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Jinder

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Jinder last won the day on March 28

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About Jinder

  • Birthday 04/19/1981

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    http://www.jinder.co.uk

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  • Gender
    Male
  • Location
    Dorset, UK
  • Interests
    Music, Guitars, Songwriting, Making records etc

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  1. Thanks guys!! Yes the RW 45 is an absolute gem. Really warm but with great articulation. Bill Puplett, the chap in London who is guitar tech for Noel Gallagher and Johnny Marr (and also co-designed the Rare Earth and Mimesis pickups with Mike Vanden) does Gavin’s setup work and every time I’ve picked up the RW it’s played like absolute butter, effortless.
  2. Neil changed my life. I’m extremely surprised that George didn’t “get” Neil’s music. The intensity and sheer emotional bodyblow of NY’s lead playing is something which I’ve never heard the like of elsewhere. It doesn’t matter that it’s “one string stuff”, he is absolutely wrangling his soul out through his fingers, into the strings, out through the pickups and into the world when he plays. There is a reason why Stephen Stills, another genius lead player, has spent so many years playing with Neil. I’m a huge Beatles fan and George’s legacy is beyond reproach, but that makes it all the harder to hear him trash-talking Neil. I wouldn’t dream of talking about another artist in that way.
  3. I’d love that job. I was a Gibson endorsee artist from 2007-2009 when my former band was signed to Sony, and I had a hand in the concept of the “flubber” pickguard that was (is?) used in SJ200s for some years. Lovely people to work with. They are a great company and the London HQ in Rathbone Place (as it was then, not sure if it’s still there) is like a playground filled with amazing instruments. Here is a video we filmed there in 2008…I’m in the middle, the SJ200 Western Classic was Gibson’s, the Dove on the left played by my bandmate Simon was mine, and Gavin on the right is playing his trusty late ‘90s J45 Rosewood. He has owned it from new and still has it now, although it’s VERY road worn these days!
  4. The weary, fragile folkie side of NY’s output has always been my favourite of his modes. This is as good a song as he’s written since the ‘Prairie Wind’ era, which must be 16yrs ago now. The thing that strikes me most is how old Neil sounds now. His voice is shakey (pardon the pun-I know some of you guys will understand!), his playing hesitant. I love the hyperrealism of recordings like this, but I also worry about him, I really do hope he’s okay and his advancing years are being kind to him.
  5. I always enjoyed Dunlop Ultex .73 picks with my Hummingbird 6 strings. Warmer and slightly firmer than the Tortex, slightly less sharp tip and a slower attack. Really lovely for bringing out the nectar. Can sound a little dull with my usual Maple instruments but perfect to coax out the warm nectar flow of a Hummingbird.
  6. Jinder

    Fake SJ

    It’s not a fake, that’s a genuine 2017 SJ. Enjoy it!
  7. Whilst in no way wishing to infringe on any freedom of speech, I feel that this thread has fulfilled its purpose in answering the OP’s original query and should be considered for closure by a moderator.
  8. It’s definitely not a genuine Gibson, but hey-it wasn’t exactly expensive, looks cool (most audience members would presume it was the real deal) and it sounds pleasing…reads like a winner to me. Enjoy it in good health 🙂
  9. The magic is in what dances between the notes. Not the overtones, sustain, bass, treble, mids or anything else. That undefinable thing that connects the player to the guitar. I’ve had it with a handful of guitars I’ve owned. Both my SJ200s, a 1990 Hummingbird, my ‘96 Dove, my ‘67 J45 and my Hummingbird 12. Maybe my maple AJ, although not instantaneously-that has been a slow burner. A Martin OM18V and 00DB, both of which I traded away like an idiot. I don’t think it’s particular to a body style or even a particular model. I owned three Doves before I found the jewel. I’ve owned several Hummingbirds also, including a stellar ‘08, but the jewel was the 1990 that is also sadly now gone due to financial troubles during lockdown. It’s like lightning when you find it…rare and the most copacetic feeling. I think it’s why we all hunt for the grail guitar, the one that lights up the darkest corners.
  10. My best guess is that it’s a “lawsuit era” Japanese copy, possibly a Greco, Terada, Suzuki or similar, that has had a replacement walnut headstock faceplate and label to make it look like a Gibson. It has a lot of the hallmarks of the ‘70s Japanese copies (garish and poorly applied sunburst, thick polycellulose lacquer finish, exaggerated yellow top staining, spec from a decade before such as the parallelogram inlays and belly-up bridge, cheesy thin printed pickguard) but has been cleverly doctored to appear to be a mid-70s Gibson. If we look a bit deeper on a forensic level, the lacquer on the headstock and upper neck area has been oversprayed recently-it has some stippling/orange peel effect which is a clear tell for nitro recently applied over old poly or similar which has been exposed to cleaning products that may contain silicone, such as household polish etc. This tells me that the incumbent faceplate is not original, as Gibson have only used Walnut as a faceplate material recently, and it has never been a stock faceplate material on a Hummingbird prior to the current Hummingbird Sustainable. The new Walnut faceplate has nice grain, and has been chosen well by the luthier who did the work, as it compliments the fretboard grain nicely. However, this is another tell about the authenticity of the guitar. This fretboard isn’t the Indian Rosewood that has been used by Gibson for Hummingbird fretboards since the Brazilian supplies ran out. The colour and graining indicate to me that it’s probably Jacaranda or Pau Ferro, both less expensive and more readily available tonewoods that were common in Japanese built acoustic guitars in the ‘70s. Likewise the bridge. The label, on a forensic level, also looks far too fresh to be genuine. There is no humidity-related peripheral ink bleed into the paper grain, no fading of the label or printed typefaces, no curling or deterioration at the edges of the label, no lifting of the periphery due to age related glue failure…I have 15-20yr old Gibsons with labels in a much worse condition than this one. The serial number pegs it as being between ‘72 and ‘75 and the label is simply not in the condition that a 46-49yr old piece of paper and the glue that holds it down would be. Also, the typeface of the “GIBSON” logo on the label looks squashed or distorted, which makes me even more convinced that it’s been faked. Cleverly faked, but not cleverly enough. None of that is to say that lawsuit era Japanese acoustics are bad instruments, I owned a Kiso Suzuki Hummingbird copy for many years and wrote a great deal of songs with it, used it on a couple of records and loved it. I had a Terada Dove for a while too which was a kind of junky but fun instrument. If you can bag this one for the sort of money that it’s worth as a lawsuit guitar, there is every chance you can fix it up and enjoy it. As it stands though, paying Gibson money for it would be a mistake in my opinion. I’m really shocked that Gibson Europe told you it was genuine. Whoever did the due diligence on it needs to do their homework!
  11. I’d be very wary. Lots of issues around authenticity with this one…it look like an Epiphone Hummingbird that has been chopped about to look like a ‘70s Bird. Immediate bells that rang are: Serial number places it between ‘72 and ‘75, which means the bridge is wrong (this period of Bird had a larger belly-down bridge), the neck angle is wrong (saddle is too tall, typically Norlin era acoustics had an underset neck with a very low saddle, so unless this has had a neck reset that is a major tell), the pickguard is wrong (thin and printed not thick and engraved), the heel is wrong (not shallow enough) and the grain on the back looks significantly different on the outside to the inside. It also has the three-dimensional sheen of cheap Sapele laminate as used on Epiphones and similar. The headstock faceplate also looks wrong, and appears to be walnut with an Abalone inlay as per the modern Hummingbird Sustainable guitars. A genuine ‘70s Bird would have the slightly more rounded points to the logo and would be MOP set into an Ebony or Mahogany faceplate. The fingerboard-end top cracks indicate that the neck block has moved also, which is an expensive fix. In short (to précis the above nerdfest I just posted!) it’s fake and looks knackered.
  12. I love Walnut. It’s a great, versatile and underrated tonewood. I’d love to own an L-00 Studio and would actively seek out a Walnut example over the more expensive Mahogany Standard. I’ve owned several Mahogany L-00s and love them, but Walnut is more to my taste as a player. The J15 I owned several years ago was fantastic.
  13. I currently have Retro 11-52s on my ‘67 J45. They are very clear, balanced and direct but fairly characterless. That can be a good or bad thing, depending on the task in hand. They really, REALLY sucked on my Dove. I can’t explain why…a real mismatch of string and guitar. The Dove is super dynamic and has a beautiful voice, but the Retros deleted half of that and made it sound very ordinary. Perhaps your 45 needs the drama and overtones that a set of Bronze or PB strings can bring to the table…the snarl, as you said. All of this is part of the joy of the string journey! PS…try a set of DR Sunbeams. They’re round core strings so you must tune them to pitch, stretch them in and retune before cutting the ends off, but they’re ace strings on a slope.
  14. Certainly not in the immediate future, sadly. I’ve no idea how long it will take to extricate us from the current mess we’re in, or how long after that we’ll see grassroots venues putting music on again…I’ve got a trickle of work over here but people are understandably wary of coming out to shows. I think international touring is still years away, which is gutting. Mainland Europe is looking difficult post Brexit also. Looks like I may be an islander for a while…
  15. That’s very true, and not the most conveniently shaped or sized thing to send either! If you’ve still got it when I’m next Stateside we’ll have to talk turkey. Ironically the David Deluxe is an amp I tried at length to find over here during my hunt…I ended up unable to track one down, so ended up with a Roy which was just too big a unit.
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