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Posts posted by E-minor7

  1. In my opinion the particular challenge for Gibson is to make up for all those annoying 'buts' that seem to surround, especially the acoustic vein of the legendary brand: 'Norlin Dark-age', inconsistency, 'hard to break in', 'full of socks', 'you have to find the right one', and more. It's a disturbing cloud over a beautiful garden that just never appears when people (amateurs as pros) talk f.x. Martin. It must be a drag to live with this crack and I'd strongly advice the company head-staff to take it seriously. Yes, this is a major corporation - a rolling monster business, but it's about guitars, and guitars represent something special to the buyers. Something divine, purer and spiritual, as we all know – they are a 'step up and out of this world', so to speak, and this fact must be reflected in every dimension the G-picture. Therefor the luthiers, carpenters, designers, sunbursters, what have you, should communicate carefully with the sales-section in order to achieve the optimal precision, balance and credibility.

    The right marketing is the path to survival and growth, but a clean reputation combined with positive spoken words between players out there on planet, means the key to nothing less than the talked about 'Second Golden Age'.


    Hallelujah (and a blessed dropped D)

  2. Even though the products might be upgraded, something not true to real life vintage shouldn't be called True Vintage. Bad move - It'll make sales-people all over the world blab towards innocent customers as their noses get bigger and bigger, and it'll make the more experienced dogs, like f.x. 'Forumers', bark back at the company with echoes ringing in the fields and alleys.


    I wouldn't suggest Phony Vintage. Come up with something else. . .


    "Gibson's standards may differ from yours when it comes to what's best. In Ren's opinion, even the most cherished models of the past were pretty "Meh" on average. He told me once that he had been in a room with seven pre-war AJs, only two of which were great guitars. Four of the seven he wouldn't have bothered taking home if they'd been offered to him." rar

    - So much for Golden Age !

  3. Been playing acoustics with a good friend all night, and here by dawn finally managed to make peace with the white Lennon-Gibson.





    But what really interests me is the Epiphone McCartney 64 Texan. Those F-tones starting the big Y-song are 45-years-fantastic.










  4. Congratulations on the first performance. You ask for response :


    # 1 – Sound-check is there for a reason. Try out all extremes within your show - highs, lows, sensitives, wilds, difficults.

    Remember acoustics can change when an audience pack the room.


    # 2 – Keep the wires as straight and simple as possible. Don't get lassoed up there.


    # 3 – Good idea not to bring too fragile instruments. You're right, get used to what Buc called 'proud battle scares'.


    # 4 – Sure thing. Go with the flow, but don't loose track. Maybe try and keep a few guide-marks.


    # 5 – You need light ? – Get rid of the stand in front of you. It's for 'mothers-boys'.


    # 6 – Is it, , , find a small sacred spot on the stage-floor – f.x. against the end of an amp – and keep your glas-ware there.


    # 7 – As beginners you must concentrate in every bar of every song. (Later you can spend time planing your holidays while delivering – a good sign it's time to stop). The situation is extraordinary and there's probably loose monkeys within the gig here and there.


    # 8 – Don't fall to pieces when making minor errors, but Laurel goin' to verse, Hardy goin' to chorus isn't the way forward. It's okay to make a mistake or 2, , , then again is it ?

    Support each other, but drive yourselves hard.


    # 9 – You guys got the right spirit - it's heard on your home-recordings too. Have a little box with extras in the back of your minds and allow yourself to play them freer.


    # 10 – Yep ! (and then there's all the rest)


    You found the right name. . . Good luck tonite !

  5. Found this Q.'n' A.. somewhere. Let's hear the expert talk :


    In your article on the Gibson J-200 in the May 1996 issue, you mentioned that after Norlin bought Gibson in the '60s, the company changed the bracing to a double-X pattern. How did Gibson brace the original J-200s? Are they still using the double-X system?


    To make matters really confusing, there are two radically different double-X top-bracing patterns in the long and convoluted history of the J-200. Starting in the early 1950s, the J-200 had a wide-angled X in the usual position below the soundhole, with another X pattern under the end of the fingerboard above the soundhole. This bracing was unique to the J-200, with other Gibson flattops of the '50s displaying a more typical single-X style of bracing.

    The double-X I referred to in the article was a different pattern altogether--with an X in the usual position below the soundhole and the second X below the bridge. This pattern was shared by all Gibson's big flattops during the Norlin reign, starting around 1971. The 1950s double-X J-200 models are very highly regarded, while the '70s double-X Gibsons are considered a low point in the company's history.

    The earliest SJ-200 models had more conventional bracing, with a single X in the usual position. Most had two diagonal braces below the bridge, though at least one had three. By the time the SJ-200 was in regular production, the braces below the bridge were not at an angle, but ran parallel to the frets. Since Gibson began making the J-200 again in the mid-1980s, the company has used a more Martin-like scalloped X-brace pattern with two diagonal braces below the bridge. I don't think any other guitar model has had more variations in top bracing than the J-200.

    --Richard Johnston

  6. Proud to say that I surfed the first Led Zep wave. Still have my original vinyl II and III just in the next room. (Did you know it means a Zeppelin air-ship of lead, impossible to get lifted). Lost them a little around 74 when I turned towards more acoustic based music, but never got over Whole Lotta Love. One of the biggest rock-attacks ever recorded. The riff is plain magic (if you allow the phrase) there's almost nothing and then this enormous power -


    der-der der-der der deder deder deder deder deder deder – it's Himalaya to me.

  7. What's a paint chip??!! Don't you watch Martha Stewart??


    Dear Gilliangirl, you must remember that I'm very far away geographically speaking. Never the less I recall seeing the woman together with Letterman (and an uncontrollable splash of whipped cream). But then the rumour said she disappeared in the shadow. Was/is she big in paint chips ?

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