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Posts posted by E-minor7

  1. It's kind of hard to tell in the linked picture, but the rosette ring does not go full circle as it does on the Legend pictured on Gibson's product page. If I had had bought it, this would make me worry...




    Good eyesight there. It looks as if the eBay thing had a fret more than the normal version on the their site. Did someone say early proto type. . .


  2. Surely J. L. had a white trip after the double album (a suit, some shoes, a Rolls Royce, a piano, a room, a new innocence, he even showed the white flag didn't he), but to imagine him with this J-160 would be a bridge too far.


    I'd rather see him with a good glass of milk.




    Paint-chip – what's a paint-chip. . .





  3. Been enjoying this dark tune since Steppenwolf 7, always knew it was written by Hoyt Axton, but never met his own slightly countryish version before yesterday.

    Q. : How does he get that almost unreal soft acoustic sound, especially heard in the strumming between verses. Could it be a Gibson with adj. wooden saddle, or can some of you set me on the right track ?

    (never mind the video) http://www.youtube.com/watch?v=cCx8qtC7zOU

  4. Hi all,


    Noticed that Cat Stevens was using what appeared to be a black Gibson at the Sanity rally in Washington - can anyone confirm the model and if it's still being made?


    Chris K


    Dear Chris K (Newbie and father of this thread) – Hope the line of enthusiastic responses answers your question.

    Will look forward to your next.

  5. Had to check it myself as my curiosity got too big. Clapper played the transcending solo on a refinished red Les Paul 2 months after he'd givin the same guitar to George as a gift. The one used at the Bangladesh Concert was a blonde Gibson Birdland. - Respectively 1968 and 1971.

  6. But the real weird thing is that these reductio ad absurdum cases lies scattered in lots of shapes and colours on the Gibson path. I'm convinced that the common audience haven't got a clue about this (same could be said for many dealers), and is curious to know how aware the more conscious players were as the quality began to slide back then.

    Calling 60'ties witnesses ! - Did you notice and discuss what was goin on ??

  7. This isn't a political, nor a religious forum, most of us agree. But it might turn out to be a philosophical one.


    Scene 1 -


    "If 2 loudspeakers in an empty room kept playing a loop – say with splendid acoustic Gibson guitar tunes – the whole day, would there be music in that room or not. " says The Teaser.


    "Yes, of course. We saw a film of a person pushing the 'play-button' - we can't hear, but we know," says The Believer.


    "If no one actually hears the tunes, they do not exist," says The Skeptic.


    "Do the music on your records exist when not played ?" says The Teaser.


    "Sure, I know it's right there, and can bring it up any moment" says The Believer.


    "Not as a frequency in my ear, only as a thought in my memory, a wish to listen or not listen," says The Skeptic.


    "My little paradox occurs when I tend to agree with The Believer, but still think that most rules, regulations, doctrines, agreements, provisions isn't anything before interpreted and carried out by human spirit. There's no way around the link of man and his many ways of counting - and that diamond certainly has its pro and cons," says E-minor7.


    "What about boiling fever, accidents, weather catastrophes, strange or beautiful coincidences, old fashioned love affairs ?" says The Teaser.


    "They are acts of higher powers, meant to punish or reward," says The Ancient.


    "They are acts of higher powers," says The Believer.


    "They are just coincidences," says The Skeptic.


    "Like the roll of a dice in a simple bar ?" says The Teaser.


    "I'm afraid so," says The Skeptic.


    "Never," says The Believer, "and every rolling dice is a message."


    "I call evil upon you," says The Ancient.


    "Schhhyyyyyyy !" says E-minor7.

  8. This is great news. For a cover story I'm writing about Jackson for an upcoming issue of Fretboard Journal, I went on the road with Jackson and band this fall. I played through Jackson's collection of guitars, including his 3 signature model prototypes. His favorite is the walnut version (the other 2 are rosewood and mahogany). A very nice guitar. Jackson uses the Trance Audio Lens pickup, whihc I presume is what Gibson is putting in the signature models.


    You were close to those 3 precious grails (and the master himself), must have been thrilling. Imagine the rose and hog differed the ways those two woods normally do, but how did the walnut stand out ?

    In other words : What is the sonic ambition of Gibsons exiting new release. . .

  9. Aha - Though not a Presley fan, I can't help being fascinated with the fact that Elvis created the guard himself. Wonder when it was done, but think I see a late 50'ties early 60'ties flavour in the style of the shapes. Always had the idea that he would have made it further into life, had he been more 'creative on the board'. A little naivistic/geometric painting wouldn't have been unhealthy.


    Yes, I noticed the string-ajusters and wondered. Don't believe it was a Gibson concept, could be wrong. Also I found that particular guard very nice. It's a bit more discrete than the other more common, which in my eyes lift it up towards beauty.


    Golden Pheasant – Now you're talking. Here's the way forward for the Montana pencils. A brand new model, strongly connected with - and filling some hole between - the units of the old group of dreadnaughts. Any wood-combination suggestions. . .

  10. Just returned from the studio after a demanding 2 night full-band live-session. Happy/rather zapped, guess we achieved what we had in mind, , , at least that's what I feel right now - but that r'n'r surely takes a bite of the old minstrel. Then again, didn't it always.


    Had to calm down by a little Forum visit. Many good responses. AnneS got her Montana Gold. Never knew that one. Is it for a famous harvest ceremony or something, it's pretty spectacular. So is the Doves in Flight. Hope we're out of hunting season. TommyK had a funny description of his single-pigeon impression, "Black Forrest coo coo clock". Yes, it just sits there waiting for something to happen, almost too quiet for a good ringing chord sequence.


    Found this E.P. model the other day. Might be the wildest of them all, , , (it takes a lot for me to use the word crazy). Don't know what to think. Where are we, , , New Years Eve 1959/60, onboard Sputnik 1, behind the mathematicians eyebrows, in the cellar of Pablo Picasso ???? – All I can say is it provides me with some kind of migraine.


  11. Gpickguard.jpgGpickguard2-1.jpgGpickguard3.jpgGpickguard4.jpg



    We have to dig into this. The issue is enormous. It's a phenomenon weather we will or not. It's a guide-mark which has proven itself timeless. Some would say pop-art, some call it kitsch. Others would praise it as holy icons of invaluable beauty, impossible to live without. We are talking wildlife Gibson guards.

    A few months ago I ran into a guy on the net, who wrote how he clearly remembered the day his uncle came home from work after drawing the Hummingbird pick-guard. How about that, , , it's really something, if you ask me. Though no further details, there is an entertaining, important layer inside the information, and it could very well be true. Of course, it may also just have been the dream of a bored man in need for attention – no one should judge. Anyway these p.g.-pictures were created by people of flesh and blood – there was an artist behind the work, even though the romantic vision might have sourced from higher chairs. Who were these souls – can anyone tell. What is the story and who ordered the lines, or came up with the ideas ?? The topic might have been touched before, but let's recycle the myths and facts. I know there is a certain group that can't cope, some have mixed feelings (at the same wouldn't miss/couldn't kiss the thing), but lots of folks really dig those peaceful meadow-glimpses, and their tale shouldn't stay untold.

  12. Oooh if I could just for 5 minutes in my dreams tonite play with Danny Thompson. . . . He's my favorite double-bass player, and a great innovator too. Just ordered a thick stack of original Pentangle LP's from a friends major collection. He's goin' to India for good.

    Yeah, those round bodies slip-slided off ones knees when strapless. The young girl singer I mentioned in the 'Any Horrific Tales' thread had a brownburst model, and we were drawn towards that guitar as much as to her. I never really wanted one though – was goin' for Gibsons and unfortunately wound up inside the O of Norlin.

    I now realize your talkin' about Richard from Fairport C. But never mind. . . . let's celebrate them both.

  13. BlackCat.jpgOvation ruled the later half of the 70'ties. If such a guitar was in the room you entered, people would go : Whaaaaaaauuuuu ! , , and immediately wanna try it. Some were better than others.


    There's also current pictures of Jusef playing another black J-something with cut-away and florafied guard. He has always been keen on G's. Here's the Everly B.- model from way back then. . . .

  14. Disturbing post from EuroAussie there, uuaaakk -

    Not an expert, I still can't believe anything else than that Gibson is doin' their best to fulfill them-self and their position in this era. 2-3 decades back they went through those notorious storms which gave them a double reputation, and the last 15 years have been a route out of the turmoil. At some point the brand was blessed with second momentum – still rolling - and fully aware of this, it looks as if things have been taken to their relative max - what else can be done, , , any suggestions ? So if the price for this turn has been too high, as Aussie lines up, the scene is blacker than sad.

    BigKahunes idea of some new models is ambitious. Attempts have been tried and some of them even succeeded, but a brand as mythological as the mighty G must realize that they are and will be half caught in the circle of glorious history (fortunately, if you ask me). I predict the same consequences will emerge in other fields in the future, f.x. to cars. Audiences will demand 'older wonderfull models' and slowly the companies will begin to heed the call - there is already traces of this here and there – f.x. in architecture. 'Second Golden Age' is not a bad suggestion, if we as fans shall stay positive.

    Gibson is not the embassy of Atlantis – though involved with magic, it's a place of earthly reality.

  15. "Can't say I'm really interested in anything Martin-realated, but I find this process interesting. Is there a reason you don't name the luthier?

    Also, I just have to ask this, and I hope you're not offended, but - is English your first language? I've been wondering for a while now."


    No, no, no, I'm from overseas Northern part of Europe, and ought to have an authorized ghost-writer behind me, I know. Can't afford it though. Besides that I appreciate the privilege of anonymity on the Forum. Leading you to the luthiers site would 'blow my cover' right away, but he is a guitar playing carpenter/string-instrument-doctor, who entered the fine art of guitar making some years back. Works in the cellar of his house and normally follows Martin OOO and dreadnought templates (different woods). This is his first custom model (shape wise), and only his 8'th creation, so we're both on the learning curve. Of course I wouldn't have begun the co-work if he didn't sound good – and he does.

    I also appreciate you (and everyone else) being honest about the Martin based inspiration and so. It's a little awkward to display a non-Gibson item here, but someone asked me a while ago and as it is a part of my general acoustic scenario this season, I felt like throwing some pictures.

    Thanks for response everybody !

  16. JJSNCheyenne.jpgJJSNCheyenne2.jpgJJSNCheyenne3.jpgJJSNCheyenne4.jpg

    JJ - No. 7 Custom - Cheyenne ~

    After 10 months in the lab, and 11 days since it arrived, it must be time to show the new guitar. It's an experiment not tried before : A home-drawn vision made from the classic triple-O Martin 12-fret, just broader more 'jumbo'. Besides that the goal was to keep the measures within the size of an ordinary dreadnought case. The luthier accepted my template as it came, cut some new outer 'shape-holders' and worked his way further through an extended version of the bracing pattern he normally uses when making OOO's – (won't go further into the process). I of course, promised him to take every responsibility regarding unexpected, weird or unlucky sounds.

    There we went.

    Then what does it sound like. Well it's hard for me to compare it to anything obvious. The instrument is only slowly coming together, and room is needed to understand its identity. Must be said that especially the 4 deep strings are on the right track. They know each other very well and is a pleasure to play. High E and H tends to ring a little poor or hollow, but maybe they kind of mellowed a bit today (not certain). The general expression is at the same time velvet-soft and crisp, present, not loud. Could appear slightly discrete or too mild – then again that impression vanishes after jiving a while. I don't know, it's simply to early to characterize it as it changes and teases from hour to hour – one room to the next. However I'm sure this is a lyrical piece made for picking rather than strumming - And thinking twice, it could be somewhat familiar with Ian Andersons acoustics from 69 to 74, if that says anything. All in all I'm close to pleased. No I can't record and play it for you right now – haven't got gear here.


    Instead some specs. :

    Top - Master-grade sitka

    Back'n'sides - Rio rosewood

    Neck - Mahogany

    Bindings - Flaming maple

    Bridge, pins and fretboard - Ebony

    Tuners - 3 on 1 Waverly gold/snakewood

    Nut and saddle - Bone

    Number of frets - 14, rest fret-less.

    Some mother pearl here and there. The fret-less part of the board holds a parallelogram in green - the Indian sign for 'insight'.


    The luthier isn't the biggest specialist in noble finish in this world and it suited me fine. I told him to make the guitar look like one you'd see hanging on the wall if you happened to find a remote cottage between 5 pines after several days of exhausting mountain-walk. After the first test it still wasn't heavy enough, and goin 2 shades deeper did cost the white of the rosette. Again okay with me - I wanted this 6-string dark.

    Enjoy - If possible.

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