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Old Neil

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About Old Neil

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  1. Old Neil


    Consistently really good guitars those 2012-now D-18's. Haven't played a bad one. Congratulations.
  2. I'm in a similar position to the OP. Have had the pleasure of owning many fine Martins over the years including several custom orders and 40's series. However, today my three acoustics are all Gibsons: A particularly great J-45 standard with a few changes made by my favorite luthier; A custom shop, 12 fret AJ; A Hummingbird Vintage (the one with the 'cooked' top). They all have a tonal function and dovetail really well on recordings where the Martins were harder to tame. Each have their own character to sit and play with to and different song inspirations seem to come out of each of them.
  3. I made plenty of changes to an already stellar new J-45 (at the time. Bought in 2014). Had a trusted luthier take out the electrics, change the saddle to a compensated bone ivory (no, not actual ivory...) and install some pearl-headed oval Waverlys. All improvements on an already great original. It's a keeper.
  4. For me it comes back to the old adage: “A good guitar is a good guitar” - and, in the reverse, a mediocre guitar is a mediocre guitar. The above is of course always in relationship to the subjective criteria of the individual. After owning a boatload of great guitars from all the usual main and boutique makers I am no longer impressed by specs/woods/bling or reputation. I’ve played holy grail vintage guitars that sounded just OK and squeaky new guitars that sounded incredible from the get go - and of course, the reverse. I went looking for a J-45 Legend a while back but wound up w
  5. SB Park: ”The AJ is super direct and in your face. Not the best strummer, but a killer flat picker, cross picker and finger picker, and little phrasings and embellishments really pop out. ” 100% agree with that assessment. That is exactly the niche my AJ fills between my J-45 and Hummingbird Vintage
  6. My favorite feeling is when I do something like the OP (play some high end and/or desirable vintage guitars) and think: ”Nice, but I like what I’ve got waiting for me at home more.” :-)
  7. Congratulations! A rarity. Glad to hear it lived up to expectations.
  8. Still fond of this image from my local guitar store when these two were still a dream. Now they’re mine (cue maniacal ’Bwahahahaha!’ laugh....) Enjoy your ’bird. I just put mine down to write this. :-)
  9. Haha! Cool, I’m based in Stockholm. :-)
  10. Well I can only speak for the particular example I own but I have alao owned many a fine Martin dread (GE’s, 40 series, customs) and my 12 fret AJ is the only rosewood dread I kept. It’s bass is very deep in a ‘vertical’ sense in that it is not as boomy/flabby or overpowering of the other string/note frequencies like on some Martin rosewood dreads. Capoing up the neck helps a Martin in that regard but the AJ is great either way. In double drop D (both E strings tuned down to D) it is a deep cathedral of haunting power and richness - without the definition robbing bass flab.m
  11. Thanks Lars, From memory, you are based in Sweden too, correct?
  12. RhythmDr.: I have played a fair selection of 14 fret AJs and of course own a 12 fret version. Differences from the standard model: Adirondack (red spruce) top Due to the 12 fret neck: The soundhole appears closer to the neck but not sure if this is actually the case) It’s listed as long scale but feels like a short scale guitar, especially compared to the 14 fret AJ Subjectively more comfortable to play than the 14 fret AJ Great deep, rich sound with pretty, articulate highs. IMO a wonderful guitar.
  13. Thanks guys. Learning to place acoustics in a busy-ish mix is something I am still experimenting with.
  14. Congratulations. Play it. Stick on a Tone-rite when you’re away. Repeat. :-)
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