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j45nick

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Everything posted by j45nick

  1. Nothing I see suggests it is anything other than as represented. If it was built for the Japanese market, that might explain the difference in case details. It looks like a gorgeous guitar in beautiful condition.
  2. The bolts in the bridge are a typical Gibson feature. Why is that a bummer? The guitar is truly pristine.
  3. I watched both the videos on the G-45. I agree with some of the criticisms, which have been discussed here with regard to other Gibsons. Most notable to me are issues with the bridgeplate, such as alignment dowels and holes that may actually overlap bridgepin holes. My pet peeve in this regard is the lack of using a caul under the bridgeplate when drilling the pinholes, so that you end up with grain tear-out and damage to the pinholes before the guitar is ever strung. Gibson has always been notorious for glue squeeze-out--"only a Gibson is glued enough"-- but this guy really obsesses about it. I won't comment on the G-45 or others of these lower-priced models, since I'm not a marketing guy, and I don't generally buy lower-end guitars. The plastic sheetrock anchor in the endpin hole for the G-45 was a bridge too far for me, however. Right now I have four Gibson acoustics--two 1950 J-45s, a 1943 SJ re-issue, and a 1937 L-OO Legend, I am satisfied with the workmanship on all, and love the way they play and sound. Your experience may vary.
  4. Jinder, thanks for posting that. It was truly wonderful. I'm amazed every time I hear your voice.
  5. A big belt sander? What could possibly go wrong? There are miniature belt sanders for this type of work, if that's how you want to do it. If I hadn't seen some of this guy's videos before, I would have thought it was a joke. On the plus side, it's a D-15, and looks like probably a modern one. And yes, you do have some control over how the repair is done if you are doing the repair. If the customer wants you to do something you know is wrong for the guitar, you say "I won't do that," and explain why. If he still wants it done, either you say no, or get a written waiver acknowledging that you have advised the customer that the repair is not in the best long-term interest of the guitar. Maybe its ok to do on this particular guitar if it isn't very valuable, but some time in the future, that may come back to bite the guy who did it when the owner blames him for doing something that de-valued his guitar. Remember: you never know what is going to turn into a collectible guitar over time.
  6. I believe that one was a J-200 with major issues. It ended up with a giant bridgeplate as well, of that same wood, which seems to be some sort of very dense, resonant hardwood. In that case, the top under the bridge was pretty well chewed up. Certainly the slope-J models are built with a slight dome to both the top and the back.
  7. The years from 1963 to 1969 or so seemed to cram about three decades or more of musical development into about 7 years. Realistically, maybe it seems that way because I was 16 in 1963, and 22 in 1969. That was a period of meteoric change for society, as well as for me personally. My 22 year old self would probably have been unrecognizable by--and intolerable to-- my 16-year-old self. Smack dab in the middle of that period, I bought a worn 1950 J-45 for $50. That was a personal watershed for me as well, and I still have that guitar.
  8. That's a pretty good summary. The early Beatles stuff really is just pure pop, even though it was pleasant enough. Rubber Soul was a major turning point. I loved the early Stones blues covers, things like Little Red Rooster and Matchbox. Then came "Satisfaction." That was the summer I graduated high school, and it became the anthem of that summer for many of us. Where I live then (Scottsdale, Arizona) there were a whole lot of summer teen dance venues with both live bands and recordings. At least in my mind, the music of the Stones sort of dominated things: hard-driving, slightly nasty, danceable blues as opposed to the Beatles largely pop-style music that was more for listening (and screaming, if you were a teen girl). All in all, however, I just loved music, and loved to dance. Still do. As a friend of mine says, "got ants in my pants, gotta dance."
  9. The inlay on the headstock in my avatar is generally referred to as the flowerpot (or one variation of it). That particular one is adapted from a 1930's mandolin or L-5.
  10. What song are you referencing here? Certainly most of the songs on the Stones' first albums were covers of US blues and R&B songs. For many of us, it was the first time we had heard those songs, and we went back to the original artists based on what we heard from the Stones. I was just a teenager when the Stones and Beatles hit. What a change they made to my taste in popular music! The Stones' first US and UK #1 song was "Satisfaction" in 1965. That is a Jagger/Richards composition. Reviewing the tracks on the Stones first four albums, I don't see anything credited to John/Paul. Remember that the Beatles, too, did covers or songs written by others on their first albums. So did Dylan. The Beatles and Stones are two very different bands. I love both of them.
  11. But if you try sometime, you just might find, you get what you need. And cheers to you, my friend, even if those words were written by a couple of guys in a blues cover band.
  12. Oh man, Bob. That all but breaks my heart. The dreams we had. Things didn't turn out the way we thought they would, but maybe what we actually did is better.
  13. If a little bit of heat will loosen the hide glue holding in the saddle, I would be concerned that same heat might loosen the hide glue holding on my bridges. (all my Gibsons are hide glue guitars.)
  14. Sorry. I was going to answer, and decided not to. If the saddle fits well in the slot, I see no particular reason it needs to be glued in. If you want to change or modify a glued-in saddle, it can be tricky to get it out. If it is not a good fit, what JT says is absolutely correct. The break angle over the saddle will determine how much leverage is being put on the saddle, trying to split the bridge. Very high saddles pose more risk than lower saddles. I have one extremely tall saddle, which happens to be in a tapered bridge. I keep an eye on that one, but the saddle is also a very tight fit.
  15. I have four Gibson flat-tops with slot-through saddles. This was standard on most up until around 1953 or so. None of these saddles is glued in. These really are not hard to keep in position when you change strings. You just keep them lined up with the wings of the bridge, then gradually tune. If the saddle slides you back off on string tension a bit to be able to move the saddle into position. Yes, if you sand off the bottom of the saddle, the taper at the ends of of the saddle won't line up perfectly with the taper in the wings of the bridge, but the proper position of the saddle is still easy to judge. If the top of the saddle is properly radiused and intonated, is a lot easier to lower action by sanding the bottom, with the caveat of keep the bottom of the saddle square to the sides. When you look at a vintage Gibson, you can sometimes tell how much a saddle has been taken down over time by looking at how the taper of the ends saddle lines up with the taper of the "wings" of the bridge, unless the saddle has been replaced. This is generally a non-issue. You want to have bridge/saddle alignment challenges, try an archtop with a floating bridge. That can be challenging until you figure out that you either change one string at a time, or mark the top of the guitar with low-tack tape to indicate the proper position.
  16. You know I've always liked that song, Buc. It's good to hear from you again.
  17. You may need to get a professional setup on the guitar. Depending on the store you bought it from, they may have someone who can do this, or may be able to recommend someone. It is possible the string action is too high, requiring excess force to fret it. If you are used to playing electrics, the transition to acoustics is not always easy, since electrics generally use much lighter strings. It may also take several weeks of playing, say, at least a half hour per day, to begin to develop the type of fingertip calluses you often need to fret some acoustics. The J-200 strings from Gibson used to be the same strings as the Gibson Masterbuilt Premium strings, except for a silk winding near the ball end.. They may be different today, and someone here may respond in more detail. The setup is a good place to start in any case. It can make all the difference in the world to playability. And welcome to the Gibson acoustic forum.
  18. Agree. I would probably use an X-Acto knife with a fresh blade for this, so you can scribe a "break line" if it is actually excess finish. I also have a headband magnifier for this type of work. Probably start with inspection with a high-power lens to try to confirm what is happening. As Em7 says, don't try to pop it off without closer inspection and scribing where you want it to break when it pops off.
  19. Welcome to the Gibson acoustic forum, a place where people discuss some of the world's best acoustic guitars. We hope you enjoy your time here, as well as the lively discussions. Many of us here own both Gibsons and Martins, as well as other guitar brands. Sorry you seem to have had such a poor experience with people who work on acoustic guitars. If you let us know where you live, we may be able to point you to a shop, repair person, or luthier with the appropriate skill set and level of experience.
  20. If it's made of wood, it will be impacted by changes in humidity unless it is completely encased in an impermeable membrane , such as epoxy resin. This goes for conventional acoustics and acoustic/electrics, semi-hollowbody electrics, and even solid-body electrics. Obviously, the more pieces of thin wood are involved, the greater the risk of damage is from changes in humidity. A solid-body electric like a Strat will be less affected than an ES-335, which will in turn be less impacted than a J-45. I treat all my wood guitars the same. They live in their cases in an environmentally-controlled space, which is my office at home. My only true electric is a '59 Historic ES-335 from the old Custom, Art, and Historic shop in Nashville. The only guitar I own that doesn't care about the climate or humidity--and is treated accordingly-- is my Composite Acoustics carbon fiber guitar, which lives on my boat in the summer and often in the overhead bin of airplanes when I travel for work. Wood shrinks and expands the greatest across the grain, and typically very little along the grain. As a frame of reference, a freshly-cut white oak plank a foot wide (300mm) and two inches thick (50mm) will shrink about an inch (25mm) across the grain when it is kiln dried, and slightly less with air drying. ( That info comes from my years in boatbuilding.)
  21. Well done, Really nice changes, thoughtfully executed.
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