E-minor7

Please do - last thing I heard was that they intended and had the ability to re-rise it. Beginning to be quite some time ago.

They are magnificent acoustics and one of the world wonders. I personally have 4 here - 1953/59/63/10. Highly different creatures indeed. The T.P. episode is a deserved celebration of the round shouldered icon, , , but Tony ! you know Barenberg's 45 has maple back'n'sides, come on. . Regarding Russ Barenberg memory comes up with this little story. A couple of years ago I was about to attend a summer studio jam session. Some weeks before I had heard and been intrigued by a very melodic R.B. instrumental. What I did was to write 3 verses to it in order to bring it to the jam. But before doin' so I contacted Barenberg, showed him the result and asked for permission. He very kindly gave green light and added that his inspiration for the title (to which my theme stayed loyal) had nothing whatsoever to do with my associations. Mattered less - and it was a fun experiment to launch. And mister R.B. acted like a true gentleman. Btw. notice that the Kalamazoo chimney is down in the 45-film piece shown in the start. The scaffold is not - hope they got it back up since shooting.

I'm close to 100 they would be identical - talking structure/features here, not sound-wise as these creatures develop very differently over the decades. Tpbiii's Bird would be something third due to its plastic bridge and rosewood insert/saddle. Apropos that guitar and Nick's asking for Love In Vain. If the reference is the Stones version, are we sure that tune wasn't recorded with a plastic bridge square - ceramic saddled though.

The top bracing variation is correctos, but the back braces are actually even more different. Contemporary ones being much thicker, , , and fx TVs being thinner than the Standards. Not sure about the post 2016 baked Vintage versions - but guess it's the same.

Some J-45s - not all - have a natural veil of compression in the acoustic box. Gibson even mentioned this on their site for many years. It's a rather strange side-effect to these wonderful guitars and my 2010 Standard had quite a lot when new. Still something left as if it's in the nature of the good horse. Nowadays the Gibson J-45-page use the term dynamic range (which may be the opposite). Perhaps they decided to leave the comp behind. I haven't played new slopes recently, so can't tell. P.S. My pals absolutely different much gentler, significantly less bassier almost 'lady-like' Historic Collection from between 2000 and 2005 has none.

Always new things to learn or take down when comparing siblings or cousins like this. And sometimes what you experience isn't necessarily basis for a pattern. I believe the mellow/crisp-difference is though. Would like to ask : Did the 2 of you focus on compression and if yes, what did you feel ?

Nothing there is unreal there 'cept maybe the hue, which of course already has been noticed/mentioned. It's simply closer to a post-slope Southern Jumbo-burst. Worth a double-check for year of birth for sure. Would like to hear it. I played an all original 1965 cherry SJ a few weeks ago. Perhaps the best square I ever tried. But too narrow. .

Don't give any from the old Board-guard any good ideas. We need vintage knowledge on these pages like a good song needs bass - and luckily we have it. But where's fx Old Cowboy, , , and blindboygrunt (I believe he was the eldest member ever). Djust kiddin' bbg - only tryin' to wake you up. .

This is the ultimate tribute to the tune-o-matic concept. The sound of this beauty represents the quintessential clear'iron'-nylon-soft-dry-wood blend, which came/come from these old creatures - and the J-200s. Btw. no one yet has told us why Bozeman chose to feature the t-o-m on the maple guitars only. Where they considered over-mellow. . What a joyous film - one can feel the excitement oozing from the screen - and see/hear why it happens. Hope to receive more footage from the happy owner - he should be a member here.

Jeps ^Micro truss rod adjustment is a crucial factor in getting the action/set-up hyper right. It shouldn't be feared or avoided - nor overdone.

My take is that these 2 are supposed to be similar in the Bozeman-book. However we know that fx Hummingbird back-braces differ from Std. to True Vintage/Vintage. - the latter bein' thinner. My pair of TV Birds, both from the spring of 2012, have exactly the same back(and top)-braces - yet 2 completely different bridge heights !!! , , , but that's another story. . Btw. went and checked the 2010 Std. J-45 bbs here and they seem to be like the long carved ones to the right. These variations are an intriguing sometimes challenging charm. Now you really know where to look next time you encounter a 45.

If you go silk & steel or silk & bronze just remember it's something completely else - an another game, , , or field. You may also wanna try Martin Flexcores. A soft or mellow version of ordinary bronze or phosphor ditto.

When Ren Ferguson reinvented and made them live up to their myth. A mission that can't be honored enough.

An almost philosophical question brought up there. Guess the answer might be yes, , , but you just don't pronounce it in awe. Or maybe you do. In that case not shining awe, , , or maybe you do. Pass. . .

, , , the Dove. Enjoy these masters roll it all out. Not Least T.E. who is wonderfully loose and casual here. There's a whole series to explore. Only seen this 1 so far. .

Agree ^ the bridge between bridges

Good advice - will definitely follow. Though insecure 'bout what to expect.

I don't think everyone loves adjustables - there are still pro and anti. Exactly like it should and we would expect it to be. But Boyd, the (rose)wooden saddle insert is by definition the quiet version. Suited for certain tasks fx while recording. The attractive and characteristic claang of the clay is much louder and more distinct. Apart from that zomb has a point when saying Kalamazoo wasn't particularly loud. There are reasons to believe modern Bozeman wanted to raise the volume a step. Still, , , especially my 1963 Southern Jumbo couldn't be called a whisper. Actually significantly more full-voiced than my fixed saddled Country Western from one year later. Though rare and rather pricey go see if you can find a ceramic insert. You'll be amazed, , , and suddenly almost have 2 guitars. . 😉

Never heard of one, but James Taylor has a rosewood back'n'sides James Olson with cedar top. Think it's his favorite guitar, both in the studio and on stage. I sometimes wonder if my re-topped (and re-necked) 1966 CW got cedar - but don't know how to tell/check. The look is so peanut-butterish and tight grained.

A strong and very convincing pair. Actually played a Mart GP 28E last Sunday and it impressed a lot. Keep them both if possible. That would be my basic trio : The J-45, the Bird and 1 scalloped rose-Mart dread. The 2 Gibsons are too intriguingly different to cut down. Moving around in between the 3 and reaching out depending on feel'n'mood is bound to be a daily pleasure. Enjoy every nuance

Way to go - top-contact is wanted. Sometimes I raise either treb- or bass-side/screw a hair though. Cant' be heard really. Still have the spring in my plastic bridged 1963 J-45, but removed it in the SJ from that same year (just what felt/sounded right). Nothing wrong with the volume in the two 1963ers mentioned above - why should there be a difference as long as the adj. saddle has top-contact. Ordinary slim bone saddle in wood better vibe-transmitters than solid burned clay !? Listening to and comparing with my 1964 fixed Country Western doesn't indicate that.

P.S. - new readers of this stuff ! do remember that you can place an ordinary sized bone-saddle in a block of wood and drop that in the original adj. groove. That way you (almost said we) keep the opportunity to go back to Kalamazoo-genius.

Downright lOVE the ceramic saddles and have them in 3 old Gibsons - plus an old-vase-ivory version in a forth. And yes, many of the clazzik tunes from the golden age of rock'n'pop featured the white clay. Shall we mention The Beatles (both John, George and Paul from 1962 to 1968) The Rolling Stones (all Bird-stuff from 1965 to circa 1974 fx Angie which is considered the mother-sound of all square Gibsons) Donovan (every albums that made him a world artist/songwriter from 1965 to approx 1970) John Renbourn (one of the acoustic aces in the British folk-group Pentangle) James Taylor (his entire start catalog) But discussing taste is a waste - just like them or don't. I personally believe it's a shame if not sacrilege to 'fix' them - 'nough have been switched already.

New-model-namer and pick-guard-professor.

Hehhe, , , yea, , , and as we know George soon played the King Solomon card by looking seriously into uke-territory. A move that softened things up at Friar Park and seemed to work out to the very end, sweet lords bless his gentle soul. .