Jump to content
Gibson Brands Forums

Red 333

All Access
  • Content Count

  • Joined

  • Last visited

  • Days Won


Everything posted by Red 333

  1. I believe it's been gone for several years, at least. Red 333
  2. Yup. I have a solid topped Standard and a Sixties spec model with laminated top and adjustable bridge. I play the Standard a lot. It's not the most resonant of my slopes, but it has a very tight, muscular sound. I believe the way the bridge is relocated closer to the soundhole due to the neck joining the body at the 15th fret (instead if 14th, like a J-45) accounts for that. And for that reason, too, I think it has the most Gibson Thunk of any of my guitars. And it's dang cool looking. I wouldn't call it the traditionally best sounding of my guitars, or even my favorite, but it is distinct. I can see how the Standard might be a great recording guitar (not solo guitar, but in a mix) since it's rhythmic qualities are pronounced and it doesn't have as much bottom or as many overtones that could compete with other instruments. A much undervalued and unappreciated member of the Gibson family. Red 333
  3. Thanks to your post, I read up on them earlier. The Mean 90s do seem better suited to me. Thanks so much for your help and suggestions. Happy Thanksgiving.
  4. Thanks so much! Thanks so much!
  5. That looks fantastic. Very nice mods. Did those P-90s drop right in? I'd like to do that with an IBG ES-335. Red 333
  6. It looks fake, but more photos would let us reach a more definitive conclusion.
  7. When someone comes over and plays one of my guitars, I'm often astounded how much different it sounds from a listener's perspective than what I'm used to in the player's position. That said, I think these sound very nice, and represent a terrific value. They also sound different from the round and square shouldered all solid wood and similarly speced Masterbilts (which are also very pleasing sounding guitars). This leads me to think they are braced differently, and not simply the AJ500M and DR500M appointed with Gibson cosmetics. And though my experience with it was limited, this also seemed true of the Masterbilt J-45 (which the IBG J-45 seems near identical, save for the headstock design and rosette); it also sounded more Gibsony than the Masterbilt AJ500M. I'm looking forward to seeing and playing them in person to have a more informed opinion. But I don't see how anyone could go wrong with one of these. Nice job, Gibson and Epiphone.
  8. Plus bird's beak on the fretboard, two-piece neck with mahogany stripe, and a much more modest rosette (a good thing in my opinion)!
  9. The AMS printed catalog also shows an all solid wood Masterbilt Hummingbird. Red 333
  10. So glad you found one and like it. It's good to learn how it compares to the excellent original Masterbilts. I hope you enjoy it for years Red 333
  11. UK luthier, you are right. As you surely must know, it takes a lot of skill to work with hot hide glue, as there is actually less open time to get parts in place before it begins to bond and the parts can't be refit or rearranged as compared to synthetic wood glues. I was wrong to say to was more slow drying. It is less efficient in mass assembly though--especially when building a lower cost instrument, because not only would workers be required to be more skilled to use it, the entire building process would have to be more precise as well. Besides just being easier to work with (and less stinky!) some synthetic glues and even epoxies are used in factory-production guitar making because the builders can work faster and with less precision when cutting and joining parts. The synthetic glues and epoxies do a good job filling gaps without compromising the strength of the joint. Builders don't have to carefully sand braces to match tops, painstakingly fit necks to dovetail joints, etc. like they would when using hot hide glue. Joined surfaces have to be very precise for the thin hide glue to bond. Thicker synthetic glues bonds slightly irregular surfaces more easily so guitars can be built faster and for less less money. I guess in that regard, it's akin to using poly instead of shooting nitrocellulose to finish guitars; poly doesn't always require pore filling, is self-leveling, requires fewer coats, etc., so the guitar can be completed faster (and thus less expensively). Now, I'm not saying that all builders that use these kind of glues do so because they can take shortcuts and work with axes and butter knives. Not at all. Good builders like Martin and Gibson use it to gain additional open time to work on part positioning (as you pointed out) and more tonal consistency instrument to instrument due to well-joined parts without the incremental extra effort that hide glue would require. But you do see examples of synthetic glues used as gap filler on very low cost instruments, especially before the widespread use of CNC machines. When the modern Masterbilts were first introduced in the mid 2000's, they were advertised as having hot hide glue joined braces and necks. I don't know whether that is still the case. But Gibson certainly still uses hot hide glue for necks, and even braces and bridges on some models, and will occasionally build an entire guitar with it. Collings uses an "animal protein glue" (said to be fish glue) on some high-end models. Martin still uses it for the high-end Authentic series. Some smaller and boutique builders use it. But as you say, it's not often nowadays used, and when it is, it often comes at a premium. Red 333
  12. Delrin is a synthetic material similar to the Nylon 6/6 material that Gibson and Epiphone used for nuts in the '50s and '60s. It imparts a unique tone different from bone, as it seems to make for a softer attack and more snarl (at least to my ears). Since George's guitar is of that vintage, it makes sense to use it in order to best try to reproduce hs guitar's characteristics. I have a delrin nut on my James Bay 1966 Century, John Lennon Revolution and 1965 Casinos, McCartney Texan, and Gibson John Lennon J-160e. I believe the high-end Gibson Historic Les Paul reissues like the R59s, etc. have delrin nuts too, for historical accuracy. So as you can see, it's very common to use delrin on reissues of historic models from the '50s and '60s. It is often used on modern guitars with trem systems, too, as it is very slippery so doesn't bind. Red 333
  13. Yes indeed. I have mine. It's a fantastic guitar, and unique in the Gibson/Epiphone line up. Mine doesn't have a pick guard. I have a Gibson 12 fret Rosewood Stage Deluxe, too, and the cedar topped Epiphone holds its own with it. Enjoy yours! Red 333
  14. The long scale of the Texan surely accounts for some of that difference. Congrats on obtaining such a fine new instrument. I hope you get many years of enjoyment from it. Red 333
  15. Wow, Jeff! Your artwork is outstanding. I especially enjoyed the portraits and some of the scenes of everyday life in the town. Do you live in the Northeast on the coast somewhere? My favorites, though, was the series of the open windows with the curtains blowing. I would have liked them just on their own anyway, but they provided very fitting and effective visuals for the song. Your playing, of course, was excellent. What guitar are you using? It has such an interesting sound. Was it the archtop you painted? Whatever it was you made it sound great. Best, Red 333
  16. Nice. Love the back on that one. I hope it brings you many happy hours of playing. Enjoy! Red 333
  17. What a beauty. I hope it gives you lots of enjoyment. Congratulations! Red 333
  18. Looks great! And your right, the keystones are right at home. Hope you get a lot of enjoyment from it! Red 333
  19. Sunrise and sunset. Red 333
  20. If you haven't watched this yet, you should. It's terrific. Jeff's a great player and entertainer. Red 333
  21. Boy, that EL-00 Mahogany sounds so good in your hands. Fantastic playing. I really enjoyed hearing you sing "I'm Going Home." The EL-00 sounded great strummed, too. Red 333
  22. Wow, terrific playing! Nice arrangements, too.
  • Create New...