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It’s also a method that guitar techs used to do to extend the life of a guitar that was worn through or nearly worn through from strumming or touring wear , above the sound hole. This was the old school explanation given for many country and folk musicians’s guitars having double pickguards. Such as for Bob Shane of the Kingston Trio’s very cool looking double batwing Martin on their Decca albums. But even before him, the Everly Brothers previously had cool looking double pickguard guitars just because they looked cool. Today, it’s pretty much used just a cool looking thing. QM aka “Jazzman” Jeff

The 1966 Gibson J-45 sounds like a great cool guitar and if it’s in near mint condition, an even better one, plus it’s a collectible guitar in the vintage guitar market whose value will appreciate over the years The J-29 is likely a very good guitar, but for some reason didn’t take off as a popular Gibson guitar. There are a number of Gibson guitar models throughout the years that were very good guitars, but for some reason never became popular. The J-29 seems to fall in that category. They can often be had at really good prices, too, but just don’t have the charisma of some of the other models. Good price can be a good motivation to buy a guitar. I once bought a Gospel Reissue as a trade in for a guitar I never played, because it was one of those non popular Gibson models. It played great and turned out to be a great guitar. It just wasn’t one of those wow factor models. I own a 2006 J-45 1964 J-45 Reissue in my collection, in faded strawberry sunburst. It’s not unusual when I’m gigging for someone to come up to when I’m playing it and exclaim, wow you have a 1960s J-45. Of course I have to tell them it’s a reissue model and that it’s not the real thing. But, that never happens with any other guitar I play. There is something about the 60s J-45s! Of course, that something is why I sought after and found that particular reissue model…because I couldn’t find a near mint actual one. If you can, try testing out the 1966 J-45 before you buy it or if you can’t, ensure there is a good return policy just in case. I think if you don’t buy it it, someone else will. Let us know what you end up doing. QM aka “Jazzman” Jeff

Since I posted a few days ago that I used to drink coffee during outdoor or indoor gigs, but switched some years back to water…I have reassessed what I wrote. Maybe because this posting string put the subject in my mind and because in Chicagoland this past week it’s been exceptionally humid besides being it’s normal warm for this time of year. Because of the excessive humidity during my outdoor gigs this past week, I at times switched back to coffee as coffee is known in a pinch to open up one’s airways a bit. And, with the excessive humidity, and little or no wind, coffee served the purpose of helping me to better breathe by its ability to open my airways a bit more in the heat and humidity. So, though I’ll continue for the most part and stick to water, depending if there is a very high humidity and heat factor with little wind during my outdoor summer gigging , I’ll probably at times switch to coffee to help open my airways a bit when needed from high humidity. QM aka “Jazzman” Jeff

I used to drink coffee, regardless of performing being indoors or outdoors, but, switched to water a few years ago. QM aka "Jazzman" Jeff

From what I understand these were originally set up Hawaiian style, with the strings raised off the neck like a square neck dobro…but many of the guitars ended up being converted to standard guitars. The HG stands for Hawaiian Guitar if I’m not mistaken. I’ve only heard great things about these guitars if they are in their original state or if they were converted. I believe they fetch a high price value among vintage guitar collectors. BTW, I couldn’t pull up any of the photos on my iPhone. QM aka “Jazzman” Jeff

Enjoyed the music! QM aka “ Jazzman” Jeff

There's no volute on the neck, so its not from the Norlin 70s era. The thin neck shape on backside of the neck seems to look like a 60s Gibson, but the photo may not capture the size of the neck.. The headstock shape looks authentic. QM aka "Jazzman" Jeff

May his memory be a blessing. QM aka “Jazzman” Jeff

Here’s a classic BJ Thomas song, “Rock and Roll Lullaby” from 1972. Besides BJ Thomas’ vocal, check out Duane Eddy briefly coming back into the hit limelight by playing his signature twang guitar licks in the song, plus, a cool Beach Boys-like harmony that appears towards the end in the song (though it’s not The Beach Boys). QM aka “Jazzman” Jeff

Rest In Peace, BJ Thomas. He had a great voice and a great string of hits, crossing the country, rock, gospel, and pop lines, always with a little of the blues mixed in. QM aka “ Jazzman” Jeff

It’s not being offended. It’s being descriptive with words. BTW. I noticed you didn’t respond to the six other described fingerpicking examples. Mark Knofler, Earl Scruggs, Lindsey Buckingham, etc. No reply to those speaks volumes. It also speaks volumes that you didn’t mention Dear Prudence has an eastern Indian riff in its fingerpicking or how well the fingerpicking riff in Blackbird counter compliments the main melody. Musical descriptions. I also noticed you used the terms delicate and pretty rather than feminine in your description of the two pieces you addressed. That’s a bit of a better description. (Although, I wouldn’t describe the fingerpicking on Dear Prudence or Blackbird as delicate. Delicate to me would better describe the gentle attack approach on the interesting counter guitar line in Long Long Long on the same album, but we can agree to disagree in that one. And, of course, pretty is subjective.) QM aka “Jazzman” Jeff

It’s not that it’s ridiculous. It’s that your description of feminine relating to fingerpicking... it’s just purely inaccurate. How can Mark Knofler’s fingerpicking on any Dire Straits song or solo effort be considered feminine. Or Earl Scrugg’s fingerpicking on his 5 string banjo for that matter? Or, John Lennon’s on Dear Prudence or Paul McCartney’s on Blackbird? Or George Harrison’s on a number of songs? Or, Segovia’s on anything he played? Or, Lindsey Buckingham’s fingerpicking on any of his or Fleetwood Mac songs? Or Tommy Emmanuel melodic rhythmic approach to nearly every instrumental he does? Its just an inaccurate description. Now, if you wanted to describe fingerpicking as nuanced or skillful or skilled or well coordinated or intricate or melodic or simultaneously playing an alternating bass line and a melody..those descriptions make sense and would get no challenge because they are accurate descriptions. That’s why the response. Words matter. My two cents. QM aka “ Jazzman” Jeff

Nice performance. Skillfully performed! QM aka “Jazzman” Jeff

I run an acoustic jam (during non-pandemic times) and I have found it is not necessarily volume that allows a guitar to cut through other instruments, but rather the guitar’s EQ. For example if there are a number of flattop acoustic guitars, an acoustic arch top guitar with its different EQ can usually readily cuts through the flattops because of its different EQ. Likewise, some acoustic flattops because of their construction or the woods they use cut readily cut through other guitars, again because of their EQ. Volume can certainly be a cut through factor, but it’s not always volume. Plus, some guitars have a lot of volume when strummed, but, individual strings played for lead may not have an EQ that cuts through the volume of other guitars being strummed. On leads a single string EQ that is more trebly or solely focused midrange will generally cut through better than than a bassy or boomy single string EQ. I’ve also found that a thick pick used on a guitar will help a guitar cut through better than a flexible pick, because it improves the acoustic attack gain. Sometimes even a smaller guitar with a different EQ than a bunch of larger guitars can help a guitar cut through on a lead, though not necessarily when strumming it due to its lower volume. When it comes to bluegrass playing, Martins do seem to be have cut through capability over others because of their focused EQ, but carefully choosing a complementary EQ non-Martin guitar and using a thick pick will usually work just fine. Medium gauge strings rather than light gauge strings also help. Just my experience. QM aka “Jazzman” Jeff

Yes, enjoy your guitar and new knowledge gained from the repair event. Hope you’ll post on the forum! QM aka “ Jazzman” Jeff

My thinking is as long as the Gibson authorized work keeps the original new guitar warrantee work under warrantee, I wouldn’t worry about it. If it’s a Gibson authorized repair, it’s really their call with Gibson under their determination and contract on how to best repair it. That’s my opinion. If Gibson will stands behind the workmanship of the repair to preserve their warrantee, I wouldn’t fret over if hide glue or wood glue was used. Plus, the tonal folklore about hide glue, if my memory serves me correctly, seems to pertain to glue used to attach the braces, plus if it originally had hide glue on the bridge and the bridge pulled up...well, that doesn’t exactly seem to speak wonders about it being used again on that spot. I wouldn’t worry about any of this. If they reattached the bridge and it plays well, that’s the main thing. On my 2006 Gibson J45 1964 Custom Shop Reissue when it’s bridge pulled up and a Gibson authorized repairman repaired it, I couldn’t tell you what glue it originally had on it or what glue was used to repair it...all I care about it is that it was repaired and plays great, again, and it was repaired under their warrantee. When I asked the repairman why it pulled up to begin with he told me that the bridge must not have had an adequate amount of glue on it when it left the factory, thus the reason it was covered under their warrantee. He said if it was something I did to cause it he bridge to pull up, such as from neglect by my not properly humidifying the instrument, then it would not have been covered under the warrantee. I was there when he inspected it for excessive dryness and when he called Gibson and I overheard him getting them to approve the warrantee work for a factory glue error and telling them his inspection showed there being no humidity neglect on my part. QM aka “Jazzman” Jeff

Here’s a link to one of my historical tributes to Bob Dylan! QM aka “ Jazzman” Jeff

Its not that the LGO is or was a bad guitar. It’s just that there are a lot better Gibson guitars and by today's standards, there are lot better all mahogany guitars (solid mahogany top guitars) out there in today's marketplace for the money. The LGO was an entry level Gibson guitar. (The term student guitar isn't really applicable as LG1 and LG2 and LG3 and B25s were called student guitars, but were higher quality guitars than the LGO that hold their own in today's marketplace and to today's marketplace competition.) The LGO has not faired as well, as mentioned, there are some much better all mahogany/solid mahogany topped guitars out their in today's marketplace for the money or for more money or less money. (Including all mahogany Martins, PRS, Indonesia-made Epiphones (when they had limited edition all mahog runs), Guilds, and Taylors.) QM aka "Jazzman" Jeff

My feeling is, it doesn't affect resale value at all if its an authorized Gibson warranty repair. Gibson made the instrument and an authorized factory repairperson repaired it. Keeping the receipts showing it was repaired by an authorized Gibson repairperson can serve to prove it was an authorized repair. Don't get me wrong...a repair by a reputable luthier also does not affect the resale value. Its the lousy repairs that are done to a guitar that can affect a resale value. Not the good repairs that are by authorized Gibson repairers or those done properly by a reputable luthier. Repairs are needed sometimes, that's why there are authorized Gibson repairpersons and reputable luthiers. The question is really are the repairs good repairs. An authorized Gibson repair works to ensure that it is a good repair by having their oversight over the repairperson and their repair, ensuring their repairs meet Gibson's standards. A non-Gibson repairperson who is a good luthier will also make sure its a good repair and their work demonstrates its a good repair. But, knowing its an authorized Gibson repair under warranty is like taking your GM vehicle to a GM dealership's mechanic to ensure GM stands behind the repair that was made, and if it was done under their warranty, GM incurred the cost, not you. Likewise a Gibson warranty repair is at their expense and they stand behind it (and the repair doesn't void the new guitar warrantee.) That's my take on it. QM aka "Jazzman" Jeff

Keep in mind, tone is really in a musician’s hands and what comes through them. Find an instrument (or instruments) that lets that optimally happen for you. QM aka “Jazzman” Jef

Lars-I always enjoy your creativity, lyrical prowess, and guitar pickin’! QM aka “Jazzman” Jeff

Thanks! QM aka “Jazzman” Jeff

Are they 80/20 Bronze or Phosphor? The reason I ask is a couple of my guitars sound optimally for all music) with old stock Martin SP Acoustic Light-Medium 80/20 Bronze strings (12.5s.). Martin discontinued the SP 80/20 Bronze Light Mediums versions, and now only has the Phosphor versions as Light Mediums in their Authentic Acoustic SP series. I am well stocked for awhile with new old stock Bronze 80/20 packs, but at some point I’ll need to look for a 12.5 replacement brand of them, if such exists. QM aka “Jazzman” Jeff

Congrats on the new guitar! Looks great! I played one once in a Guitar Center when the J-29s were a new model. I was impressed. I think it just fell victim to what Henry, the CEO of Gibson said at the time, that being that it’s hard to introduce new models and make them profitable with the baggage of Gibsons’d iconic models, which also are the lifeline of the company...or something like that. (Probably the reason the new CEO, JC, has so many model variants named J-45s. Disclaimer: I have a 1994 Gibson Gospel Reissue in my collection. Another non-iconic model of a Gibson, that has a pick guard that seems similar to the J-29s pick guard. Enjoy the guitar. I liked playing the model! QM aka “Jazzman” Jeff

I actually understand what Meanstreak is doing. He said it, it’s a summer project on a guitar he only spent $200 on. In my younger days, I once hand painted a mural on a guitar as a project. Then, I put it in a case and have never played it. It was a cool thing for me to try at the time, just for the project of it. Of course, I once also had a project when I was 20 to try to sand a Kay dreadnaught guitar’s neck down to the shape of a Gibson neck. I almost completed the project, but then the neck snapped, so I threw the guitar away...although somewhere in my attic is the Kay Kalvinator headstock I kept from it. Also, it gave me a new project at the time as I then spent the next 30 years looking for the same model of the Kay dreadnought to replace the one I destroyed in my youth. After looking for 30 years, in an instant, I suddenly saw one at a guitar show and bought it...price be darned. It now sits in my guitar collection with this story as part of its history. I also once decided to paint a guitar red, which I did. It looked like Sh-t. That’s the guitar that gave me the earlier mentioned project of turning it into a mural guitar. Some guitars can have two projects attached to their story. But, back to the why of a relic guitar. I can understand how a relic guitar can be cool. I own a 1955/56 NY Epiphone FT79, the model that morphed into the Gibson Kalamazoo factory’s Epiphone FT79 Texan a few years later. My 55/56 FT79 apparently went through all kinds of play and natural stressing before I found and bought it and because of its super worn look, looks awesome. And, when I occasionally play it at a gig, it is like a magnet of attention. Mostly I get asked how old it is, how long I’ve had it, but on occasion someone asks me if I relic’d it...to which I honestly tell them no, it looked this way when I purchased it circa 2001. I also usually show them the piece of the guitar they don’t readily see...the NY Epiphone FT79 label inside the sound hole with a cigarette burn on it where a hot ash must have somehow fallen from the player’s cig. I guess. Or something. Weird, yes. But, the guitar’s highly worn look certainly incites not only my imagination of where it might have once travelled and been, but, also other’s’ similar infatuation with that. The guitar, as many of my others, also sounds great, but, people seem more concerned with the past that it experienced to look so worn. I like to think mine as authentically worn out, but, frankly, I don’t really know how it got so worn looking. Maybe it travelled the country via numerous roadhouses and elements. Maybe someone relic’d it. I once ran into the seller ten years later and asked him about the guitar’s background and history. All he would say was “that guitar had a lot of issues.” Further adding to the guitar’s mystique because it had no structural issues that I could ever identify then or since I’ve had it. It is a cool guitar. Way cooler than my mural guitar or replacement Kay dreadnaught. QM aka “ Jazzman”Jeff