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rustystrings

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About rustystrings

  • Rank
    Advanced Member
  • Birthday August 28

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  • Gender
    Male
  • Location
    Greenwood SC
  • Interests
    Acoustic guitars, songwriting, fixed-gear road cycling over dirt roads

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  1. If you widen the net to go back to c.2000, you get a couple more LG-2 variants, and I'll get to them as I go along ... Between my schedule and my location I haven't been able to go out and try any of them, but I have read everything I can find online about them and have pored over many, many YouTube videos, Soundcloud recordings, etc. The Americana and the new 1942 Banner both feature Adirondack red spruce - and I am a heretic and still wonder if Gibson really used Adirondack red back then, or if they used the readily available Michigan white spruce that was right at their doorstep. I'm
  2. Not live, but intimate studio recordings that are the top of the heap for me - Baden Powell, Baden Plays Vinicius - https://music.apple.com/ca/album/baden-plays-vinícius/977399394 - this is either the last or next to last recording he did, an instrumental last run through music he composed for Vinicius de Moraes lyrics c.1966. Baden's voice, which had been getting frailer, is absent here. It's just him and a very close-miked Anibal Crespo classical guitar, and he'll rip your heart right out with the emotional twists he gets out of it. Listen to this through headphones. "Valsa Sem Nom
  3. Really lovely, heartfelt rendition! Thank you, and thank you for playing the LG-1 - my introduction to Gibson acoustics was my best friend's early '50s LG-1 that his mother had bought while a student at Mercer University. Whenever I hear one, I flash back to Macon in the late 70s - thank you for that, too!
  4. I had one of the round hole variants that was full of additional holes when it arrived - someone had chopped out a hole for a pickup and fitted volume and tone pots, and then had a big chunk broken out of the side where an output jack was fitted. I had it patched and repaired and refretted. It's one of exactly TWO guitars out of the hundreds I have owned that I still regret letting go of. It had the most incredible percussive WHOMP, straddling a line between a conventional archtop and a J-45. I remember using it to accompany a singer, without amplification, in an old cinema converted to a
  5. It DID go well and was fun! The actual musical performances start about 14 minutes or so in - be advised that for some reason the volume seems very low to my ears! Anyway, here's the link to the actual show!
  6. I switched over to John Pearse Pure Nickels in 2014 and never looked back. The best recording of these strings I have would either be this livestream I did back in April using a Tascam iM2X mic through my iPhone, or the actual guitar playing parts on the Square on Air episode I did in July - for that, skip ahead about 17 minutes or so, or just scroll past the interview bits for the other songs. The guitar is an '05 J-45 Historic Collection, played in my usual brutalist bareknuckle fashion ...
  7. There's always Ray Wylie Hubbard as an example of the great second act in life - though I keep reminding myself that one of my very favorite albums ever is Vinicius de Moraes and Baden Powell's 1966 Os Afro Sambas. Vinicius was in his 50s when they cut that one. Breaking away from the pop music world's adoration of adolescence and the youth culture is incredibly liberating, at least for me. I played a 6 songwriter guitar pull last night that was done as a livestream, and my stuff was ... different. There was a rocker, a pop songwriter girl, an indie rocker and two country singer/song
  8. I am honored to get to share the stage of the historic Abbeville Opera House with five of South Carolina's best rising songwriters this Wednesday (1/27/21) at 7:30 p.m. EST in a livestream hosted by Hometown Hodges. Here's the link, and I hope you can make it and enjoy the show!
  9. I had a rattle for a while with my '05 J-45. It turned out to be a loose white plastic button on the stock Kluson style tuners, which drove me nuts until I tugged on it and it popped loose. A little Krazy Glue and 10 seconds of pressure and it's been perfect ever since.
  10. I'm a sucker for John Pearse Pure Nickel .012-.054s and would recommend those highly. Slightly less tension than the comparable Phosphor Bronze, and they don't hype or color the sound the way some other strings do. They work wonders on my J-45 and I wouldn't hesitate to run them on a smaller guitar in good condition.
  11. All of the LGs, B-25 and the F-25 have the same scale length with the exception of the LG-2 3/4, which is a completely different beast. The F-25 is an oddball in part because it was built according to folk revival recommendations that one start out with nylon strings and then go to steel. It also is closer to the original conception of these guitars, which are all descendants of the GS (gut string) classical guitars of the immediate pre-WWII period. They're true grand concert guitars, the equivalent of a classical guitar or a Martin 00. I have a great weakness for the LG-2; of the l
  12. The ONLY guitar out of the hundreds I have owned and let go of that I still miss to this day was a 1960 LG-2. The LG-2AE is a special guitar, even if it does look like an LG-2 with a prewar headstock, and every one I have heard I have liked. They remain at the top of my list of guitars I would like to buy to accompany my beloved J-45, possibly even ahead of the newer, more expensive ones brought out this year.
  13. Looks to me like someone put a coat of finish of some sort on the fingerboard - I would be tempted to gently scrape the board clean and polish with a little mineral oil to condition it.
  14. First off - that crack worries me, because the last time I had a Gibson with a crack like that it was a 1950 J-45 that had gotten hot enough for the glue to fail and allow the neck block to pop free internally on the treble side. That particular guitar (which had been professionally refinished before I got it) had 24 cracks in the top and back as a result of that. In the case of the guitar I had, which I essentially got for free, it was worth spending $500 in 1994 dollars to have the neck removed, all cracks fixed, neck block mounted properly, neck set and refret, etc. I think it's an L
  15. I think I can relate. I got out of the vintage world for the most part when the prices started getting crazy and I realized I felt like all my old guitars owned me more than I owned them. So I thinned the herd and settled on a shiny new Taylor 815C as my primary instrument. It worked well enough, and life moved on, and when vintage guitars came my way I usually only bought them when I knew I could flip them. That was a useful skill during the years when our children were young and we were living on a tight budget. But right before the children, I encountered my current guitar, just a
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