/louder, some will say sharper, voice that then again would be equalized into that mythological Stones sound most people seem to dig so much – me included. It is pretty hard to find pictures of Keiths bridges, but give it a try and bring up the result here if you succeed.


    I recall posting an early 70s shot where he plays something that may be a rosewood saddle – the softer alternative.

    Could that have been used during some recordings. . .


    As you see we have a good summer-riddle goin' here.


    And if he and Jones joined the early Hummingbird wave there even is a chance the bridge itself could have been made of plastic ! How about that. . .

  3. Highly confusing – I can see 2 guitar-souls discussing this on a bar Saturday night.


    "That would be a Southern Jumbo."


    "Absolutely not, it's a Country and Western."


    "If you say it's burst, it's bound to be a SJ."


    "But I'm sure the label says Country & Western."


    "You're dreaming !"


    "Dreaming,, , , , me ?"


    "Yes, your memory fails you tonite."


    "Are you saying I'm drunk !"


    "In fact -YES !"


    "Duel at sunrise !!!"

  4. I think any proper marketing organization would be crazy to put too much creedence in a discussion board like this. We represent such a small unique sub-set of their customers that any information gleened here would be skewed.


    The sample here is a small self-selected group of Gibson acoustic fanatics. What do we have...50 or 60 active participants on this discussion board? And in any thread there are the most vocal of that small subset. Gibson needs to sell about 12,000 guitars a year...An organization might become aware of some trends from a group like this but I think they would be foolish to make too many marketing decisions from what is read here...


    I see what you mean, we might be a smaller group of nerds – the top of some pyramid. But don't underestimate what we represent and never forget the many more anonymous readers. . .


  5. The guitar is the real thing. Someone else have to tell you about the odd number.


    Read here at some point that the J-45 bracing changed from scalloped to non-scalloped during the 50ties. Exactly when did that happen ?

  6. The rumor says so. Different tuners, guards, the C&W in natural finish, but apart from that, yes. Nowadays there's no square shouldered SJ, so we have the H-birds and the Sheryl Crow left.


    I think the story is that the original Hummingbirds from 1960 was so big a success that the 2 slopes (SJ and C&W) followed the trend a few years later. And guess they parallel shifted their way forward regarding inner alterations.


    Then later again, maybe 1968/69, the J-45/J-50s went square too - heavy braced and of course without the neck-bindings and parallelograms. Let's hear if I missed something. . .

  7. This forum has pretty much exactly zero influence on Gibson.



    I'm not the one to judge if you are right. What I do know is that every modern company, brand or business are very keen to get inputs from their customers/future customers in order to sense which way the winds are blowing. Polls, tests, test-sceenings, telephone-Q. programs etc. are running everywhere all the time. F.x. I phoned my bank yesterday and got a robot-voice inviting me to join an interview about their service quality, pressed the 'Yes I would like to participate' button, and now have the possibility to win approx. 800 euro.

    Well, if Gibson won't spent time on watching some of these threads, I think they might shoot themselves in the foot. I'm not saying this Board is the holy book or some concrete road-map to a great future business, but there are statements here – on different topics, every level of interest, knowledge and passion – that would be weighted as gold by any company. As words between the lines. As voices of the reality of a world wide audience.

  8. Which, could be a whole different discussion. I think maybe it is a guy thing, that when we consider how a guitar looks, we don't consider how WE look with the guitar. Like buying clothes, we look at them on the rack and we buy them because they look good, and we don't try them on too see how we look.

    Have to say I look and always looked cool with every guitar, , , , except maybe the LG-0

  9. My good friend and keyboard-player owns a 60s LG-O. He uses it here and there, f.x. to understand chords from a guitarists angle when working. He obviously likes the little thing and in some funny way they seem to support each other – a happy pair.


    However when I pickup this ladder-braced neutral brown cigar-box, it turns out completely different. I simply don't have the key to the instrument. It's a village in Russia for me – a Salvation Army band nun 6-string without any appeal at all. I could get something out of it in a prison cell, but nowhere else. Just never met an acoustic guitar so drained of juices.


    Hope the man doesn't read this, he might knock me in the forehead with a rubber-hammer tonite – at the other hand, he already knows I see the case as a chopping board.




    Hey, someone could come in here and call me an ignorant novice. They would be right from their side - I would still be right from mine. . .

  10. 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. . .



  11. Its human nature to want to categorise and compartmentalise things, also with guitars and styles. Hence you have ..


    Martin: Bluegrass


    Gibson: Blues, Country


    Taylor: Sensitive metrosexual type, thingie music



    Have Martins - Have Gibsons - Taylors, close, , , , got a T-shirt.

  12. I am not and will never be a bluegrass player – admitted. Never the less I recorded a bluegrass-like solo done on my 1968 Southern J. some weeks ago. The tight sound of the heavy braced Jumbo was ideal for the job, which was to dub an already existing clean, slightly reverbed 12 seconds long Telecaster performance one octave down. The SJs debut in front of a mic – in these hands anyway – oh lords that guitar needed serious action.


    I'm sure genuine bluegrassers would giggle here, but to me it was a little victory. Who knows, it might even end up staying on the track -

  13. Pretty close...but the one I bought has hummingbird inlay fret markers and tooled gold Grover tuners, (Mushroom style).


    I liked the one like your pics show.....but since I saw the newer ones, it blew my socks off!


    Looking forward to see photos of yours. And to hear how it sounds, , , (as mentioned) compared to a straight Bird and to your Doves In Flight.

    They'll make quite a pair -



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