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Jinder

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Everything posted by Jinder

  1. If I was in the market for a new guitar, I’d be seriously considering one of these. I had an Inspired By ‘64 Texan for several years and loved it. Long scale slopes are few and far between of course, and if a USA Texan has a similar feel to my Maple AJ I would no doubt love it. Way beyond my pocketbook at the moment, but definitely a guitar I would consider in the future, if they stay in production.
  2. The Newtones are a brighter string and are lovely in their own way...the Spectrums are a different beast, though. I’ve just had a set of 11-52 Spectrums delivered to try on my little Sigma CF-100 copy, with its short scale neck and 11s it’s my go-to for when I’m feeling lazy and don’t want a challenge for my left hand...I think the Spectrums will suit it very well, being a fairly bright guitar by nature.
  3. I’m with Em7 here...the 2014 is just more all round. I like the white guard, but if you wanted a replacement Bird guard there are plenty of repro units around, and Gibson will (or certainly did) supply replacement units, albeit at some expense.
  4. Hi all, Has anyone else tried these wires? Normally way more expensive than I can justify, but I bagged a set last year when they were heavily reduced, stashed them in my studio filing cabinet and forgot about them...I plucked them out yesterday and put them on my SJ200 after finally losing patience with the Optimas that haven’t ever worked for me on that guitar. First thoughts on the Spectrums are that they sound and feel utterly unique. No “new” string metallic zing, VERY smooth under the fingers and unusually high tension across the D and G strings, tapering off to lower tension relatively on the A and E down below and the B and E up top. Initially, sound wise I felt they were a bit dull. However, with a day of adapting to them, I think I was mistaking an understated complexity for dullness. Each individual string has an identity and doesn’t just sound like a lower or higher pitched version of the one next door. The bottom E and A sound a little woolly taken out of context, but in a chord or a fingerstyle passage with bass movement, they just sit there and fill up the bottom end beautifully with a spreading, full warmth. The midrange is focused and tight and the top end rich and articulate. These aren’t average workaday strings by any means-they took some getting used to as a player as they sounded played in as soon as they were fitted. Being round core strings, I had to do the usual dance of fitting them, tuning and stretching them and playing them in before cutting the ends, but that wasn’t a major issue. They are silk wrapped at both ends, so protect both bridgeplate and machineheads from wear, which is a nice touch. My only concern is whether they will fade quickly...being warm strings, if they fade off by 25% it will likely be game over, but I have absolutely no roadmap for these strings as they are quite untypical of anything I have used before. I perhaps wouldn’t use these on an already overly warm guitar or anything lacking definition. My SJ200 is very balanced and has an immense character (think big, bold, loud and articulate with big but focused bass) which generally comes through whatever strings are on it, so makes for an excellent testbed for different wires. I’d love to know if anyone else has tried them and, if so, what you think.
  5. I’ve never noticed any of the three Doves I’ve owned having a thinner nut width than any of my other modern Gibsons. My ‘95 has a 1.725” nut. Are they normally thinner?
  6. That’s really special. One of my favourite Dylan songs and a masterful rendition of it. Thankyou Stu!
  7. Fantastic news!! I hope it’s as brilliant in the hand as it sounds in the demos. Please keep us posted! I am a huge Dove fan and mine (a ‘95 with the FHLD style ‘70s bridge, by far my favourite Dove bridge shape...no idea how it ended up on mine!) is a guitar that, along with my Maple AJ and SJ200, I can’t ever imagine leaving the stable. A really, really stellar instrument which has brought me so much joy and so many songs...if mine was stolen or went otherwise missing, I’d be on the hunt for an FHLD right away.
  8. I’ve not seen very many torrefied Doves at all. Frank Turner let me play his quilted maple Bird when we did a festival together in Croatia a few years ago and it was very nice indeed, but given that it was long scale, it was sort of a Dove in a wig! I have been immensely impressed with the demos of the FH Love Dove I’ve seen online...if I was in the market for a new Gibson, that would be it for me.
  9. If there is any way you can keep the two...imagine the joy. One in standard tuning, one in open D or DADGAD. Songs ‘til the cows come home.
  10. Looks just like a natural finish version of the sunburst ‘03 that was my main stage and studio guitar for many years. Lovely instrument! Mine had the Fishman Matrix Natural II in it, which is the same pickup but with a little more bass rolloff in the preamp EQ curve. It came to me with no pickup and I installed the Matrix after running an early Takamine Tri-Ax for a while. I kept the Fishman in it for the entirety of the next eleven years or so that I had the guitar. It was a really great fit for the instrument. 2000+ gigs, five albums, countless writing sessions and late night studio jags...that guitar was an amazing companion. I eventually retired it after wearing it out almost entirely-two neck repairs, several crack repairs, two refrets, bridge fixes etc. It went in and out of a great deal of plane holds and suffered accordingly, and by the end was too fragile to take on the road anymore. I replaced it with a 2015 SJ200 Standard that I bought as NOS in 2016 from a former Gibson dealer who gave me an astonishing deal on it. It’s similarly brilliant...these guitars are just wonderful.
  11. That is *astonishing* sounding for a new guitar. For something to sound like that out of the box is quite a feat.
  12. That’s a beauty...as has been mentioned, some service work at the machineheads isn’t a bad idea. the adjustable bridge, despite what you might read on some forums, isn’t actually a bad thing at all. Some folks convert them to a traditional fixed bridge by way of a rosewood insert to take a bone saddle, but I wouldn’t bother. I DID bother with my ‘67 J45, but it made very little difference in terms of tonal quality or response. The beauty of the adjustable bridges is that you can play with the tone by swapping out the various compounds available-I’ve come across rosewood, ceramic, rosewood with bone insert, bone and tusq. The Tusq one was the best sounding of the lot on my J45 but your mileage may vary. It’s a fun experiment!
  13. Hey, Gary! I feel your pain (or absence thereof!) with the hands issue. I was in hospital for a couple of months at the end of last year (one as an inpatient, one as an outpatient) with endocarditis and a blood infection, which caused three brain abscesses. Came out of the other end of the treatment as cured as I’m ever going to be, but with terrible joint pain due to connective tissue damage, and no feeling in my fingertips due to septic emboli. I’ve had to re-learn a lot of my playing as the abscesses kaiboshed my short-to-medium term memory too. A very odd experience after playing for a living for 23yrs! I was just getting back in the pocket as a player when I ventured out without my stick three weeks ago...an after effect of the brain thing is that I’m a little unsteady on my feet, and I managed to fall over in spectacular fashion and break my right foot and right wrist. Back to square one! I’m inspired by the fact that you’ve found a twelve string easiest to get on with, that’s very cool. I have a Hummingbird twelve string which is basically the same as yours (square shoulder, short scale, spruce over mahogany dreadnought 12), which is one of my favourite guitars. I’ve not played it a great deal since my illness but you’ve inspired me to get it out of the case as soon as the wrist allows! Enjoy your B45 in good health, my friend, and welcome to a great forum!
  14. I like the comfort of a short scale neck, but can find them a little tight space wise for my large hands. All of my Gibsons are long scale, with the exception of my ‘67 J45 which also has the skinny ‘60s nut width. That one takes a spot of adjusting to, but I can play it no problem. I still lean towards long scale at every opportunity though.
  15. I had an AE for a while, really lovely little guitar. I bought it used from a guy who told me “I really wanted to like this guitar, but I actively dislike everything about it, I don’t know why anyone would want anything other than a Martin, Gibsons are soooo overrated” etc etc. Quite a sales pitch! It made me both chip him in price outrageously, and fall in love with the guitar before I even played it. What a tool. I really did enjoy the guitar. Lovely compact thing for couch noodling and writing, recorded well and was a nice lightweight guitar to sling onstage. In a moment of GAS I traded it away for a J180, which I subsequently traded for my Dove, which is possibly my favourite of all the guitars I’ve ever owned, so all’s well that ends well, but I’d love another LG2 one day.
  16. Oh the Sheryl squares are GREAT! I borrowed one some years ago from Gibson for a tour whilst my SJ200 was being refretted, and I didn’t want to give it back...I offered them MSRP for it but they don’t sell their loaners. Absolutely brilliant guitar. And yes, that is her handwriting on the label!!
  17. They didn’t work for me (not on my SJ200 at least...although, having said that, six months on and they’re still on it!) but I’m glad you’re enjoying them! Like all things guitar, it’s all subjective, which is what makes this stuff so interesting to discuss 🙂
  18. The great Phil Beer, formerly of The Albion Band and now of Show of Hands...a folk legend! I’ve had a few good chats about gear with Phil when we’ve shared festival bills etc, his David Oddy OOO/OM guitars are exquisite. He has great live tone and I expected him to use multi-source pickup systems, but it’s all done with a Rare Earth humbucker. Superb player!
  19. How are you getting on with the Optimas? I used mediums on my J180 for a while and liked them well enough, although I went back to 12-54 Martin SPs eventually. Worth a try!
  20. I’ve owned a few Martins. Three (OM18V, 00DB Jeff Tweedy, D18GE) really got their claws into me. The Tweedy in particular was glorious, absolutely nothing that didn’t please me about that little thing. However, one thing all my Martins have in common is that they aren’t here anymore. I’ve always had Gibson acoustics, but Martins have come and gone. A Dove, AJ or SJ200 is home to me in a way that no Martin has ever been. I have always liked Martins a great deal, but I’ve never loved one the way that I’ve loved my best Gibsons.
  21. How unusual-a birdsbeak fretboard end on a Dove! Despite the obvious avian connection, I’ve never seen that on a Dove before, only an SJ200. Lovely touch. Cool that he has done the SJBE tutorial, I have never been able to figure that song out!
  22. Ah I didn’t consider it being due to the torrefication. I would imagine it brings out waxes/oils from the wood which make it harder to finish. I don’t have a major issue with it, I’m just curious about it as I’ve seen it a lot over the last year or so.
  23. Jinder

    Pagey57

    You may find mediums (13-56) a gigantic step backwards in terms of playability unless you have the guitar set up for them right off the bat. If it’s currently set up for 10s, you will find that (at the very least) the neck relief will need to be adjusted to compensate for the huge change in string tension etc. A setup for 10s will have fairly high amounts of relief and action, which is required to minimise buzzing and fretting out when playing hard. 13s are the opposite-they need a much straighter neck to compensate for the extra tension, and can be dialled in for lower action as they are less prone to buzzing and flapping about. With your current setup I wouldn’t advise to use heavier strings than 12s. Certain strings such as Martins have a thicker core, and accordingly more string tension and stiffness, when compared with strings such as D’addarios, so if you’re absolutely sure you want to use 13s, it’s worth taking the gauge of strings you want to your luthier along with the guitar and asking him/her to set it up for them. It’s not a lengthy job (truss rod tweak, maybe a hair of height off the saddle) but is best done professionally as you’re moving up from a gauge of string which is fairly uncommon in acoustic guitar use.
  24. Jinder

    Pagey57

    I use 12-53 on mine. Usually D’Addario EXPs but they have discontinued those. Recently I’ve very much enjoyed Martin Tommy Emmanuel signature flexible core strings, a set of 12-54 Tommies would sound great on your SJ200. 10s are quite light for such a big guitar.
  25. Very distinctive and visible coating...those are Elixir Polywebs, the original ones. Judging by the colour, 80/20 bronze. And judging by the fact the bottom E is a shade narrower than the incumbent set of 12-53s on your guitar, I’d say 11-52s. Problem solved! 🙂
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