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Everything posted by bobouz

  1. The J-185 is my overall favorite Gibson, but a good J-45 with the signature thump is hard to beat & can be soooo addictive tonally. Congrats, enjoy, and keep us posted with updates!
  2. Yes, Gruhn’s book lists two pickups & the slider switch appearing in 1949. In 1950, Epiphone’s “New York” pickups are introduced on this model, which Glen’s instrument does not have. Along with the serial number info, it logically should be a 1949. Neat guitar!
  3. According to Gruhn's Guide To Vintage Guitars (Vol. 2), #85013 corresponds to Epiphone serial numbers used between 1945 & 1950. The "85" refers specifically to the Zephyr De Luxe Regent model. The final three digits signify it's ranking within that model's production.
  4. Perhaps the guitar was started in '64 & assigned it's serial number, then set aside for some reason & completed in '65 after the switch to the 1-9/16" profile. Just a guess, of course.
  5. I think you're mistaking his very dry wit for greed. When someone once told him "That's a great sounding guitar," he set it down and said, "How does it sound now?" In many interviews & recorded conversations I've heard, he liked to banter a bit with others & would throw out comments such as the one referenced. As for the Nashville Sound thing, yes, he was focused on a formula that he thought would broaden the appeal of country music, which most likely was an ongoing mission at the time with RCA, who hired him. In my mind, Nashville has always been a pathetic money-grubbing operation, with locked doors at every turn. Atkins came to town as the Carter's guitarist & at their insistence, after Nashville tried to block him out because of his different sound & virtuosity. Bottom line, he was just trying to find his way through the morass like everyone else. Yes, he succeeded wildly, and had musically strong opinions. But it was more than just Chet holding up the Outlaw-foo-foo, it was the overall structure of Nashville and it's studios. Willie & Waylon tried like heck to break through there with the "right" look & sound. If they had, they would have been drinking at the trough & dancing to the bank like everyone else. Fortunately for the greater good, they found success elsewhere. As for Atkins overall, I judge him by his music, the company he musically kept, those who thrived musically by playing with him, and the fact that he helped resurrect the career of someone like this guy named Les Paul. He didn't have to do that & certainly didn't need the money by then, but he did it because he wanted to. Give a listen sometime to 1974s "The Atkins-Travis Traveling Show" with Merle Travis for a quick history lesson and some beautiful music that captures the essence of a long & winding road.
  6. Personally, for what they're asking, I'd hold off & look for a cleaner example. Of the Gibson CA models, I happen to like the Tennessean more - primarily due to the extra frets clear of the body. Over a decade ago, I purchased a 1990 Tennessean, which was the initial year for that model (silver pickguard & TRC, no armrest). That said, the Country Gent is very cool, and I wouldn't mind having one of those, too!
  7. Give a listen to his duets with Jerry Reed, Merle Travis, Les Paul, Mark Knopfler, and others. Some of the most beautiful music I've ever heard has come from the mind & fingers of Chet Atkins.
  8. Not a chance. Love the north Oregon coast & wouldn’t want to be anywhere else. My wife is on the local school board & the district is quite stable. Things are always changing in education, as funding ebbs & flows. With a five-year-old zombie thread like this one, the OP’s school district most likely has totally different issues to contend with. Never easy, always evolving.
  9. Byrdland short-scale vibe? Chuck Berry connection? Not worth anywhere near the asking price, imho.
  10. Still have my maple one from 2000, which I bought new. Great guitar, with a slimmer neck profile than most - suits me to a tee. Also surprisingly lightweight.
  11. On Gibson’s Kalamazoo-made Epiphone Cortez & Caballero clones, the long headstock may not fit some classical cases.
  12. The AJ 18 was made in Korea - late '90s, early 2000s.
  13. Note that this is a zombie thread, brought back to life by the fellow who recently created a new thread regarding his 1950's LG-0.
  14. Yes, that indeed does explain things. A 3/4 sized LG-0 from the ‘50s would certainly have been interesting!
  15. That's a neat one! I used to own a '50s LG2-3/4, but haven't previously seen the 3/4 size body in an all-mahogany LG-0 format. Value? I'm probably not the best person to guess on that, since back in the '70s, I paid no more than $40 for my LG2-3/4 at a flea market! But I will say that, imho, folks these days are asking stupid-money prices for the LG2-3/4. I've seen quite a few listed in the $1500-1900 range. Of course, there can be a big difference between asking price & what people are willing to pay.
  16. For my playing style, the P90 equipped ES-330 equals perfection.
  17. The formula used, the manufacturer, and even the batch, can create variables from one era to the next. We all know the extreme '60s checking that can cover every square inch of a Gibson. But my more recent Gibson acoustics are all over the map. Some from the 2000s have virtually no checking (save for one little spot on the back-waist), to checking on the headstock (two), to finish issues around an ebony bridge (have seen many samples of this). But going into the early-mid 2010s, I have four acoustics that have retained a perfect finish.
  18. bobouz

    Music Room

    Geez, kind of mind boggling to think that I'd need three of those pew racks, plus one more guitar on a single stand & a double mandolin stand to display my stuff. Only saving grace is that one pew would be for the electrics & could be much smaller. But then there's the amps!
  19. With a guitar this old, my guess is typically that things have moved about as much as they're going to move. If it's playability is satisfactory now & you treat it right, it should remain stable for a long time. Coincidentally, D'Addario extra-light PB EJ-15 strings happen to suit my playing style on many of my acoustics. Lighter strings might go a long ways towards easing your mind re future body changes. The guitar looks like a winner - Enjoy!
  20. Early Memphis production could be somewhat spotty at times. From what I observed first-hand, things were much cleaner by 2009. Between 2009 and 2012, I purchased a new Memphis instrument each year: ES-339 in '09, ES-330L in '10, ES-335 w/P-90s in '11, and the first ES-330 VOS in '12. Each of these are beautifully crafted throughout, and in particular, the overall execution of the natural finish ES-330 VOS is truly stellar.
  21. This model, to my recollection, did not have any USA parts or assembly. Regardless, it's a nice Riviera copy, with the all important mini-humbuckers. Many earlier Asian copies had full size humbuckers, which are a misnomer on a Riviera.
  22. So many factors to consider, including you playing style. Re acoustics, I tend to veer towards maple bodies for a dry, punchy, & quick decaying tone that favors what I'm after in my fingerpicking. Those characteristics typically leave out a lot of Martins. Since the '70s, my favorites have been Gibsons & Guilds (both acoustics & electrics), and then Martins. Today, we are indeed fortunate to have worthwhile choices in every price range.
  23. That's the stock pickguard for the Epiphone Granada, which is a Kalamazoo-made clone to the ES-120. It's possible that Gibson borrowed from Epi parts when the guitar was built, or someone replaced it later, or it was special ordered that way. If I recall correctly, there's only one F-hole on the instrument, and an access cutout under the pickguard.
  24. I've worked on my own guitars for a very long time, and have settled on the following: I only square the bottom one time - at the beginning of the process. From that point on, I shave the saddle down from the top. I've come to greatly prefer this method. One thing I do not do is use measurement tools. Each guitar is different & final settings are tailored to my preferences, based on how the guitar plays in-hand.
  25. I currently own a 2013 LG2-AE (from the initial year of production), and it's neck profile is very similar to both an early '65 B-25n & '64 Epiphone FT-45n Cortez (Kalamazoo-made B-25 clone) I had in the past. The nut on my LG2-AE is an honest 1-11/16", but I like narrower profiles & find it to be one of my most comfortable guitars. Later versions of the LG2-AE may have a slightly wider profile, but I have no first hand knowledge of this. Now the early '60s profile is clearly not to be confused with the mid to late '60s slimmer profiles, which transitioned during the 1965 production year, and were a true 1-9/16" at the nut. I currently have a '66 Epi FT-45n, and still find it playable. The key to these is that some have deeper and fuller overall profile than others - in particular when compared to Gibson's electrics from that era, which in some cases have very little depth and can be virtually impossible to play - even for someone like me who prefers narrower profiles! And finally, yes, '50s profiles were noticeably chunkier than the early '60s profiles. The early '60s profile fits me to a tee, but if you typically like chunkier profiles, it would indeed be best to try before you buy, or have a straightforward return policy in place. Best of luck in your search.
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