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Posts posted by E-minor7

  1. Whauw – It is as if this stage does something special to the performers up there. Bring your little brown well mojoed friend with some silk'n'steel on it, and the red curtain will lift you into a higher sphere, seems to be the deal. His full-chord strums sound brilliant, so does the bass-notes – and then further towards Celtic bagpipe territory as outro, , , amazing.


    Is there 2 silhouettes listening in the back. In that case they are so taken they can't even tap their feet.

  2. On non-collectible guitars you can't beat having a highly qualified luthier fine tune the bracing. Almost all Martins and Gibsons are built heavier than they need to be. A good luthier can get them to an optimal strength/tone configuration.



    How about the other way around – Turning the scalloping backwards to get some more core in the tone. To me an over-scalloped bracing tends to sound like hollow, especially the 2 high strings. Is there a way to compensate, , , some tape-trick, paste-material, whatever. I have this thing on a few guitars that would be monsters if they could be helped out.


  3. Was it a new guitar, , , if not it seems to me you've run into the square shouldered Southern Jumbo. A very cool Gibson in my opinion. Not that I dislike the wildlife cartoon, just have the feeling it would fill the room with too intense 'pipping' in the long run.

    Check the thread 'Any comments on this' on side 3 -

  4. But they never took the time to make that clear (no pun).



    The Gibson people are playing around with us - Man they do ! - and I hope they enjoy it just as much as we. It's almost like grown ups playing with children; some of the brighter don't get fooled (that much), the medium giggles dazed and confused and the bricks don't get a thing (I'm in the last squad - no, the mid-one). In a peculiar way it's all rather beautiful. But not only are these maestros juggling their audiences like balls in the air, they have a mighty ship to steer. And as we recall, this vessel almost went under some 25 years back. So now a days they know what they're doin' (I hope) – the task is to keep the wood above water, raise some banners as they go, and to preserve and protect the mythological brand and it's products for the years to come. They'd want absolutely cool second-hand/vintage guitars out there in the great future, and to keep the mystery alive, no doubt - 1 because it is and will be so good press, 2 because they are committed (I hope again) to their iconic status as beacons in American/western culture. (If you are not aware then fix me a job Henry) and then let us all laugh on and together strum happily ever after.

  5. There's a big chance your luthier is right. So many random things were goin' on at plant in those days, I was really surprised - if not shaken - when I dived into it during summer.

    The Beatles' J-160 E's had 20 frets, with the bodies starting at fifteenth - thought 14 was the norm ?

  6. I follow your fascination with thinking your own model up. So many combination possibilities. As mentioned I just received my own creation last Monday (not a Gibson), and will expose it on a thread when we know each other a little better.


    Back to yours -


    1 - I wouldn't change the classic bridge. It belongs to that body shape.


    2 - The koa/cherryburst is a daring choice. There's a chance it could go 'karamel', but then again. . .


    3 - Though you have the tulips on the SJ, I'd keep them on the new one too. To me they are a part of the J-200 icon.


    Apart from that everything seems terrific. The main issue is your opportunity to make this the perfect soul-rhyme. Consider your ideas some weeks before moving. Other details, different perspectives might occur. There's a risk you could get a bit tired of the lines on the drawing board after a while. When you reach the point when you're absolutely sure this doesn't happens, push

    GO !


    J-1854Me's Jumbo looks great. I would like to see and hear this 10 years from now – played in and slightly mojoed.

  7. A unit often unnoticed on our instruments is the bridge plate. My 63 SJ had one in maple installed instead of the original plywood. Not under my command, , , I know nothing about this piece except that it stabilizes the visible (upper) bridge.


    Q. : Does the type of B P wood influence sound ?

  8. My grandparents had a piano and once in a while when feeling like it, I sat down and tried some keys as a child. Couldn't play at all, but found out that something could be made on the dark ones alone.Therefor I composed a little fairly dramatic piece on the deep blacknotes that lasted for a bit more than 30 seconds. I played this thing now and then during my whole childhood and never forgot it. Then many, many years later around 1990, one deep night I had the radio on when suddenly a tune remarkably like mine came from the speakers. It stunned me right there on the spot. Had to write the title down and investigate in the days to come. It turned out to be an internationally known hit from a few years after I was born, now completely burried here. My conclusion was that it must have entered my mind before I got old enough to approach the piano, and then – now off the airwaves – lingered inside of me as melodies often do, unconsciously finding it's way through my fingers when just sitting there fiddling. As it was a Japanese inspired tune, I took a chance and asked the sweet waitress about it last time I dined on a Japanese restaurant. She knew it very well and even hummed it for me and my good friend from the top of her head. Think she told us the lyrics was about the longing for home. The title of the song (which many of you probably remember) – was Sukiyaki.

  9. It's been a topic before (a month ago or so). There is this vanilla-cake smell or something. Find the other thread and have a look. My advice : Keep it out of the case. Mine hasn't returned down there since I got it in midsummer and the trace of grandmas pie is almost gone - 5% left though, which is kind of nice.

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