E-minor7
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Posts posted by E-minor7
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As we know the Doves are pretty rare fliers living in an altitude of their own - and as we also know they are mighty fine guitars, , , not least as recorders..
It's good to celebrate the classic 62 once in while. So now now is now, , , and the remarkable difference makes this film special. Check the Quinton & Paul testers doin' their thing.
And enjoy
Apart from that they don't seem to answer the headline Q - well, , , never mind. . .
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On 4/13/2024 at 4:53 PM, Johnson Blake said:
- my own voice sounds like a cat trying to climb a blackboard to escape my voice, or so I've told myself. My delivery reminds me of the giant Kool aid pitcher crashing through a wall, yet I persist!
![[lol]](//content.invisioncic.com/p286412/emoticons/default_msp_lol.gif "[lol]")
But you may get a break in the stand-up business. .
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O the EJ-16s - workhorse of bronze - sound good here. I still use them to here and there too. The voice is not beyond a healthy roll back, if you ask me. But yeps, you have to sing'n'swing it. .
Admit bein' kind of glad you returned to 6. The little fella signalized retirement.
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15 hours ago, MorristownSal said:
Em… I like it. This slope has a nice neck, a great look (looks more brown than red) and the adj sound is definitely different than any fixed saddle I’ve played. I’ve had an adj experience before that was tonally positive…. A square. It came and went like they all do… because one eye wanders.
It came with a Tusq saddle, and I also have a bone saddle I bought. I just looked where I could find a ceramic saddle to try out.. they are not anywhere. I’ll keep an eye out. Same for rosewood. I love trying things like this.
Its funny. I tried to buy an Eastman slope based on positive memories from 8years back. They have since changed the finish from nitro to a type of poly. The tone is unpleasing to me- brash, thin, and 2 dimensional. This J45 follows right on its heels, and the contrast is stark.
Yes, I think the adjustable square is remembered - was it a contemporary Country Western. Anyway, have fun experimenting. Both the guitar and you deserve the investigation. .
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On 4/6/2024 at 9:03 PM, Sgt. Pepper said:
I would think they would both be removed as a unit since they are glued together.
Can't think anything else - unless something extra complicated ravages the equation.
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7 hours ago, moosesyr said:
They both have 2 piece nuts.
Pardon !? , , , , never seen anything like it. Mine is as normal as it can be.
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Santa sent 2 new Satin Vintage ES-335 around X-mas for me to try and choose from. They were pretty different (could have been sold and adjusted before).
A was strong, straight and potent - had the nicest burst-fade, but some slightly messed headstock edges. B was weaker thus mysterious and perhaps more soulful. Action much lower.
Was very tempted by B, but went with A. Logic was that it would be easier to weaken A than to add A-strength to B. Have not regretted that at all.
The calibrated T-type are surely brighter than fx the original old PAFs or previous humbucker variations that have seen light of day the recent 20 years. It is however a warm creamy pickup and like the strength, you can roll down the brightness if needed. To lower the pups in the treb-side is also a possiblílity - I actually experimented A LOT with the pickup-height after B was returned. And though not bein' an expert at all ended up very happy.
Still - the new batch is NOT like the vintage ancestors (remember they have been around since 1958). The oldies could be quite muddy, which went well with jazz and some types of old school rock. This T-type incarnation clears that haze and steer free of the mud. They offer lots of possibilities, yet perhaps not the classic dampened lounge 335-voice.Never the less they are hereby recommended.
P.S. - both guitars had downright lousy binding-work both on the body and neck. Had to sand it down, which made the fine looker appear like something out of the Murphy Lab. It's actually horrendous for a Gibson and may scratch their reputation again. Can't understand they allow it, but maybe it's part of the lower tag, , , like the satin, which by the way is pretty easy to buff up. .
Let's hear more about what everyone experiences.
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Hi - and heps for the new slope. Very curious to hear your thoughts on the adjustable saddle - and it is of course written in my manuscript to recommend you the real ceramic version. Quite rare, not cheap, , , but worth it.
So please keep us up🎈dated
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On 4/1/2024 at 10:37 PM, Rich H. said:
Looking for information regarding my recently purchase for a 2009 Firebird. I would like to know when they were first introduced, and the number made each year they were produced.
It's one mighty guitar - almost too grande. The 2010 F-bird here has gone down to 11's and handles that well. I can't help you with exact info, but groovadelic is right
6 hours ago, groovadelic said:You might find more info calling Gibson,
Could be good to know. Are you familiar with the Montana-fire story, , , or myth. About the model bein' inspired by a forest-fire near the Bozeman plant ?!
6 hours ago, groovadelic said:One thing I notice is the early ones had a brown tortoise guard and that changed to a reddish color some point in later 2000's... other than that the specs have remained unchanged.
The green flame decoration seems to remain the same, but the tuners were both silver and gold over the years. Always metal tulips though.
And then let's not forget the True Vintage orange-brown version. They are rare. . .
This giant is more autumn burst ~
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18 hours ago, MissouriPicker said:
I guess I can’t use my Hummingbird for busking or jams anymore. In the twenty years I’ve had it I’ve never noticed all of these limitations it has…….
Good MissouriP - I don't want to sound like an idiot to you ears. Let me try to explain. Will do it short.
As you know the H-bird is a very fine and delicate acoustic. Playing in the streets is typically the opposite. There is traffic noise to cut through, people talking, children screaming, dogs barking and so forth. I even once got my Gibson J-45 Deluxe kicked out of the arms while sitting down buskin'. Therefore something quite rough'n'old is better.
Regarding those fascinating but unpredictable 'kitchen-jams' you never know what kind of instruments will show up. Neither do you control the levels of skills in that casual performing-circle. For these reasons I prefer a guitar able to speak up when necessary - one to be heard in the flock, even sometimes in order to set the collective pulse straight. A Martin Dread or one of the louder Gibsons are probably good picks (others can of course do it too). You need bass with tons of authority - you want solid mid-core and clear highs that don't jingle into thin air. Besides I'd go for a guitar that's not too decorated and 'vain', you know. Like when bein' in foreign territory as a boy, yet walking out to meet some new half unknown kids down on the playing ground. You simply had to show up pretty strong and invulnerable to make it. I'm sure you remember. .
All for now - enjoy you Bird as I doo mine
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On 3/30/2024 at 2:36 AM, egoidealmusic said:
Hahaha you win, E-minor7. Maybe that's why I think of the Hummingbird as a more mellow sound than something like a J-45. Now I want one...
Both Birds and J-45s are fantastic yet very different mahogany guitars. It would be extremely hard almost impossible to choose.
The flier is sophisticated and delicate, , , , with something quite simple or primal under the surface.The workhorse is rural and raw, , , with a dimension of finesse hidden and waiting to be caressed forward.
14 hours ago, Silversurfer said:I have the Hummingbird 1960 Fixed Bridge as well and I agree with you - it doesn’t like to be capoed (capo’d?). I think it has to do with scale length as I hear this on my J-45, although not to the same degree. Hummingbirds just aren’t that loud. So, I could see how it’s not the best for playing outside. But they’re great for vocal accompaniment and sure do record well.
I’m torn between using light and medium strings on my Hummingbird. My J-45 definitely sounds better with mediums. No contest. I have mediums on my Hummingbird now and they give it more over tones and overall volume. But you know how Hummingbirds do that slight “chorus“ effect (some say it sounds like 2 guitars are playing at the same time)? I’m leaning towards lights giving it more of that sound, but a bit quieter. I’ve only had this guitar for three months, so I’m still getting used to it. But I do love it.
Enjoy this beauty ~ and remember it will open up then slowly offer a looser louder bass. Give it 8 + years. . .
That 'chorus' effect is new to me. Will definitely listen to hear if it's there. May you travel far together. .-
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2 hours ago, MissouriPicker said:
Seriously, just like “The greatest guitar player,” it’s depends on who you ask. If you like the guitar, use it for whatever music you like. If you’ve like a different guitar for different styles/venues/genres, then use the guitar that is right for you.
Couldn't agree more ^ 🐣
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12 minutes ago, egoidealmusic said:
And yet there were so many records of the late 60s/early 70s that had Hummingbrids strummed on them (wasn't that what was on so many Stones records)? So maybe it's more the style of play in a mix?
Sure - strummed but also slow-flat-picked, , , and that was what made the Hummingbird legend.
Just remember all those performances were done on one the most scorned concepts in acoustic history : The adjustable saddle & bridge. What we hear on those clazzik tracks is burned white porcelain, perhaps even raised above the top - sometimes even in a plastic hollow bridge.
😵
Take that, international acoustic guitar society ❗
😎
Listen and learn, all you wannabes and newbies ❕
, , , , and have a good weekend
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2 hours ago, Poopsidoo said:
I recently bought a 1960 fixed bridge hummingbird and love it. However, I’ve never had a hummingbird and I’ve been trying to figure out what sounds great. I am using D’Addario XS light gauge 80/20 strings. The way it sounds when I finger pic and play leads is great. However . I have found out what they mean about it having its own space but not being very good to accompany other Guitars. today I went out on a sidewalk in my town and played some songs. Couple times I would put the capo on the fourth fret cause I’ve always liked that on other guitars. But what I found out was that this hummingbird is not for that kind of thing. It sounded too high-pitched and too thin. I found myself trying to play as tenderly as I could. but maybe that is the limits of this guitar. I’m fine with that and can use this for songwriting and use my Martin out on the sidewalk. I just thought this was an interesting thing to find out.
Understood - the 7 heavens know I lOVE my 12 years old TV Hummingbirds and find the model one of my favorites, but they have weaknesses and I've written 'bout them before. Would never bring a Bird to an acoustic kitchen jam - nor launch it as a street-busker, , , and rarely use capo on the fliers at all. My Birds are excellent as instruments in the sofa ritual - just me and their warm kool snappy primitive yet utterly sophisticated brown-orange presence. There they stand clear and ultra defined - will give everything back with immaculate loyalty, which is exactly what you want silence to hear. They are a dream to play, , , and feel/sound'n'look like bliss.
Hover high but permanently live half a step down.
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19 minutes ago, Buc McMaster said:
The guard in the photo is not attached. The 'flimmer-frays' you see is the edge of the clear wrap I put on the adhesive face so it could be placed on the guitar without sticking........just a visual check.
Aya, , , thought something like that. You usually perform very competent modifications. Enjoy
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"Who nothing dares sits and glares"
Are the upper edge-curves clean - seems to be signs of flimmer-frays.
Heps to your appetite for experimentation.
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Just ordered 3 sets of the 12-53 Ph. B. version.
One will go on the renecked-retopped 1966 Country Western ~
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38 minutes ago, fortyearspickn said:
I read once that Emmylou Harris in an interview said something to the effect "There is nothing that can compare to a fifth fret A bar chord on an SJ200." I'm surprised by the significant difference in size between the SJ200 alongside the L200. I saw one in a case once at Sam Ash. Didn't ask to see it. Just seems like it would have a different level of 'fullness'. Breadth and Depth and Balance.
Yes, recall that statement and believe I wrote about it here too. Have been searching for an example of exactly this A bar chord on the Tube since. Time to go out and find a Super Jumbo in the real world.
Ouh, and Emmylou !, , , which strings do you recommend. . . ?
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6 hours ago, slimt said:
It was actually more than that.
Even better 😺
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2 minutes ago, slimt said:
The Rose was a Centennial Full size The one model I did not buy. I was to focused on Custom Shop built AJs and SJ200s aside from the 11 Centennial acoustics. Then I did buy a Monarch and a Presentation I tapped out for a couple years after that. 😀
Are we hearing a 200-collector here. In that case a group picture would lift the entire Board.
And if that's too much, some lines about their virtues and differences are guaranteed to hit the top of the charge. In other words, please tell more. .
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On 3/21/2024 at 3:38 AM, gibsonchiq said:
J200 not known for being extra loud?
I thought they were known for being the absolute loudest and biggest sounding guitars gibson makes, and also of all guitars
No - try them and you find them surprisingly discrete. Some are louder than others though.
On 3/21/2024 at 4:02 AM, gibsonchiq said:Well my mind is blown. I thought the j200 was the answer to Martin's big dreadnaughts.
So is a J45 Gibsons loudest and rumbly guitar?
J-45 - all in all an outstanding creation on earth - has the ideal volume for an acoustic guitar. Again they come in many sonic variations over the same theme.
On 3/21/2024 at 4:05 AM, J185cat said:I would pick the AJ to fill that spot.
You would not be the only one - there is a reason so many have called the Advanced Jumbo a canon. I think piano is used about the Roy Smeck / (almost forgotten) Jackson Browne models.
On 3/21/2024 at 4:56 AM, gibsonchiq said:So in order of largest sound deepest bass
1. AJ
2. J-45
3. Sj200
?
Something like that, but don't be too square. Go out and try a Dove (maple), , , , and the 'cousin' known as the Gibson Acoustic Firebird Custom(quilted maple). The latter will probably blow your 🎩 off. . .
And then remember : Volume ain't gawd.
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1 hour ago, Murph said:
Yep, had those. Thery were impossible to catch up with, even with a fast motorcycle...
Maybe try to change fuel. .
(note I didn't write gas)
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Just now, E-minor7 said:
Aren't most 'modern' crosses 8-pointed. And yes, it's a powerful piece of logo-work. I come to think that this also is called the Maltese cross.
Obviously not an expert here ☩ whatever it may be.
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28 minutes ago, 62burst said:
I would tell you what model Fokker that was, but I might get banned.
The eight-pointed cross was showing up in the 16th century, so the design got around.
Aren't most 'modern' crosses 8-pointed. And yes, it's a powerful piece of logo-work. I come to think that this also is called the Maltese cross.
![[lol]](http://content.invisioncic.com/p286412/emoticons/default_msp_lol.gif "[lol]")
D-D-Day
in Gibson Acoustic
Posted
Absolutely yes - but it's no hawk.