Jump to content
Gibson Brands Forums

zombywoof

All Access
  • Posts

    9,274
  • Joined

  • Last visited

  • Days Won

    8

Everything posted by zombywoof

  1. I guess I am one of those who scratches their head in amazement that acoustic bodies do not distort more than they do. But based on what I have been told by a couple of repair guys what makes modern Martins more prone to needing neck resets early is the factory goes with more conservative shallow neck angle. If you look at Gibsons, particularly a model like the J200, the neck is on the verge of being overset at the factory in this case to compensate for the distance between the bridge pins and the saddle. Then again I don't build them I just play them. Just what I have been told.
  2. Cool. I have a 1930s Schmidt-made Galiano but it is a jumbo with 14 frets to the body and a solid headstock.
  3. If I have a default bridge pin they are unslotted ebony. Main reason though is I have a bunch of them laying around as folks gave them to me when they switched to bone on their old guitars. So I have a pretty good supply.
  4. I agree. I bought a set of the Antique Acoustic pins for my '32 L1. Still need to get a set for the '42 J50. I am also planning on buying a set for my wife's 1960 J200.
  5. About two weeks back I got to play some newish Gibsons - a couple of J45s, a J200 and a Keb Mo Signature. And there I was without a inspection mirror, light or anything. Drats. Only thing I had to go by was sound and feel.
  6. Bwahaha. The repair guy I used before I moved might have opted for ammo. His shop was in a shed next to his house down a couple of miles of dirt road in the middle of nowhere Missouri. The one thing you quickly learned was to not drop a guitar off during turkey hunting season. Chances of him getting to it quickly were slim and none. But I have heard vintage Martin guys call him "Doc." He restored my '42 J50 and believe me it was worth the wait.
  7. As the "repair guy" apparently owns the guitar no customers were harmed in the making of the video. But I would hate to see the reaction if he had gone with a kamikaze/kitchen neck reset. if I were a customer though I might very well be wanting to find another solution to making a guitar which used sells for as little as that model playable. Knowing that you will likely end up underwater on a guitar when you factor in the cost of proper repairs is not an act of sanity but one of love. Believe me I know. As I write this my 1965 Silvertone 633 is in the shop for a neck reset.
  8. Kluson closed up shop in 1974. So after Gibson and others used up their available stock that was all she wrote.
  9. I would say it was a bit heavier than the Indian rosewood body guitars in the place but not enough so that I took particular note of it. Certainly lighter than my wife's 1960 J200 which we had with us at the time for a "health check" as the bridge plate is starting to show some wear and tear (for which the solution apparently is to go with unslotted bridge pins).
  10. This was a first for me. Not only had I never heard of Katalox I apparently could not even pronounce it correctly. They told me the wood was known as Royal Ebony. It was at Lay's Guitar Shop. While mainly known since the 1960s as a repair shop (it is where Joe Walsh's Les Paul which went on to become Jimmy Page's No. 1 was modified) they now also have what they call the Loft where they sell guitars. There is the "normal" room which has your assortment of mostly newish Taylors, Martins, Gibsons (they had a '57 J50 and a more recent J35, Keb Mo Signature, and J200) and the "booteek" room with small shop offerings like Santa Cruz, Bourgeois, Bedell, and Huss and Dalton. Anyway the guitar was a Huss & Dalton Custom DM with a baked Sitka spruce top, Katalox body and maple binding which the shop owner had ordered in. While I obviously cannot swear it was the body wood alone this is thing had a sound you could immediately get lost in. Sent every other guitar we tried running for cover. So just curious if anyone else has gotten their hands on a guitar with a Katalox rim and back.
  11. I am also not a fan of what passes for firestripe these days. That one on your L00 though is one of the better ones I have seen.
  12. As to impact on sound we removed a second pickguard which had been installed on our old J200. No difference any of us could hear. Then again maybe if we had dog hearing. My '42 J50 has a slightly oversized scratchplate. It was done to cover a bit of damage to the top occasioned when some member of the brain trust in the past had removed the original. Also coincidentally tomorrow I will be making a run to the repair guy to have among other things a new pickguard made for my L3. I have the original but alas it has a tendency to turn metal parts green.
  13. Again, Acousticmusic.org hosts a nice collection of Gibson catalogs from the early-1900s though the late -1970s. They also have catalogs from Martin, Epiphone and others, If anyone wants to take a gander . . . Catalogs - Acoustic Music
  14. I am sorry but I draw a distinction between a knock off and a counterfeit even if it be an extremely poorly done one. But I do get the motivation to roll the dice in the hopes that there is a possibility it might in fact be the real deal.
  15. I ran across a J55 with the stairstep headstock about five or six years ago. While I do not recall the particulars it had a price tag of around $9K. Was I interested? You betcha. Was I about to lay out that kind of scratch on a guitar even if it was a good deal? Not a prayer.
  16. I never thought of an L-00 as a "small" guitar. My '32 12 fret L1 though has a sound you can get lost in. It has a hair trigger response and a looser more wide open sound to which is added a parched dryness and certain clarity which seems to come with age. The other night I ran though Robert Johnson's "Love in Vain," MS John Hurt's "Spike Driver's Blues" and the Stones "Honky Tonk Women" all of which I play in Open G6 tuning. If that guitar could talk I swear it would have yawned and asked "what else you got." As to the dreads/jumbos I have four which I play regularly - a 1942 Gibson J50, 1956 Epiphone FT79, a 1969 Harmony Sovereign H1260, and a 2013 Fairbanks Smeck. Each has its own voice and personality. But that is the fun of it in seeing what you can pull out of them. It just may take a bit of time for muscle memory to kick in.
  17. Hey, if you have reached a certain age it is not mean but just eccentric. I have already responded to this poster on another forum so no point in repetition. But while I do not know about the rest of you it took me many years to figure what what sound worked for the way I approached a guitar. And for me it was easier than it is today as when it came to a "good" guitar there was really only Martin, Gibson and Guild. Plus you did not even have to factor in stuff like whether the guitar if say a Gibson has wider angle "Vintage" X brace or the narrower standard X brace. When I started playing the standard Gibson bracing was the shorter non-scalloped X with a narrower angle. Unless you bought used it was all you could get. In the end though I made peace with Gibsons precisely because they did not have the after strum resonance I heard with particularly Martins. To my ears that is all about the low end which drops off and quickly gets out of is own way. Works for me real well, Does not mean it works for the next guy though.
  18. I thought the nut width of the L-00 Studio was the standard 1.72". Anyway, assuming Gibson sticks with the usual spec for the string spacing at the bridge I would expect it to be 2 3/16". The L-00s built in the 1930s were generally 2 3/8" although specs were not exactly written in stone back then. If I recall the L-00 Legend shared the same specs as the originals.
  19. My eyes really suck but are those cracks running down from the edge of the fingerboard to the soundhole? While it could be a fig newton of my imagination, if so, determining whether the guitar is legit or not takes a back seat to a possible condition issue which may or may not have been properly fixed. As to whether the guitar is the real deal or not others would be far better able to help you when it comes to Bozeman-made guitars than me.
  20. About all I can say which sums this one up is Lawdy Have Mercy. That guitar could not have found its way to a better pair of hands than yours. OK, so unless you are waiting on the answer to whom made the call to place the logo from the strings on the headstock, how much more do you need to come out with Kal Gals Mach II.
  21. While I was lucky to pass a Chemistry test in high school I have always thought of it as a matter of time and vibration, As wood ages it loses some of hemicellulose through evaporation while the vibration causes the wood grain to become more flexible. Pretty much these two together are generally referred to as the grain loosening. While I often hear exaggerated claims of guitars sounding dramatically different after a month or two this process generally takes many years for a guitar to take on that parched dryness and hair trigger response associated with old instruments. While you can lock a guitar away in a closet and the wood will continue to dry in terms of vibration think of it like a rubber band. When you play a guitar it is like stretching a rubber band. But the rubber band will then return to its original shape once you stop stretching it. But give it enough time and that rubber band will lose its elasticity and "loosen" up.
  22. While it is wise to stick with strings no heavier than 11-52 on the Harmony as they are prone to bellying I would not lose a moments sleep stringing a 1940s LG1 with 12-54 gauge. The only Gibson I own which I will not string with anything heavier than 11s remains my 1932 L1 which is a scary light build.
  23. Gibson would not only build you a leftie upon request but any style with either a tenor or plectrum neck.
  24. The venerable Kay K1160. These and the Harmony Stella defined "entry level". If you were on a really tight budget you could snag the Old Kraftsman version of this model in the Spiegel catalog for around $10.
  25. It looks like Gibson is using a reverse kerfing in these models rather than the traditional triangular lining. This style of lining adds stiffness. This combined with the plastic rim around the sound port may be Gibson's way of strengthening the sides. Normally with sound ports you will see something like a laminate patch used to ensure structural stability. By the way how many tone bars does your WM45 have? Only reason I am asking is I owned a WM-00 and it only had one tone bar. Definitely a WTF moment. Apparently though the WM45 is the only one of the four models in that line Bozeman made in any kind of numbers. I have yet to actually see a WM-185 in the flesh.
×
×
  • Create New...