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Everything posted by twalker

  1. Hi BluesKing... no, nothing from my own lessons are repeated in the ones I've done for Homespun.
  2. I actually prefer all of them, for different reasons. The AJ for it's warmth and depth, the J-35 for it's 'grittiness' and the J-100 for the compactness, which I think makes it a perfect ragtime guitar. My dog however, wasn't impressed with any of them. :)
  3. I recently acquired three Gibsons: a J-35 and J-100 made in 2013 and an Advanced Jumbo made in 2014. All three have been strung with D'Addario PB light gauge strings. I've run through several styles, typical of what I might do on any particular gig. Here's how they compare in sound with each other. P.S. I sold off two and traded one in order to get these.... just so ya know. Here's a You Tube video comparing the three Gibsons. https://www.youtube.com/watch?v=OvpV_ZcUoAs
  4. Thanks gang. I'm sure glad you enjoyed that. I'm having a GREAT time with this guitar. I've been gassing for one of these for a long time now. Finally found one that has a 1 3/4" inch neck. Toby
  5. Just scored this guitar and having a ball with her. 3 tunes: 'Swing Bean' - an original 'Hey Good Looking' - my arrangement of the Hank Williams classic 'Toby's Boogie Woogie' - my original attempt and trying to imitate the great boogie woogie piano players.. namely Pete Johnson and Albert Ammons. Oh, can't leave out Honey Piazza.
  6. Here's what the guitar actually looks like:
  7. Just came the other day. What attracted me to this gal was her 1 3/4" nut width which for a fingerpicker like me is puuurrrrfect. She has ALL the right tones for me... big bottom, powerful mids and clear highs.
  8. Here's my question: The owner says the guitar is from the fifties but I've never seen such a yellowish top before. Most spruce tops tend to change to a brownish orange over time. I'm wondering if this guitar has been oversprayed or refinished. What say you?
  9. Ever wonder how people could keep a melody line going on top of an alternating bass (Travis Picking), making the guitar sound like it's being played by two people... effortlessly? Did you ever want to learn that, even if you've never finger picked before or just 'fooled around' a bit? Then this is the course for you. Not only will you learn this wonderful way of sounding like a one man (or woman) band but you'll also learn some exciting country blues songs in the process. 10 pages of tab, 21 instructional movies and 7 new songs, all taught to you by Toby Walker. Now on SALE: Only $5.95 Learning How To Fingerpick From Toby Walker
  10. I'm REAL happy you're pulling into the station on this one amigo! Way to GO!
  11. I heard Gibson may be discontinuing this model but when I visited the acoustic section on their website guess which model was featured right up top? This one. To me that makes sense as I think the guitar has a great deal to offer both to the flatpicker and fingerpicker. While the tone may be on the brighter side I found that once I switched over to PB mediums the guitar had a pronounced improvement in the lower end. Combine that with a clean, lightweight build, a LR Baggs Element pickup and a street price of around $1700.00 I think Gibson hit a homer here. I get a feeling that this reincarnation of the J-35 will be around for quite a while. Here's a link showing a couple of performance videos, pictures, stats. Special Feature: if you scroll to the bottom you'll find links to 14 additional guitar demonstrations! Enjoy. 2013 Gibson J-35
  12. Thanks for those kind words amigo. Believe it or not I feel pretty lucky myself.
  13. Hi BluesKing, I decided on buying that Banner specifically after reading John's book. As a lover of acoustic guitars and being a bit of a history buff this guitar seemed to make the most sense. I also trusted in the dealer that I purchased it from... Benn from vintagelicks. Would I bring it out to gigs? The answer is very rarely. I have plenty of other guitars to use as 'tools' but this particular one I consider an important part of our history and therefore I'd like to keep it in the shape I found it in. The road can be pretty devastating on instruments. However, I have used it in the studio on my last CD and the results were stunning. I have also used the guitar to teach with much to the joy of my students... especially the ones that come to my studio. At home I play it fairly often... and there's nothing like sticking your nose in that sound hole and breathing in the aroma of vintage wood!
  14. Thanks Zomby. Yeah... sig guitars have their place but those Gibsons sing a different tune.
  15. Closest I'm coming to you is in Germany in April.
  16. REVIEW: Guitarist Toby Walker's ramblin' delights Listen Live Music audience During his show Saturday at Listen Live! Music in Macungie, guitarist Toby Walker portrayed himself as the rambling musician – speaking of his underfunded travels, his hard knocks in the business and his brushes with those greater than himself. But if there are musicians out there working bars and dives who are as talented as Walker, someone should be out there looking harder to find them. Walker gave an extremely enjoyable show of 22 songs in two sets totaling an hour and 50 minutes, showing a finger-picking mastery that most top rock and blues stars would find it hard to improve upon. But more than that, his show was made better by his ability to connect. He seemed very much like an everyman, except that he played guitar really well. Walker opened the show with “Swing Bean,” an instrumental that introduced his “band”: his thumb on bass strings, his index finger on lead guitar, and even a horn section from the fingers between. And, indeed, it often during the set sounded as if there were several people playing Walker’s guitar. His first set was mostly traditional blues: Pink Anderson’s “Try Some of That,” before which he unconvincingly told the audience the song’s salacious lyrics were about cookies; the Mississippi blues of Louisiana Red’s “Dead Stray Dog,” which he played on electric slide; and his melody of Blind Blake’s ragtime blues as “Puttin’ on the Blakes,” during which he produced sounds his introduced as his trombone and clarinet. He introduced most songs with humorous stories. Sometimes they would be preludes to the songs, such as before his own “Everything I Want,” and sometimes he simply would finish a story by saying, “That’s got nothing to do with the song I’m about to play.” But it told volumes about who Toby Walker is, and sometimes his magnificent noodling as he spoke, such as before “Corrina” told just as much. He often sought participation from the audience of about 40, asking men in couples to sing along to their women on “She’s Got Something There.” On that song he also let the resonator guitar, on which he played string-scratching-slide Delta blues, “talk” about its own feelings -- even stepping to the edge of the stage to play it unamplified. When Walker sang, it sometimes was in a blue-eyes blues voice, as on “She’s Into Something,” but on the set-closing “Glory Glory,” his voice sounded authentic amid a cyclone of electric slide and a hurricane flurry of notes. The second set was far more eclectic, opening with his own autobiographical ”I Was Gone,” then playing Willie Johnson’s “God Moves” in his own arrangement on 12-sting guitar and Tampa Red’s instrumental “Boogie Woogie Dance.” After a fun and demonstrative “Full Figured Woman” (on which he played his fifth guitar of the night) Walker strayed from his prepared program to play a stomping “Texas Tornado” that moved right into “Got My Mojo Workin’” – the audience’s loud applause for the former moving right into clapping along to the latter. And Walker was, indeed, working it. “The whole setlist just went to hell,” Walker said. “This is just too much fun.” He closed with the stomping Chicago blues of “Talk About Your Woman,” the audience again clapping along, a cute “Roaches” and “Highway.” For the encore, Walker played an audience-requested “Slingo Creek” and Chesapeake,” songs by Grammy-winning acoustic finger-style guitarist Al Petteway. Wonderfully intricate, yet wonderfully jaunty, Celtic-flavored music, they showed Walker’s talent on guitar and as a showman, and made you wonder why he’s still a rambling musician.
  17. The L-00 was 14.75" wide, 14 frets to the body with scalloped X bracing under a Spruce top and a hog body. It was discontinued in 1945. The L-2 was also 14.75" wide with 12 frets to the body. The LG-2 was 14 1/8" wide with X bracing under a Spruce top. Gibson is calling this new model an LG-2 but under the specs they say the body size is that of an L-2 which makes no sense at it is a 14 fretter. What does this tell me? That I had WAY too much coffee this morning. :blink:
  18. This time with a - shudder the thought - Martin OM-18 Custom. Martin OM-18
  19. I hate to admit this but I'm thinking of trying one of those out myself. I already have a Paige but not the 'click.'
  20. I haven't heard about that but I can't see how it's possible as both of those capos have soft material, rubber or fiber between the metal and the neck.
  21. Hi Node, Ok... I'll respectfully disagree with you on the issue of pins. In 40 years of playing I've never noticed any difference with using bridge pins made up of various materials. Saddles, nut, strings - of course but I think the whole issue of pins suiting any other purpose other than 'bling' is pure marketing. I've played probably hundreds of guitars over the years and presently own more than I'll admit to. Many times just to satisfy my curious nature I've swapped out one set of pins for another thinking maybe there's something to this. Nothing ever convinced my ears that there was. In my opinion the majority of a guitars tone is achieved by the top wood followed by the back and sides. Obviously body shape, nut, saddle and strings will play a part. Just my 2 cents.
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