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jt

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Everything posted by jt

  1. Thanks, all. Please know that if any of you find yourselves in Connecticut, you are welcome to stop by and play my guitars, all of them. I now have excellent first year examples of the full LG family (LG-1, LG-2, LG-3) (and 2 Banner SJs, a Banner L-50, and a bunch of other guitars you might enjoy playing). The LG-2 is currently on loan. When it returns home, I'll record an LG comparison.
  2. Yes, 12-54s. And I agree about that happy medium between the new and old strings. I, too, am interested in how an old, unplayed guitar develops. T-Rex riffs! You bet. Get It On, Telegram Sam, Metal Guru, and more. I'll be accepting requests.
  3. Imvho, in general, less mass on the bridge = better tone. Again, imvho, bone and especially fossilized bone diminish tone. Of course, your mileage may vary. But there's a reason why Gibson, Martin, and others spec lightweight plastic bridge pins (and thin and light bridgeplates). My favorites are the Antique Acoustic pins produced by extraordinary luthiers Will Henkes and Rudie Blazer. They have both the original molds for Gibson golden era bridge pins and tuner buttons and the original celluloid recipe. Accept no substitute, again in mvho.
  4. Crazy, isn't it? The guitar challenges all of my notions of instruments needing to be played to sound good. The longer I play and think about guitars, the less I'm convinced I know. Such a rewarding journey.
  5. That's how Gibson and the Gals built 'em then. If there were no bolts, that would be a bummer.
  6. A nightmare! No way could you even begin to determine whether they were good guitars.
  7. In a nod to popular demand, I'm back with my LG-3. Well, "popular" may be an exaggeration. But Jedzep asked, and I thought would be a fun experiment. Mr. Zep asked about the strings on the guitar and I noted that they were "old and dead." Here's my quickie recording with those strings: Yesterday I replaced the strings (Elixir phosphor bronze lights -- I explain my choice in the video below) and did my best to replicate the first recording. No, I'm not outside -- it was late Friday afternoon and folks were racing home for the weekend and producing a fair bit of traffic noise. But same phone and mic (Shure iPhone mic) placed about the same distance from the guitar. You may recall that the guitar is crazy clean. Absolutely no wear on the frets. The bridgeplate is pristine, looking as though the strings had never been changed. And the inside is dust free--the guitar was in its case for the entirety of its nearly 80-year life. A few pics:
  8. I mourn the day that folks started judging guitars by how much glue is visible on the underside of their tops. Some of this criticism is legitimate. That big hole in the bridgeplate that only Gibson needs? Yeah, sad. But the bracing not being tucked under the kerfiing? I'd tuck it, but one of the things that most folks think makes those 1930s Ls (L-00, L-0, L-1, etc.) so powerful given their diminutive size is that the top braces are not tucked into the kerfing. And back to that glue squeeze out. It simply does not affect the guitar's tone. Cleaning it up would add what, $50-$100 to the guitar's price? I say leave the glue on the lower prices models. Maybe on all models. A few years ago I was at the annual music trade show/concert in Cremona, Italy (pre-pandemic, the Italian Trade Agency flew me each year to the show to give talks and pick a few tunes). I spent some time observing guitar players and violin players trying out instruments. The guitar players carefully inspected the guitars, including observing the miters/exterior decoration and almost always peering inside the instruments, sometimes using mirrors (anyone who has been to the fancy guitar shows at Woodstock, Healdsburg, etc. has seen this). After inspecting the guitars, the players would sit to play those that they found visually acceptable. The violinists did the opposite. They'd walk up to an exhibitors booth and proceed to pick up violins and play them without doing more than glancing at the instrument. They chose instruments by sound and playability. Maybe after playing several they might quickly look the instruments over. But nobody in that community cares if the instrument is less than visually perfect. Indeed, the makers are careful not to make them look like they were built by CNC machines. Some in the guitar community, imvho, have lost their way.
  9. He seems like a lovely guy. But his choices on the back bracing and especially the bridgeplate were just wrong. I'm sorry to be so judgmental. But I am being honest. His work does not meet the standards of the leaders in vintage guitar restoration. I wish that he'd reached out to someone like the folks I listed in my first post before making his choices. 😞
  10. A lovely story. Thanks for sharing it. But, well, replacing those back braces rather than cleaning them up and reinstalling them? And, more importantly, replacing that original maple bridgeplate, which was in repairable condition with a new mahogany bridgeplate the size of Rhode Island? What a shame. 😞 I do hope that this shop keeps the original parts and that someday the guitar and the parts land in the hands of someone like Mark Stutman, TJ Thompson, or Willi Henkes.
  11. Thanks for posting this! As I've written, I think that Neil's visceral electric playing doesn't work out of the live performance context. The power and passion translate live, but not, imvho, in the studio. Again, thanks!
  12. That's it! Thanks. I couldn't agree more ... unless I'm in the audience at the time. 🙂
  13. I quite like the song. I've had a love-hate relationship with Neil's music for more than 5 decades. I love his studio acoustic catalog, but hate his studio electric catalog. Who has recorded more out of tune electric guitar solos? There's a funny recorded bit somewhere in which George Harrison recalls his and Eric Clapton's response to Neil's guitar playing at 1992's concert at Madison Square Garden. But I love Neil's electric guitar performances that I've witnessed in person and have not, well, loved his acoustic guitar performances that I've witnessed in person. Bottom line: Neil live with an electric band is life changing. HIs visceral connection to the music and his guitar playing is beyond powerful. I last saw Neil live at "Desert Trip," a several day concert in California that featured the Stones, Dylan, Paul McCartney, The Who, Roger Waters, and Neil. Yeah, it was cool. A highlight was Neil and Paul McCartney performing "Why Don't We Do It in the Road," "A Day in the Life," and "Give Peace a Chance." What a privilege to have been there.
  14. Thanks, Lars! It's a lovely song. Can't wait to listen to the album.
  15. To my eye it's close but no guitar player's cigar. 🙂 Close but sufficiently wrong that it's beyond annoying. I'd rip the thing off.
  16. No batwing, please! That pickguard never appeared on a J-35. As for the guitar's current pickguard, yeah, it's the wrong shape. Please search for a proper J-35 pickguard. Yours in pathetic dedication to Gibson traditional visual aesthetic.
  17. Sigh. Embrace the art. Avoid commenting on the artist's preparation, please. Good art is good art. This is good art.
  18. If you're ever in Connecticut, stop by! I was just in Nashville for AmericanaFest. I took 4 of my Bannners and had great fun passing them around. I love sharing my guitars.
  19. Fabulous! Thanks so much for sharing this with us.
  20. Thank you, my friend. These days, if ever, I can not remotely offer an objective opinion about the guitars that the Gals built. Having met a dozen of them (only 1 survives. She turns 100 on January 30. Yes, I've arranged a blow-out party for her in Kalamazoo), I have emotionally connected with their work. Thanks, again.
  21. More fun. The case arrived yesterday (I bought a flight case to ship the guitar and had the original case shipped separately). The thing is in mint condition, except for the handle falling off. Kinda weird. Very cool, though, is the case candy. The original owner apparently intended to learn to play the guitar by memorizing the notes on the fretboard: he constructed little flashcards with the note on the music staff on one side and the letter name of the note on the other. No wonder he never bothered learning to play the thing. The case also has a card from a clothing store that was in San Pedro, California in the 1940s. I've pinpointed the fellow's location and am scouring the ledgers to identify the shop where he likely purchased the guitar (which will enable to identify the shipping date). Anyone know of music/guitar shops in the San Pedro/Long Beach/Los Angeles area of the planet during WWII?
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