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zombywoof last won the day on September 2

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About zombywoof

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  1. Pictures are not necessary. The answer is nope. I have always ended up having to replace it. The only guitars I own that had binding issues though were two 1950s NYC-made Epiphones due to shrinking and off gassing.
  2. Sound is subjective and for whatever reason you like the sound of one guitar better than another. The major difference between a Standard and a TV though is the bracing. One has rear shifted and the other forward shifted. And both have their fans.
  3. You have got to be talking about the B25-12. My B45-12 has a 2" nut albeit with a neck with a similar carve to the Folksinger which I also still find a bit shallow. Baby ain't got no back.. But that humongous headstock still looks precariously placed. As you and I both have found out, sending a guitar to Gibson for repairs was not the best move on the planet. Not that the repairs were not done well but if they replaced anything they used current stock parts not what had originally been on the guitar. Then again, Martin used to overspray every guitar they got in the shop so it went home looking nice and shiny.
  4. So you and I are the same age. Ain't it the truth about 1950s necks though. The neck was the main reason I traded away my '57 CF-100E. Much slimmer than I expected. I just crossed my fingers that we would learn to coexist. But then I recently played a 1959 CF-100 (the last year they were built) and the neck was noticeably heftier.
  5. I recall being told that the early Doves were lighter built to compensate for the heavier tune-o-matic bridge. I also recall being told you had to keep an eye on the top which could warp. At the time it made me wonder if Gibson went the same route with the J-200 in 1961 but then quickly thought better of it and added that nasty floating brace screwed into the center of the X brace. Has anybody else heard this about those early Doves?
  6. Interesting as my experience has been the skimpiest neck carves were on 1960-1962 Gibsons. They got a bit beefier in '63 (although nowhere near as the 1950s neck carves) but then got slammed with the narrow nut sometime in 1965. Then again, it is just an impression.
  7. I prefer Newtones (both PB and Nickel). Problem is I now have to order them from the factory in England which requires some thinking ahead which is unfortunately not one of my strong points. Other than that I agree with the daddario nickel bronze strings, The only coated strings I have been able to live with are the Cleartone Hybrids. Not cheap but using different metal wraps on the different strings does seem to work.
  8. To start, the 1930s L00 had a larger lower bout (in between an 00 and 000) than a LG2 , were lighter built, were initially 12 fret and later 14 fret guitars, and had V necks.
  9. Oooh, that is a major ouchie. . A couple of years back I picked up a 1965 Silvertone 633 Sovereign with the headstock snapped clear off. I was lucky in that it was a clean break so was able to repair it fairly easily. Need, as you know, has nothing to do with it. I did not need either the WM-00 or the Kay. It was one of those life is what happens when you are making other plans things. As both popped up close to home and neither made me dig too deep in my wallet, I figured they were gift horses and you know what they say about those. I do not own a Bozeman-made L00 and have not played one in quite a while so would be curious myself to see how the WM feels and sounds when played side by side with an L00 Standard. More than likely though, Gibson had to name the guitar something and the lower bout width was closer to an L00 than anything else so a wave of the wand and you have a WM-00.
  10. Time to fess up. The WM-00.was only the first of a two guitar week. I debated about whether to post it here but I figured if nothing else it was good for my image as a lover of the cool and the crazy. Looking at this one, I am obviously going through a round bottom phase. This is one of those guitars with no model number or model name so is a whatchamacallit. The logo on the headstock tells you it is a Stadium which was put there by some distributor ( likely Bruno) and not the builder. Although I was told it was Harmony-made, the first look told me "this is no Harmony." This one be Kay-built. The headstock not only told me what factory it rolled out of but it happened sometime from 1938 into the 1940s. A big old 17 1/8" lower bout archtop. Solid spruce pressed top with maple laminate back and rim. Maple neck and ebonized maple board. The narrow waist and gypsy jazz-ish oval soundhole pushed the cool factor to the max. Best part is that the guitar had a recent neck reset and some other repairs making it good to go right out of the starting gate..
  11. Chicken picking should come easy to me as I rely mostly on my thumb and middle finger rather than the first finger which I use far more sparingly.. Or so you would think. I do not know whether it is muscle memory or what but I am at y best when there is no thinking (at least that I am aware of) going. on. A while back I was sitting around playing Hot Tuna's "Mann;s Fate" when somebody pointed out that on the fast single string runs which separate the verses I played every note with a finger upstroke. I had no clue I was doing that.. But as soon as I tried to play with both down ad upstrokes I was stumbling all over the place because I was thinking about what to do next.
  12. I have also been attempting to get the hang of hybrid/chicken picking. I just like the sound.. I have never gotten the hang of a flatpick but a friend of mine who owns a local music shop has been helping me out whenever I stop by and he has some time. The physics of it (or whatever you call it I) are simple enough. But old stylistic habits die hard and I always end up just going back to my same old used to be way of fingerpicking.
  13. We also tend to evolve and that will be even more pronounced with you as you have not been playing long. Tastes change. Then add to that the age factor which when it sets in sometimes means hands work better with say a different neck carve. My particular downfall is a combination of the cool factor and a curiosity about what I can pull out of a guitar. . I figure if the initial investment does not hit me hard what the heck. Right now I am being haunted by a late-1930s Kay archtop I ran across last week. No, I do not need it especially after having just snagged that WM-00.. But at only a couple of hundred bucks, that big 17 1/8"lower bout and early Gibson-esque oval soundhole may just end up being more than I can resist. Figured I would leave it up to fate and see if it is still hanging there tomorrow.
  14. No issues I can see with being fickle about your guitars. Your favorite being the one you ae holding in your hands at the moment seems right. Picking the top two for inclusion on my three six string guitar list is easy -my 1942 J50 and 1932 12 fret L1. The third one though is a moving target. One day it s is my 1955/56 Epiphone FT-79 while the next my 1956 Harmony H40 or perhaps my 1942 figure 8 Harmony H165 Stella. Ain't life grand
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