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  1. I’m not sure what the factory specs call it, but the white binding on many Gibson guitars over time often turns into an antique or off white shade, even turning into a cool looking yellowish white shade on many older guitars. That is not that unusual to occur, and may be why there are numerous different description of the binding color on acoustic Gibsons. FYI, Gibson natural tops often change color over the years. Sometimes darkening a bit with a cool orange’ish cast. QM aka “Jazzman” Jeff
  2. Vintage Guitar Magazine puts out an annual Vintage Guitar Price Guide book that updates used guitar price ranges depending on their condition. I have several year’s books in my possession, but unfortunately the ones I have are now really outdated. You might want to look up the Vintage Guitar Price Guide book on the internet and purchase one as a starting point to document the price range of your guitar (without the autograph). Or, perhaps someone has a current book in their possession to do a look up that they can share. Regarding autographed guitars, that might be more a matter of what the limited market may bear. For starters, many autographed guitars are often budget guitars promo items, not the actual instrument a performer played. Those are usually the ones in fundraising auctions. And have meaning to the owner, but no real collector value market. Then, there are actual instruments that it is documented that a performer who autographed or didn’t autograph it actually played on occasion that are not promo items. Then, there are the holy grail autographed or non autographed instruments that a performer is documented to have played in historical appearances. Those are the top dollar ones in the very limited marketplace of such collectors. Another thing you can try to do is call Gruhn Guitars in Nashville and see if they will give a basic price range value about your guitar without charging you for a photo appraisal. Or, you can try the paid appraisal route with them, but since you seem just to be looking for a basic price range, a paid appraisal may not be your route as the guitar is not a highly collectible instrument (unless it’s a rare autographed historic guitar and you’re not disclosing that here.) You could also try to call Elderly Instruments in Michigan to see if they’d give you a price range over the phone. I wouldn’t rely on personal opinion for the price range or value. Rather obtain a professional opinion through the mentioned book or mentioned guitar music dealers, as there is a collectible guitar marketplace. I hope this helps. QM aka “Jazzman” Jeff
  3. I assume you are tuning the A string up two frets (to be a B). And, that when you fret the returned string, it does no longer buzzes. If so, it likely is the nut hanging up a bit. If it buzzes when you fret the retuned 5th string it could be your saddle is slightly too low. But, if the retuned 5th string only buzzes in it’s open position, try loosening the string and seeing if there is any small burr in the nut slot making the string hang up or rattle that you can quickly/readily file away. I’ve also heard some say smalso try using a pencil to add a bit of pencil lead into the nut slot to making it a bit smoother in the a lot to prevent a string hanging up. Worth a try. I’ve never tried it, as I’ve just taken a very small file to Just quickly remove a burr if one occurs with one slide of the file. Another alt is of course as Leonard McCoy said to simply bring it to a luthier who can probably readily fix it. Keep us posted. QM aka “Jazzman” Jeff
  4. Enjoyed your music! Very interesting music, musical approach, picking, singing, rhythms, and guitar sounds. Thanks for sharing! QM aka “Jazzman” Jeff
  5. I stand corrected. I just went and tried my 1965 Epiphone FT 30 Caballero (the Kalamazoo Epi version of the LG0), measuring 41 inches and it does not fit into either my classical guitar’s case or my classical guitar’s gig bag. Unfortunately, that is what I was basing my info on as the Caballero’s body size is identical to the LG0 , LG1, and LG2. HOWEVER, and this is where I stand corrected. Just now, with the doubt you raised, I just went and tried my 1965 Gibson LG1 ( same measurements as a vintage LG2) and it DOES fit into my classical guitar case and gig bag. Snug. But, it fits. Why/how? I measured my 1965 Epi FT30 Caballero and because the Epi headstock is one inch longer than the Gibson LG1’s headstock, the Epiphone version of the same series of guitars makes it not fit into a classical case or gig bag. The Gibson LG1’s headstock, being an inch shorter, makes it fit the classical guitar case and gig bag. One of my classical guitars measures 39 inches in length, and a different one measures 40 inches, the LG1 (same as the LG2’s length) measures 40 inches, the Epiphone FT30 Caballero measures 41 inches. And, here I always thought the Kalamazoo made Gibson And Epi LG equivalents were identical. Apparently not. So I stand corrected. The LG2, like my LG1, and like your LG0 will fit a classical case or gig bag. i should have tried the LG1 rather than the Epi FT30 Caballero to test if the LG2 would fit. I didn’t anticipate that Kalamazoo made Epi’s Caballero headstock was slightly longer than the Kalamazoo made Gibson LG headstock. Guess I’m still learning stuff. Thanks for challenging what I wrote to get me to double check. QM aka “ Jazzman” Jeff
  6. Some of my guitars have dings, dents. They are hurtful at first. But, somehow over time they became battle scars , war stories, identifying marks of bring my guitars and I find myself feeling okay about the dings and dents. And, somehow they seem smaller. Almost unnoticeable. Almost like my guitar wouldn’t be my guitar without them. Strange how that happens and how I’m not sure at what point that change happened. And, how/when I was able to put it in perspective that there are much more important things than focusing/worrying about a ding or a dent in one of my guitars. But, it is upsetting at first. (But, it gets better). QM aka “Jazzman” Jeff
  7. Congrats on hearing that thing! I haven’t been able to personally name it myself, but it’s like a vibe or a mojo that certain guitars have and that a lot of Gibsons have, but I have yet to really find in a Taylor, which too often seem to be too sterile sounding or something. Or, missing that vibe or mojo. Or, soul. I can’t pinpoint it, but it seems like they are too technician oriented and not player oriented. Or, something. Years back I went to a few Taylor sales sessions. The guitarists conducting the sessions were all great guitarists, but all they did was endlessly describe a bunch of technical things they had that Gibsons and Martins did not have. Then there was Doyle Dykes as one of the session people, He flat out told those in attendance that Taylor wants him to keep stressing how Taylor’s are better than Gibsons, but he is flat out refusing to do so, even if he is (or was at the time) an employee of Taylor as a spokesperson. He said he really likes Gibson guitars, likes the way they play and sound, etc. That to me said a lot. Yes, Taylors have all kinds of technical things that Taylor spokespersons can talk about. But, bottom line it’s how does a guitar play and sound that matters. And, Doyle Dykes one of the best guitarists around kinda conveyed that. (And, if you notice he seems to be playing Gibsons and Martins these days, not really Taylors. Seems like you get what Doyle Dykes was conveying. Quite cool! QM aka “Jazzman” Jeff
  8. Based on the thinner headstock, I think it’s a B-15. I’ve seen/played some B-15s at vintage guitar shows. I wasn’t too impressed. The Gibson LGO and it’s Epiphone counterpart, the FT30 Caballero were the lowest level student models in the early-mid 60s and had solid mahogany tops. (Disclaimer: I have a 1965 FT-30 Caballegro in my collection.) The LG0 and FT Caballero were always a bit iffy. Some were okay, some didn’t really cut the mustard. Neither were really great guitars at the time or now. (Disclaimer: I still occasionally take my FT Caballero our to play in my home. But, it’s not really near a professional level instrument. It’s more of a nostalgic thing for me.) My impression of the B-15s I played were that, saying what I just said about LG0s and FT30 Caballeros, not as good as either. The quality of the B15 seemed to have further slipped from the LG0 and FT Caballero, as it was basically the next (and short lived final) generation of the LG-0 model’s lineage. It has a Gibson name on it, but it has little similarity to the standards or other models of 60s Gibson. Plus, if you are interested in a solid mahogany topped guitar, there are many modern era solid mahogany top guitars by other manufacturers that are in that price range that are superior to the B-15, most of which are X braced rather than ladder braced like the B-15. Plus, in that price range, there are a number of new or used Epiphone Masterbuilt guitar models with solid tops that sound and play much better than the B-15. Just my perspective, but I hope it helps in terms of putting the B-15 in perspective to the LGO and current priced guitars. QM aka “Jazzman” Jeff
  9. Good to see another taking his request serious. However, as I mentioned in my earlier post, he should be careful about buying just any classical guitar size gig bag for a B-25. Though their bodies are similar, a traditional classical guitar has 12 frets to the neck while a B-25 has 14 frets to the neck and many traditional classical guitar size gig bags will be too short for a B-25. They are interchangeable only if it is a gig bag that does not fit a classical guitar snug, because the neck portion would be too short for the B-25. (My classical guitar’s gig bag does not fit my LG-1 for this reason.) Double check the measurements of your guitar against any gig bag being considered to ensure it’s length is adequate for your B25. FYI, the gig bag link I provided in my earlier post will fit a B-25 (you can use its measurements as a guide if you do not like that particular bag. The measurements are shown somewhere in the link. ) QM aka “ Jazzman” Jeff
  10. I had tried one, too. Same impression. Quite a bassy booming Martin sound coming out of that small bodied guitar. Wasn’t a bad thing. Just was a lot different than a Gibson sound. I kinda liked the neck in the guitar. That kinda had a bit of a Gibson feel to it. QM aka “Jazzman” Jeff
  11. Check out this new Dylan gem, “ Key West”. Sure takes me to Key West. QM aka “Jazzman” Jeff
  12. Yesterday (at 9:32am) I posted a new 6 minute track from Dylan’s new album. It’s got really good lyrics, a really good storyline, he sings it with a sense of humor reminiscent of his Highway 61 and Blonde on Blonde albums, his vocal phrasing Is spot on, the song has a good melody and really good instrumentation going on that matches the mood and ambience of the lyrics and melody, and his voice that once seemed shot now seems like a voice that has aged like some kind of fine wine on the song. I respect your right to your perspective, but I am not clear what your perspective is other than I guess you don’t like Dylan’s new stuff, but I am not really sure why, subjectively (your word.). Could you explain , subjectively, what you do not like about the mentioned new song or it as an example of Dylan’s most recent work. Am curious.... QM aka “ Jazzman” Jeff
  13. Well said. They are also driven to produce their art. QM aka “Jazzman” Jeff
  14. I only use wood bridge pins on all of my guitars. The only ones I’ve had problems with not fitting are the ones that have no vertical groove in them on the stem that goes into the guitar, where the string can align into. Even if the grooved one are tight it’s very easy to simply whittle or sand a small part of the stem so they fit. On the other hand, getting the non-grooved ones to fit, if they do not readily fit can be quite difficult to whittle down. I hope this helps! QM aka “Jazzman” Jeff
  15. Here’s a new one from Dylan’s album. Enjoy! QM aka “Jazzman” Jeff
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