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Red 333

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Everything posted by Red 333

  1. Couldn't say it better. Red 333
  2. Gibson always uses hot hide glue to set necks. It is not always used on top or other braces. When it is, it is called out. Red 333
  3. Guitar and bass inventory of all types is low right now. Perhaps what I should have said was maybe Epiphone thinks a Rivoli will cannibalize sales of the JCB. If it doesn't result in more overall sales, the expense if tooling up for it may not be worth it. Casady sales continue to get more profitable each year as the investment in tooling up for it was made long ago. That keeps the price lower for players, too. It's virtually the only Epiphone product widely used professionally, so perhaps they want to ensure its continued use and resultant exposure in media for the good of the overall brand. I'm not saying that's good thinking or not, but having worked in corporate environments for many years, I can tell you that is certainly an argument a marketing exec would make. Epiphone had a Rivoli reissue planned five or six years ago. It was on their press site, but it was canceled for sone reason. Again, I'd love to see a Rivoli reissue. I'm only an occasional bass player, have a JCB, but would like to have a Rivoli just for kicks.
  4. I'd love to see a nice reissue, too. My guess is Epiphone probably doesn't think there's much of a market for a semi hollow bass outside of the Jack Casady (which is virtually the only modern era Epiphone one sees being played professionally with any regularity). Red 333
  5. I believe RANGH stands for Rosewood back and sides, Abalone binding, Natural top, Gold Hardware. Beautiful guitar. The early Masterbilts (those made in the first few years of the modern line, like yours) were exceptionally well made. Red 333
  6. When you were a kid, the jeans you wore were probably made from "raw" denim, the dark, stiff, shrink-to-fit variety that had been sold for a century, and could be worn just about as long. Since the seventies, though, most jeans sold are sanforized (preshrunk), and manually and chemically distressed and softened to take on the characteristics of raw denim jeans that had been worn for years. The process for aging and softening that denim has a huge environmental impact: jeans industry experts estimate that 18 gallons of water are polluted by five ounces of heavy metals (like lead, mercury, cadmium, and chromium) per PAIR. This has resulted in rampant river pollution in jeans producing regions of China and India. In the USA, we buy an average of four pairs of jeans per person per year. Five to six billion pair are manufactured and sold worldwide every year. Levi's latest campaign argues their jeans are well made so will last longer (so you'll need to buy fewer pairs of the polluting garment), but also the efforts Levi's has made to reduce pollution in their manufacturing processes, like using more sustainable hemp-cotton blends, and much less water and fewer chemicals to soften and age their jeans. Levi's is also actively selling pre-worn jeans on their website. How about that? Producing jeans using more sustainable processes is not only a Levi's initiative, by the way: about 35% of world-wide jeans production is now done this way, with some processes using as little as a glass of water per pair. And of course Levi's advertisings is targeted at young people. Who wears and buys more jeans, or has a more hyper focus on either the environment or their future? Red 333 Also somewhere in Texas.
  7. My guess it's that it is a business decision. If they made a reissue today with authentic vintage specs, they would not be able to justify a higher price in the future on an artist model with authentic vintage specs. Red 333
  8. The Elitist acoustics serial numbers all start with T, for Terada, the facility in Japan where they were made. All Elite/Elitist acoustics (and hollow body/semihollow electrics) were made there. The solid body Elite/Elitists have serial numbers that start with F for Fuji Gen Gakki, the facility (also in Japan) that made them. All Elite/Elitist guitars were made by one of those two Japanese makers. None were made in Korea. Red 333
  9. Yes. If you have an inspection mirror to look inside the guitar and under the top, you will see AJ (indicating Advanced Jumbo) on the bridge plate (with "short" for scale length). The bridge plate is a small piece of wood that reinforces the underside of the top where the ball ends of the string rest. AJ bracing was designed for the Advanced Jumbo reissue, and then much later employed on the True Vintage line (and is probably the defining feature). AJ bracing is wider than the other pattern of x bracing typically employed on other Bozeman made J-45s. You might also find the AJ designation on the two small popsicle stick braces on either side of the soundhole. Red 333
  10. Maybe yours is a reissue of a Banner J-45 that had a replaced bridge, lol (replacements often forgo the bolts and the pearl dots that cover them)! I believe (but it's impossible to know) that all Kalamazoo made J-45s had pearl dots to cover the mounting bolt holes in the bridge, as use of the bolts seems consistent throughout the years of production there. Except for a few short years in the nineties, Bozemam did/does not use bolts to mount bridges on the J-45, adjustable bridge models excepted, so the dots (which functioned to cover said bolt holes) were mainly a cosmetic nod to tradition. Bozeman has built many J-45 models over the years, and I don't really know if they eschewed the (non functional) dots from time to time. Wait, I do know of one model--yours! Maybe some other J-45 owners will chime in if they have a dotless bridge. Red 333
  11. That used to be the case with Kalamazoo made J-45s. Not with Bozeman-made models, except for a brief two or three year period in the nineties. Red 333
  12. If memory serves, when the True Vintage line was introduced in 2007, the J-45 had a sitka top as a standard feature. They also released a special run that year with adirondack tops tops, however, so your 2007 could have either. In 2008, Adirondack tops became standard (while the Southern Jumbo retained Sitka as the standard). Besides the bracing. other features that distinguish the J-45 TV from the J-45 Standard of that era include the script logo and Banner decal on the True Vintage; the Standard had a peal inlay modern block logo. The True Vintage had strip or single white button tuners; the J-45 Standard had Grovers . The True Vintage had an orange label (some said True Vintage, some TV, and some simply J45); the J-45 Standard has a white label. The True Vintage had no serial number or "Made In The USA" impressed on the back of the headstock; the J-45 Standard did. The serial number is on the orange label and the neck block on the TV. The True Vintage may have had a Custom Shop decal on the back of the neck. The True Vintage headstock is the more slender vintage shape; The J-45 Standard had the modern shape. The True Vintage had bone nut and saddle; the J-45 Standard had Tusq. I believe both The True Vintage and Standard of that era had Honduran Mahogany sides and back. The neck profiles were both slim taper. Red 333
  13. I have a James Bay Century that came in the grey repro 50's/60's case with the blue interior. I don't fancy much the texture of the exterior, but it's a well made case. I don't think you should worry about that. The hardware is nice, it latches easily, and it seems solid. I like the welded construction of the seams on the exterior covering. I have cases from Gibson Custom and Gibson Acoustic (so TKL) that have all these little dangling threads coming off of the exterior material's seams, or else the material is lifting off the body of the case, so that is a welcome construction detail. The grey case's interior seems to be a good compromise between the extreme plushness of some modern cases and the Epiphone cases from the fifties and sixties which inspired the look of these cases, but were even stingier with the padding. I have a Gibson Legend 1942 J-45 , which is about as spendy as J-45s go, and it came with a repro of a 1942 case. For the cost of the guitar, you'd think it would come with something better than what amounts to a chipboard case, but it's true to the original, like these grey, vintage-inspired Epiphone cases. Red 333
  14. Yes. My Legend has the two pearl dots.
  15. Is it an Elitist or standard production model?
  16. Made my morning, Sal. Love your harmonies, and the Epiphone IBG Himmingbird sounds terrific in your hands. Red 333
  17. If I lived near Asbury Park I'd go see some solo Sal as often as I could. Red 333
  18. Whether your new Epiphone Masterbilt Hummingbird satisfies is up to you, Sal, but if my past experience is any indication, I don't think you will find a Masterbilt not well made. I have several of the earliest incarnations, from 2004-2006, and they display excellent workmanship, are made with very good materials, sound and play great, and were a tremendous value (the early ones all included a terrific light weight case). If your bird is anything like those, I think you will be pleased. Maybe even happily surprised! I thought the guitar in the demo Em7 posted sounded pretty good. Warmer than the Gibson bird, but that could just be strings or even mic position. Anyway, let us know what you think once you've had some time with it. Red 333
  19. Yeah, WTF is this guitar? I've never seen one with those inlays.
  20. From what I have learned, the first year ES slimlines like the Gibson ES-335 (1957) were 3 layers. 1958ish and on were 4 layers. They bacame 3 layers at some point (maybe on the move from Kalamazoo, but I don't really know). I *think* Kakamazoo Epis were all 5 layer, as they were built separately from the Gibson ES guitars, though in the same physical complex. The Pac-Rim Epis all seem to be 5 layer, except for the Joe Bonamassa ES 335, which was 3 layer. Are you sure about the Elitist? I seem to remember looking at my John Lennon pair (the 65 and the Revolution) and if memory serves they were 5. I will go look at them and the Elitist this afternoon...). I also know counting the plys can be a little confusing because the top finish, especially if it's a color and not natural, can be mistaken for a ply. I guess none of this really matters because there are great sounding ES type guitars made in every era and with all different numbers of plys (just as long as the total thickness of the plys is not so great as to dampen the top too much)! What a trip to read through this zombie thread! We had some excellent exchanges back in the day! Red 333
  21. For many years, and until the last four or five, most imported Epiphone acoustics were long-scale. Not only that, the bodies of the slope shoulder models (like the JL EJ-160e) were also differently proportioned to the Gibson originals. The Pac-Rim manufactures (who were contracted by Epiphone to make guitars for them) were adept making affordable Martin style and proportioned acoustics, and simply softened the shoulders of the long-scale dreads they made to produce an inexact Gibson slope shape. To change the body shape and scale length more would have required a bigger investment than they were willing to make, given how much the guitars sold for. If you compare waist of many such Epiphones to the equivalent Gibson model, you will see the Epiphone's is much wider, like a Martin dread (or a Gibson square-shoulder dread, like a Hummingbird, which itself is a copy of a Martin). In the early 2000's, Epiphone opened their own factories in China that they had full control of. While initial slope shoulder acoustic guitars that came out of those factories had the same hybrid Martin/Gibson dread shape they had for years, Epiphone slowly made changes to bring specs more in alignment with Gibson models. About four or five years ago, Epiphone did change the body proportions of the EJ-160e, making it much closer to the Gibson bell shape, and changing the scale to the traditional 24 3/4". Now Epiphone seems to be bringing the specs of their acoustic and electric guitars even closer to the Gibson models they emulate. While the guitars they made in the past are by no means bad and should be evaluated on their own merits, new models are more easily comparable to the Gibson models they emulate, and may usher in a new age of good quality and affordable instruments. Red 333
  22. Your guitar neck is constructed with what is called a "stacked heel"--the heel is made of several pieces. It looks to me like the piece closest to the back of the body may not have been planed as to fit to the body just so, or perhaps the channel for the binding (the groove the white plastic stripe fits in) was imperfect, or the groove was ok but the width of the binding itself is not consistent there. Any of those things could account for that slight gap (given that it didn't just suddenly appear). It's also possible that that piece of the stacked heel shrunk slightly, resulting in some separation there. In any case, the neck is attached to the body with a v shaped dovetail joint. If that joint is good, it's relatively unimportant a bit of the perimeter of the neck has a slight gap. If the action of the guitar has changed and can't be remedied with a normal set up, and that gap is indeed a new phenomenon, then maybe a neck reset would be in order. In that case, get it checked out by a good local luthier who can evaluate it. If not, then it's likely more or less just a cosmetic rather than important structural flaw. Good luck. Red 333
  23. I believe it's been gone for several years, at least. Red 333
  24. 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
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