Jinder

I use Sunrise generally (I have them in my SJ200 and Maple AJ) but also have a Seymour Duncan MagMic in my Dove which is very good. The Sunrise is the best pickup I've ever used, after trying just about everything else under the sun...I run mine through my Boss AD10 preamp, pretty much flat other than a slight mid scoop. The 'Acoustic Resonance' function of the AD10 adds some subtle air to the tone which really helps the Sunrise to bloom. I use mine as a single source pickup, I know a lot of folks use the Sunrise as part of a dual source rig, but there is something so beautiful and characterful about the tone that I feel I'd be doing it a disservice to dilute that with the tone of another pickup. I could go on for hours about the Sunrise. I actually acquired my first one via this very forum...the great Buc McMaster had one that he wasn't using, and very generously (especially given how expensive and scarce they are!) offered it for free to the first taker. I just happened to be in the right place at the right time, and was thrilled to be the first person to put their hand up and say "yes please!" I installed it in my Maple AJ, plugged it into my amp and immediately had a grin the size of the moon. Somehow, there was the plugged-in tone I'd been hearing in my head all these years brought to life. I get comments at gigs (or did, when gigs were happening!) about my plugged in tone all the time. The most common one from fellow players is along the lines of "I've never heard a guitar sound like that before...it sounds like an acoustic guitar but is articulate like an electric guitar, how the hell do you get that sound?". It also fires off effects SO well. I do some looping and soundscaping at gigs and it is so clean and tracking-friendly with octave pedals, delay, overdrive, boost, allsorts. Almost immune to feedback too.

Personally, I have always found my guitars to be louder, more present and more responsive with the UST removed. A few years ago I switched to soundhole pickups and have never looked back. Your SJ200 is almost certainly being held back to some extent by the UST and all the Anthem hardware attached to the top. Some guitars can punch through it all with the extra mass etc, but some suffer. Definitely worth experimenting with to deduce whether an improvement could be had. A bone saddle would help, too.

If it's of interest, this is the '60s reissue J45 my friend Glenn has for sale. He is based in Enfield in North London and is the only person in the UK I ever buy guitars from. I trust him implicitly and in the last 15yrs he has never sold me an instrument I haven't loved. Superb dealer. Enjoy getting yourself lost in his website for an hour or two...so many beautiful guitars! This one is truly sensational, though. https://www.glennsguitars.com/2007-gibson-1968-j-45-adj-reissue-translucent-orange-1799/

My advice regarding the '60s J50 is to proceed with caution...this is a real "try before you buy" guitar. Why? For one simple reason...the adjustable bridge. These things have been a massively controversial and divisive factor since they were introduced. Personally, I have NO problem with them whatsoever. I've owned a few "adj" bridge guitars and I like the system...but, you must consider the following: 1) Tone is likely to be thinner/brighter with the adjustable bridge compared to a standard fixed saddle, with a more aggressive upper midrange push. Sustain can also suffer depending on the guitar in question. 2) You will be limited significantly in terms of pickup choice...UST pickups obviously don't work with these bridges, and SBTs such as K&K suffer poor string balance. You really need to use a soundhole pickup or an external mic if you want to play live. 3) Adjustable bridges aren't hot property for resale. A good friend of mine who deals in guitars has had a stunning, absolutely sensational '60s reissue J45 in cherry for over a year, arguably the best sounding adj bridge guitar I've ever played and a really gorgeous instrument in general, but the adjustable bridge has made it really tough to sell, as people have fixed perceptions of them. As I said, try before you buy. For some players, the adjustable bridge brings the grail tone...I like them a great deal, but they aren't for everyone. Regarding the top, a couple of years with plenty of UV exposure will dull that pale spruce down beautifully.

I've had some great experiences buying gear from Thomann, but some less than stellar experiences buying instruments. Some time ago (2014ish), they acquired a huge stock of Recording King seconds, guitars that had build issues and were rejected or returned by the original retailers. I had been hunting for an RNJ-25, the RK Nick Lucas remake, for some time, and was delighted when Thomann showed that they had some in stock. I ordered one straight away, but was dismayed when it arrived. The top had sunk dramatically and the neck was so overset that it had been fitted with a saddle which protruded from the bridge by over TWENTY millilitres. Not far off half an inch. It played okay, but of course that sort of setup is a ticking time bomb with regard to structural issues, bridge roll etc. The guitar was also entirely devoid of flame in the Maple back and sides (despite being advertised as having flame), and had a pronounced twist in the neck. It went back straight away, of course. I hoped that it was just an isolated duffer, and asked for a replacement rather than a refund, requesting that it be chosen from their stock by a tech who could check it over properly before sending it out. They obliged, and sent me a replacement which was much better. Sensible neck angle, proper saddle height, no neck twist and lovely flame. It sounded terrific and played like butter. I took it to my luthier for a fret polish and general check over, and immediately he took the strings off, reached for a piece of paper, slipped it under the bridge and told me that the bridge itself was only held on by a 10mm sliver of glue right at the leading edge. He advised proper humidification, followed by the bridge being properly glued and clamped, all of which he did...the guitar was flawless after that and provided several years of stellar service until I moved it on back in 2017ish when I bought a Martin 00DB Tweedy (a sensational guitar...wish I still had that one!). My point, rather lengthily made, is that I'm not sure if Thomann apply any form of temperature or humidity control to their storage facility. If your guitar acclimates to your house and settles down, all the better...if not, I'd send it back and let Thomann sort out either a refund or a proper replacement...do insist on it being tech checked, though.

Hey Mick! It sounds like you might have a duffer on your hands. I've owned a few Hummingbird MCs and haven't had a problem with any of them. One was particularly stellar in comparison to the other two, but none of them were bad. It sounds to me like you would benefit from closure on this guitar...I would recommend seeking out a really high end luthier like Bill Pupplett, Graham Parker or Dave King and letting them have a proper forensic look at it. It could be down to loose braces (I suspect this based on your comment about it buzzing with a high action) or a fundamental problem elsewhere that could be fixed with some surgery. Does it still have the Baggs Element undersaddle pickup fitted? If so, I'd whip that out and look at replacing it with something like a soundhole pickup or a K&K soundboard transducer. I find undersaddle pickups are the primary culprit for poor tone. I used them for 20yrs+ but switched to Sunrise soundhole pickups a few years ago and was astonished at how much better my guitars sounded with the UST pickup removed. Wishing you the best of luck...one upside in all this is that a Hummingbird tends to hold its value as a used guitar, so if it never comes to life you can move it on and seek out something you will love.

I loved my IB'64 Texan to bits. It was my guitar for overseas gigs (or, indeed, any I had to fly to, overseas or not) and always sounded terrific. I sold it (along with many of my other guitars) when I was ill for three months at the end of last year, and needed to get some cash together to pay the rent and feed the family whilst off the road. I wish I hadn't had to. One day, when I can afford to, I'd love to replace it with a Bozeman Texan...if the Pac Rim IB'64 (or mine, at least) sounded as good as it did, I'll bet the Bozeman built Texan is sensational.

It's a leftfield suggestion, but I can't help wondering if a '60s J45 might suit you better. I have a '67 which has a 1 9/16" nut width which is a little narrow for some, but suits me fine even though I have hands the size of shovels. It's a fast and comfortable neck which is a bit more nimble than the current 1.725" Gibson necks (which I also own several of and enjoy). I wouldn't go later than '68 as the necks returned to 1 11/16" at that point, but anything from '64 to '67 will get you in the slim necked ballpark. They're great guitars, too...my '67 is loud and articulate, with a great cut to the top end and nice full bass.

I would definitely tweak rather than settle. Don't let it put you off the guitar though, most new Gibsons I've owned have needed a bit of a massage to get into the playing window that I like best. When I had a Gibson affiliation back in '07-'09, I was told that they leave the factory with a slightly high setup as it's easier for the new owner to bring down an action that is too high for their preferences than it is to raise one that's too low. The whole "you can sand a bit off but you can't sand it back on again" thing! I've struggled with carpal tunnel syndrome and shoulder issues for the last ten years and sympathise entirely with your pain getting in the way of your enjoyment of playing. I find the right setup is critical, and I'm sure a good pro setup on your J45 will have it both playing exactly as you want and sounding at its best.

Wow, BK!! That's one of the best sounding slopes I've ever heard. Just buttery and beautiful. Stellar playing too, put me in mind of Stephen Stills!

It's an interesting comparison. My old 2003 SJ200 Historic Collection was lovely, but not a cannon volume wise. My current 2015 SJ200 Standard sounds similar but is nearly twice as loud! A really, really loud guitar...second only to my Maple AJ in SPL. My '95 Dove, on the other hand, is around the same volume level as my old SJ200. Not quiet, but reserved. However, it records better than any guitar I've ever owned. It's SO good under a mic and is on almost every track on the album I'm currently finishing. It is so warm and glossy sounding, barely any ITB EQ required with a SDC in front of it. They're all different beasts. Sometimes the shy ones are the ones you end up marrying.

My fiancée Amy and I have been together for a long time, and have known each other for over seventeen years...she has been to hundreds of my gigs and knows the tone of my guitars inside out, but doesn't have any theory knowledge with regard to tonewoods etc. She can play, but doesn't pick the guitar up much. After a debate the other night about the tone of the '34 reissue Jumbo in the recently posted demo videos, I asked her to rank my guitars in terms of what she liked/didn't like. Her opinions were nothing if not interesting. Turns out she really dislikes the tone of Maple instruments and is a big Mahogany fan. Here was her ranking, which surprised me immensely. 1) 1967 J45..."It sounds warm and articulate, is easy on the ear of the listener and works brilliantly with male vocals. Hearing it sung with in a good room is like listening to a classic record" 2) 2003 Takamine EAN20C..."It sounds big and expansive but never harsh or demanding of the listener. I could listen to it all day with no aural fatigue" 3) 2005 Hummingbird 12 string..."I don't normally like 12 strings but this one is great. Really chimes without being grating like some 12 strings" 4) 2015 SJ200 Standard..."I've never been massively into this guitar, although I know how special it is to you (me). It's not unpleasant, but is a little unbalanced and sounds too "big" to me." 5) 1995 Dove..."I've never liked any of the Doves you (I) have owned. They look nice but sound sort of bland to me" 6) 2016 Advanced Jumbo Flame Deluxe..."Totally boring and characterless, I have never liked this guitar at all. Every time you pick it up it makes me yawn. Totally vanilla." I was astonished. I LOVE my AJ. I've kept the Takamine for many years as it was my first "pro" level acoustic, and use it for certain recording tasks that require the Cedar tone, but I've never thought of it as anywhere near my Gibsons. I love the '67 J45 but the SJ200 is my go-to. My Dove records beautifully and is on almost every song I've recorded so far for my next record. The Hummingbird 12 is sensational-she's bang on with that one-but the rest of the list is very different to the way I'd structure it. Proof that tone is subjective, I guess.

I watched the demos literally drooling at the tone pouring out of that thing. Mind blowingly rich and fat, huge mids, four dimensional and stunningly dynamic. Then my fiancée peeked over my shoulder and said "what guitar is that? It sounds horrible! Really nasal and harsh. It looks like a J45 but I've never heard a J45 I didn't like, what the hell is that?" Proof positive that tone is entirely subjective. She doesn't play much (although she can!) but has a keen interest in guitars and knows exactly what she likes and doesn't like. I disagree with her, though!!

This is the news we all wanted to hear! Congrats, Cabs. You'll love it. We've all been there regard to having to make a tricky financial call on buying gear, but if you can make a dream guitar happen without getting in a fix that you can't get out of, I have always been an advocate of going for the soul food 🙂

This is GREAT, Sal!! I've never cared much for the original, but you've demonstrated that under all of the other stuff dwelt a really well put together song. Love the Skiffle feel!

It looks like a Guild D55 to me...probably an early one with the narrower nut, which exaggerates the sweeping lines of the headstock. It sure sounds great...that version of War of Man is gorgeous.

The Songwriter Deluxe is a better guitar to my ears/hands/eyes than a J29. The J29 is fine but feels like a stripped down J45RW to me, and is perhaps missing the chunk and chime that the J45 RW/Deluxe has. The SWD is entirely it's own thing, and is a sweet guitar in its own right. I'd heartily recommend that you try an AJ and J185, too. The 185 is a curveball but they are such a sweet and lyrical guitar, and you might just fall in love with one.

Damn, I was too late!! For what it's worth, my Hummingbird 12 is one of the best investments I've ever made. It's been on almost everything I've recorded since I got it, and adds so much breadth and texture, even if waaay down in the mix, it plays like butter, sounds great live with the K&K pickup in it and has given me some great songs. I wrote this one with it in the bathroom at a house gig whilst looking for a quiet place to tune up...I recorded it with my producer Pete two days later, our chum Jim Hoke did the horns and Greg Bishop did the drums, and a couple of months later it was in the download charts here in the UK! This is the power of the Hummingbird 12 string...of course I don't at all think you should head straight back there and buy it, I'd never suggest THAT 🙊

The other advantage of course with the adjustable bridge is that setup work is SO easy. No more second guessing bridge height, you can dial it in however you wish on the fly. Terrific tool for flyaway touring if you're in and out of areas with different temps and humidity which cause the action to need regular tweaks. I wish my clients were playing these back in the day when I was working as a touring tech!

Wonderful guitar!! Those Adj bridge reissues are some of the best strummers I've ever heard. I tried a translucent orange one that my dealer friend Glenn had in stock and was blown away by it as a guitar for rhythm playing. It was a fine fingerstyle instrument too, but the sound of it under a pick was just exquisite.

Great photo...those '70s 200s aren't all bad, I played a show with Grant Nicholas of Feeder some years ago and his J200 (a '74 I think) is fantastic. I'm curious about Lenny's setup here, the recording nerd in me wants to know what mic and pre that is! I know I wouldn't let my dog anywhere near my studio, it would be woofing its head off at any given opportunity and ruining everything!

Any acoustic guitar will work for percussive playing on the body, given the correct pickup. Whilst I sometimes play a little percussively for looping purposes, I wouldn't really say that Gibsons are a guitar I would associate with the very percussive fingerstyle playing that Jon Gomm, Newton Faulkner and so on are proponents of. Gibsons are perhaps (depending on who you ask!) best suited to more traditional, rootsy styles of playing...of course, you can play anything you wish on any guitar you like, there are no rules! However, I would consider something like a Lowden, Benjamin, Taylor or PRS a more suited guitar for that kind of playing. If I had to pick one of my guitars as the best suited for that kind of style, it would be my Maple Advanced Jumbo.

That looks like a pro job well done! I wouldn't worry about the saddle height. If the action wanders in the future you can always get a reset done, but for now that looks fine to me. If you contrast it with Martin saddle height (usually tiny) you're in the pink. I always find it takes me a few weeks to fall in love again with a guitar that someone else has done an extensive setup job on. The change in feel is often akin to taking your dog to the groomer's salon and being handed back a cat! I usually find myself tweaking it myself until I'm satisfied, but I'm an inveterate fiddler with setup, saddles, action, neck relief etc.

I haven't come across a "bad" sounding Bozeman built guitar. I've played hundreds, all have been good, but some have absolutely suited my hands, ears and musical soul more than others.

A bit of left of the dial suggestion, but I have a Maple AJ which is one of the best guitars I've ever played. It's incredibly loud, rich and dynamic. It doesn't have the honky upper mids of the Rosewood AJs, but that's the very thing that I disliked about the Rosewood example I owned previously. It's a startlingly powerful and graceful instrument. Mine is a 2016, billed as an Advance Jumbo Flame Deluxe, a limited edition Custom Shop build. Well worth a try if you can find one.