Jump to content
Gibson Brands Forums

Dennis D near Milwaukee

Members
  • Content Count

    103
  • Joined

  • Last visited

Community Reputation

2 Neutral

About Dennis D near Milwaukee

  • Rank
    Advanced Member

Profile Information

  • Gender
    Male
  1. You're welcome,****. And here's another 'vintage' story - - all true ! I bought a '77 Les Paul Artisan in 2008 - - used but decent condition. I loved the look, and still do, but never played it, 'cause I couldn't get comfortable with it. I was too used to archtops. When I'd first gotten it, all the original gold hardware pieces were pitted, worn, faded etc., etc., so I replaced them with all new shiney gold pieces and it looked fantastic. I thought. But when I saw an archtop I had to have ( and would play ), I traded in the Artisan and all the original parts to a dealer for the archtop. Two weeks later, I see the Artisan listed for sale with all the original parts re-installed, and listed as ' all original, vintage vibe' etc etc. But glad you're not selling the instrument ! If you've found a guitar you like, absolutely hang onto it. And if you want to post pic's when you get it back, pls do. Dennis I
  2. ****, my opinion, leave it. The responses you've gotten so far have been correct and then some. The next guy will either love the mojo, OR, if you fix it and make it perfect, he'll find something else he can beat you up about regarding the price he'll pay. I agree completely with the reply that someone may even detract from the value because it's been re-done in some way. If you leave it, it'll basically age and match the other components as the guitar was originally built. Once you mess with 'as built', you can never be sure the next guy will agree with what you've done- -whatever it may be. Of course if it bugs the heck out of you, then it's your call. I'm not so sure the answer doesn't lie in water-based paints and laquers, which all manufacturers have converted to for environmental / compliance reasons. Water based vs oil base - -fewer VOC's but slower cure times softer finishes, different adherence properties etc etc..... Hope this helps. Again, MHO.
  3. No Steve, I traded it recently...If you do have any questions, I'll try to answer them..

    Dennis

  4. Just saw your post on the Gibson Artisan. By chance do you still have it?

    Thanks

    Steve

  5. Not uncommon at all......It will settle in, and have to be correctly set up. It was a good idea to take it to the store. Now - do yourself a favor, do your son a favor and do the guitar a favor: Find the go-to luthier in your area where the pro's take their guitars...Trust me, they don't go to stores for the string-changer.....go to a gig, or two, or three, talk to the pro's, and ask them if they could recommend someone........they have a luthier who probably works out of his home, and all the local pro's know him....so, find that guy, and when you do, you'll understand after a while what they do, and how invaluable they can be...... MHO of course....
  6. Your comparison doesn't surprise me a bit, and I mean that in the best way ! I looked into having one built by Marc, and if I lived closer to a dealer, I'd have probably gone ahead with it. Your Gibson model justifiably commands a higher price, but that having been said, anyone can do a lot worse than buying one of Marc's instruments. They -Campellones - are where you find them, mostly on the east coast. I think the sweet spot may be to find a used one that hadn't been played much - it'd be a great 'daily driver'. And check out his bio - - I think I read somewhere he began by taking apart an older L-7, so he'd have a better idea what made them tick ! Thanks
  7. Thanks Danny - I really didn't notice them, and as long as I didn't have to use the cranks, it'd be fine with me. We shall see, I guess....
  8. I can't remember if we plugged it in when we saw it at the show. My idea was it wouldn't get plugged in much, so as long as it had the wire at the bridge, w/ plug-in at the endpin, my luthier probably would have seen & repaired something like that it. Do the tuners turn normally, or do you have to use the cranks every time ? I'm still watching it.......still interesting and interested..... .....Thanks.....
  9. Absolutely !! I thought of that too - - the Howard Roberts oval soundhole. I was just thinking today - - if it'd had a round hole I'd have thought " Ok, nice, but I don't have to have it." But when I saw that, it just fit, and then that fingerboard, the color, binding etc etc. Everything just goes together. If I won the lottery I'd have someone build me one like that but with a 17 in. lower bout. And I don't think it'd look as nice even w/ a natural finish, and that says a lot. Somebody sure got that right !
  10. Danny That's interesting, and makes sense. I myself can't be without a strap now. I do have some questions, please: Do you agree w/ the comment that it seemed to sound better to the player - unamplified - than it did in front ? Could that have been a function of the oval soundhole, which I've always liked ? And how do those crank tuners work - do you open the crank part, tune it and then set the crank part back to lock it down, and or can you use it like a regular tuner ? Never had those and would rather not. Did you like the sound amplified ? Needless to say, I do know where it still is, and it keeps calling me. Thanks for any info and suggestions . Dennis
  11. I got into the habit of always using a strap - even seated. I've used a 175 and L-4 since the '60's ( 16 in.), & then L-7's @ 17 in. ). No issues ever. The only time I had arm /shoulder soreness was with a Les Paul. After 30 plus years w/ the 175, I never got used to the LP. I am over six feet tall, w/ long arms, and that guitar made my arms seem even longer. Never could get comfortable with it -- and I tried everything - with a strap, without, seated, left knee, right knee. Finally traded it for another archtop. Otherwise, if you're not using a strap all the time, FWIW, I believe in them. MHO Dennis
  12. Man, that's gorgeous ! I always play seated, but it was still a little cumbersome, although I could live with it. My ( pro player ) friend and I figured that's where the good bottom-end came from. When we were alternating the playing - listening to it, someone noted it sounded better to the player playing it than it did in front of it. Interesting... But that neck and fingerboard - - absolutely to die for. Bottom line - - I now wonder how many other surprises from Gibson I may find. I'm thinking they may very well have built my ( next ) dream guitar some time in the '90's - - like my L-5 Reissue, or that 200 year Anniversary SJ from '95. I had better keep my eyes open I guess !!!
  13. I can relate to the 16 in lower bout. My first archtop was a 175, then /now an L-4, and a '30's re-issue L-5. I really think the real moral of this story is to keep looking for those 'one-offs' Gibson made that the rest of us never heard of - like these Western Skys. I was told they only made six, but can't verify that yet. The colors were honeyburst or solid white.
  14. Just saw one of these at a guitar show today. ( Honeyburst ) Talk about gorgeous! I did see some posts and replies here about them, but not much info. Any info appreciated. Played like a dream, a ton of low-end bark, and probably the best fingerboard I'll ever play. Sure wish it weren't 18 in. at the bottom. Thanks..
  15. I left dowel vs pad decision up to my luthier, and when I dropped it off, I left him with the sticky back felt pads,knowing he already had dowels and had used them. The pads come in 1/2 in. x 3in. strips, which can be easily cut. So I got it back and now it's set!! He added three pads, stacked w/ varying heights, equally spaced on the guard,to keep each snug against the top. I guess no dowels this time. The pads can be cut easily enough w/ a razor. I know they were a good idea 'cause he said he was keeping two for his stash. Thx. again.
×
×
  • Create New...