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bobouz

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Everything posted by bobouz

  1. An excellent resource returns - Thank You!
  2. Yes, you have an LG-1. The B-25 has a vertical back-brace, and X-braced top.
  3. I purchased a tortoise J-45 pickguard from Terrapin a few years back for my LG2-AE. Great color & look - really like it a lot.
  4. According to a 2008 MF catalog I happened to save, at that time there was a "Modern Classic" version of the J-200 with a cutaway. Electronics were side-mounted. Interestingly in that same year, Gibson was selling their Modern Classic CJ-165 cutaway version with a soundhole mounted Fishman Aura system. My maple CJ-165ce is from 2007, with the same soundhole Fishman, which I much prefer to the side-mount style. Too bad they didn't extend the soundhole mount version to the J-200 cutaway model.
  5. Love J-50s. Visually they are one of my favorite guitars. Mine is from 2015, and also carries the custom shop sticker - but the back & sides are a light honey colored shade of mahogany, and the neck is sort of a low profile (not chunky). Interesting how Gibson has tinkered with this model in the last few years. Anyway - Congrats, it's a beauty!
  6. I've owned three of these (counting the Epi Cortez clone) - a '64, '65, &'66. The '64 & '65 had the wider nut width, but the specs did change during 1965 to the smaller width. I still own the '66, which has the 1-9/16" nut. Backs are solid, sides are laminate. Structural changes seem to be most significant as of 1968. That was the first year for the belly-down bridge, although you'll see people mixing up the model years quite frequently online. The best of these models can be outstanding in tone. The worst sound like they're stuffed with a wet T-shirt. And don't shy away from the adjustable plastic bridge. If it's structurally stable, it provides a tone that many folks (me included) find very appealing. Note: This only applies to the adjustable version of the plastic bridge. The non-adjustable plastic bridge seen on a few models should be avoided, as it transfers tone through the plastic, rather than the adjustable metal posts which create sort of a mini archtop bridge.
  7. Sounds very nice, with no qualifiers. Used to own an early '70s Dove & Heritage Custom. Both were quite satisfying.
  8. Jerry Douglas has been around forever, and seems to pop up wherever superb music is being recorded. A lot of folks know him from his work with Alison Krauss & Union Station, but he's been the bluegrass world's go-to guy for decades. In the early '70s, I got into a major Bluegrass phase & was fortunate enough to see Bill Monroe play live in a small venue. If you get more interested, try to find his late '40s recordings when Monroe had Flatt & Scruggs in his band - before they went out on their own.
  9. Well, it seems like you're bound to get a whole lot of clack & attack when you capo up into the stratosphere & then wham it with a pick! Quite a different story with the fingerstyle work.
  10. I have a red Tennessean from the first year, 1990. In the first year only, the pickguard and TRC were silver (actually clear & painted silver on the back). The silver pickguard has Tennessean written on it in black, and is a slightly different shape from the later black pickguard. Also, the 1990 model did not come with an armrest. Original pickups were a 492R, and a 490T. Mine has had the 492R replaced with a split-coil '57 humbucker. The neck is speced at being 1-3/4", but mine does not feel that wide. The scale length is 25.5". The fretboard is ebony, and the neck is 3-piece maple. Gibson called the centerblock "Chromyte", which was their name for balsa wood. When these come up for sale, they often seem to go for around $1500 to $1700. Imho, they represent a very good value at that price point.
  11. Imho, all of the insults in this thread display very poor form. How about trying to set a higher standard? Regardless of that, the solution to this recurring problem would simply be to initially post these Maton, Martin, or Denny Zager threads where they belong - in the Lounge or Performance sections.
  12. Hey, that's my guitar you've got there on the left! It's amazing how differently the Beale Street Blue finish photographs in various lighting situations - from quite dark, to a translucent lighter blue with significant amounts of visible grain. Your new 330 w/humbuckers sounds like an interesting variation on the theme. Enjoy!
  13. Ah, I see that this format is working - great!

  14. Red - Wanted to add: This new format w/character limitation is strange to me, and I hope you're getting this. Please let me know if these are coming through. Will add that the guitar in question was a 2011 GC limited run. Mine is red, with an ebony fingerboard & tulip locking Grovers. The neck is a fast '60s profile. Gloss top, b&s are a very smooth satin finish. Nicely e...

  15. Hi Red - I'll try to be concise about this! First of all, I'm a one trick fingerpicking pony, and the electric tone I'm after would be closest to Merle Travis' heyday & electric solo album, "The Merle Travis Guitar." To that end, the ES-335 w/P90s delivers it extremely well. It's a slightly drier & more percussive tone compared to a 330. Neither are m...

  16. Nice to get the conclusive answer on those inlays!
  17. Rev6, your information is not accurate. The 1993 Nashville-built Epiphone Sheraton has significantly narrower F-holes, with white binding. In this respect in particular, it is a less accurate recreation of a Kalamazoo-built Sheraton when compared to the Terada-Japan body. Also not previously mentioned is that the headstock logo font on the Nashville-made version is different from that of the guitar in your photos. Aside from the three additional fretboard inlays (see below), the instrument you have pictured is wholly consistent with the end of the production run for the Terada-Japan built JLH 1964 Sheraton. If you look closely, you will see a white portion attached to the blue label inside the F-hole. This white label carried an altered serial number, as the last batch of these instruments were sold at a huge discount by Musician's Friend. The blank truss rod cover was also common to this final group of instruments. Now regarding those three additional inlays on the fretboard, I highly suspect they were added at a later date, and might even simply be stickers. Note that in the middle photo, the last two inlays in particular are significantly larger than in the other views, so apparently someone was engaged in a bit of experimentation. Threads like this one are important in getting accurate information into the hands of potential buyers. The JLH 1964 Sheraton is a model I've tracked for quite some time. It is a stellar and unique instrument, but unfortunately, it gets misrepresented on a regular basis.
  18. If you're talking about this Rev6 fellow, he didn't revive the thread. And it's actually very useful information. This model gets misrepresented all the time. Sellers will often say the instrument was made in the USA, or the nitro was sprayed by Gibson. This is incorrect. Red has it right. Everything I've uncovered to date indicates that the bodies were fully made by Terada in Japan, including the spraying of the nitro finish. They were then shipped to Gibson in Nashville without holes drilled for the hardware. Upon arrival, Nashville installed the hardware & pickups (Gibson mini-humbuckers). Terada's work is absolutely first class. I happen to have one of these from the first year of production (2000), and the application of the nitro finish is smoother and more consistent (including around the neck joint) than anything I've ever seen from Gibson during the same production era. First year instruments, and I believe some early 2001 examples before JLH passed away, have "The Boogie Man" inscribed on the pickguard, along with a "John Lee Hooker" truss rod cover, and a signed label with a unique low digit serial number sequence. After JLH's passing, the pickguard was plain, the TRC sported the traditional 'E', and the label & numbering sequence were changed. Otherwise, the model remained the same. Edit: Note that the original post is from 2010, as are all posts up until Matt4356. Also note that the correct name of this model is the "John Lee Hooker 1964 Sheraton." It came in two versions, one with the Frequensator tailpiece & one without, and it was available in either a natural or sunburst finish. Production lasted from 2000 to 2005. It is without a doubt the finest Epiphone Sheraton ever produced outside of the USA (with of course the Nashville assist on the pickups & hardware).
  19. Great news - thanks for sharing Red!
  20. That's a big part of the fun - enjoy!
  21. Along with the two J-100s, I also owned a 2001 J-150, which is very similar to the J-100xtra - just a bit more bling, but still with an unbound fingerboard. This one had a maple body & maple neck. The neck profile was more in line with the '50s neck profile - so again, lots of variations re the neck carve. As for tone, the mahogany J-100 was well balanced & very full in tone from top to bottom. The maple J-100, which I still own, is more percussive & has a pronounced thump to the bass, along with quicker note decay. The maple J-150 was not as bass heavy (more balanced from top to bottom), but otherwise shared the percussive & quick decay characteristics often associated with maple bodies.
  22. Congrats on your new J-100, and welcome! I believe you will find that over the years, there has been a lot of variation in neck profiles on J-100s. If this is a crucial playability factor for you (it is for me!), it would be best to have any instrument under consideration in-hand, or assure the return policy is reasonable. I currently own a 2000 J-100xtra, with a maple body & mahogany neck. The profile on it's neck is rather slim & fast - not full or chunky at all. I've also owned a 1996 J-100xtra, with a mahogany body & mahogany neck. The neck on this one could indeed be described as chunky - so much so in fact, that I could never bond with it. I haven't played a recent J-100, but I have played the J-35, and it's neck was somewhere in between - rather full, but not overwhelmingly so. Best of luck in searching out another one - they are fine guitars.
  23. Great news! This is exactly what I was hoping might happen when we discussed this at length in a previous thread. Just prior to the big-box/online move, when we had multiple long-time & vested local dealers, I could walk into a store and get my hands on a J-200, J-100, J-185, J-45, WM-45, L-130, & others (there must have been Doves & Hummingbirds available, but I didn't look for square shoulders - not my cup of tea). Renew those relationships & let the positive buzz flow!
  24. Actually Boyd, there was a 2015 J-50. I believe it was limited to a run of 75. Last year, I bought one that was a NOS instrument (and absolutely love it!). Then in 2016, Gibson released a VOS version of the J-50, which AFAIK was still around in 2017.
  25. We are indeed fortunate in the USA to have access to so many fine new, used, and vintage pieces. Which makes it darn hard to turn off the GAS!
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