QuestionMark

I am not a physical therapist or a doctor. But, perhaps, the mistake was playing the new guitar for an extended period of time (two hours) that you have just acquired with a different neck shape than are accustomed to, too soon. Playing any different guitar, with a neck shape or action that one is not yet really accustomed to for two hours, prior to one’s hand building up getting used to and accustomed to, the new shaped neck, before muscles and bones and joints have a chance to get used to and accustomed to it, potentially could result in a sore hand. As you have indicated you have arthritis, all the more chance this could happen it would seem. I do not know the return policy on your guitar in terms of if it gives you a risk-free return chance to have the time to give you that chance. Especially with the step backward now of having to give your hand some healing time from the initial extended play. But, reshaping the neck seems like a very drastic step with no guarantees and potentially seriously devaluing the resale of the guitar. Even if you did reshape the neck, I would still suggest when you get it back, still taking some time to get used to it’s then new neck to build up, to playing it for an extended time if your hand will allow it. I have been through some forms of physical therapy or self physical therapy and building up tolerances to get used to and accustomed to certain physical movements often takes patience and a near daily focus on building endurance strength. My suggestion is to also ask your doctor if there is any physical therapy exercises you can be directed to for this or a similar circumstance of building up hand endurance in view of the arthritis, if you have not already done so. Or even checking out hand physical therapies on YouTube…although I assume you already have consulted a professional or done a self study. But, I can’t help but think that two hours on any new guitar shaped neck is an extended period for anyone without the benefit of the hand getting used to or accustomed to the neck. Just my thoughts. But, again, I am not a physical therapist or doctor. QM aka “Jazzman” Jeff

I think it’s pretty clear that the crazy Russian dictator who invaded Ukraine for the crazy reason he did is the cause of the gas inflation and the overall inflation we’re having now. When he invaded Ukraine the economic experts said this would happen. QM aka “Jazzman” Jeff

Good comeback to my comment! QM aka “Jazzman” Jeff

Congratulations on the new guitar! Always cool when someone finds an instrument that is right for them! QM aka “Jazzman” Jeff

Wait a moment…I play with a thumb pick and three fingerpicks. QM aka “Jazzman” Jeff

Here's a cool video by various artists wishing Brian Wilson a happy 80th birthday. Check out Bob Dylan playing a Gibson at the end. (Great to see Dylan playing a guitar, again, let alone a Gibson, for sure). Happy 80th Birthday, Brian! - YouTube QM aka "Jazzman" Jeff

I have a 1965 LG1 in my collection that looks similar. I bought it used in 1990. Mine had the plastic bridge replaced on it sometime before I purchased it. The guitar has opened up tremendously since 1990. Now it quite loud and full sounding where when I purchased it it, it was kinda quiet and stiff playing. Mine has quite good action although the nature of it having good action has caused some pick wear from me just past the soundhole on the top. But, these things were meant to be played. QM aka “Jazzman” Jeff

That’s a beaut! QM aka “ Jazzman” Jeff

Quite good! And, it’s a tough song to do! Kudos to you! QM aka “ Jazzman” Jeff

Beautiful guitar! QM aka “Jazzman” Jeff

Enjoyed the song! QM aka “Jazzman” Jeff

Let us know how they are after you try them. QM aka “Jazzman” Jeff

Congratulations on the EL-00 Pro. I think they’re quite fine guitars! I like Martin Authentic Acoustic 80/20 Bronze 12s on my EL-00 Pro. But, lately I’ve been experimenting with Martin Authentic Acoustic 80/20 11s and even 10s on some of my other guitars (and I’m having good results, which surprises me.) For sure, I don’t think you can go wrong with the 12s. QM aka “ Jazzman” Jeff

You might want to contact Stewart MacDonald (also known as Stew-Mac) who carries guitar replacement tuners…and write to them or if you can try to get someone on the phone to learn what they have available that would fit with no modifications. An internet look-up of the company should be able to find How to reach them. If you change them out, be sure to keep the original tuners in case you ever sell the guitar and the buyer wants the original tuners as sometimes not having an instrument be factory parts original can devalue the instrument. That could impact your resale price. QM aka “Jazzman” Jeff

Recently I’ve been reducing the gauge on the string set I use to reduce an occasional fingertip stress feeling on my left hand fingers, which has seemed to help so far. I’m now in the era of whatever makes it easier to play is what I’m doing. The heck with no pain no gain. With the reduced gauge, it’s feeling great to play and I’m amazed how good it actually sounds with lower gauge strings. Who’d have thought. (Maybe they’re made better than they used to be years ago?). I’m a melody finger picker with a plastic thumb pick and three plastic finger picks on my right hand…something I’ve been doing in one form or another for years and years since I was 9-10 years old. So far so good although I have been trying to remember to do some warm up exercises before playing. Something I never even thought to do previously. QM aka “Jazzman” Jeff

Agree, the 7th line is the fret. I never thought inn detail about the logo, but I always thought it was kinda cool. Out of left field on this, but looking at it, it could be a finger’s callous touching the strings. Callouses were pretty much kind of badges of honor in the 60s among steel string guitar players, if I recall. Just a thought. QM aka “Jazzman” Jeff

Beautiful guitar! Congratulations! QM aka “Jazzman” Jeff

It is indeed an LG1 based on the stamping in the sound hole. Looks to be in really good shape. It appears to have an adjustable bridge when I magnify the photo. When you further research to guitars, finding the years that a LG1 had an adjustable bridge would be a way to narrow down the possible year it was made. The serial number appears to be the Factory Order Number (FON) on the inside of the guitar on the neck block. (Usually serial numbers are in the back of the headstock, but some guitars have FONs instead, such as yours. The ladder braced LG1 was in a series that included the LG2 (that was X braced) and the LG3 that was natural colored and X braced. As the numbering increased, so did the price. At some point there was also a lower model LG0 that had a solid mahogany top rather than the LG1,2, and 3’s solid spruce top. The LG2 has in recent times been reissued from different time periods as the X braced sunburst version has brine the iconic version. Resale -wide ,the LG1 fetches a lower price than the LG2 or 3 as their X bracing has greater wider appeal as X bracing has become much more the norm in guitars. although some prefer the slightly different ladder braced sound. I have a 1965 LG1 in my collection. Mine has the same pickguard, a replacement bridge because guitars from the year of mine had a plastic bridge that most replaced because they broke or before they broke, plus mine is more of a faded cherry sunburst rather than the typical tobacco colored sunburst that most LG1s are. I bought mine used in 1990 and with age it has opened up and become much louder and fuller sounding it used to be. You might want to call George Gruhn’s vintage guitar store in Nashville to inquire if they can identify the year your LG1 was made from the FON as well as give you a general ball park figure if it’s value without having them fully appraise it. They readily usually share info on the phone. Your guitar is a keeper. QM aka “Jazzman” Jeff

In my outdoor gigs, I find the sound from my amp carries different depending on the weather, causing me to have to sometimes turn it up, sometimes turn it down…even though I am playing in the same location spot from a different week. Sometimes it seems like the air doesn’t let the sound waves carry very well and sometimes the air carries sound waves really well…even when there is no wind in either scenario. So it’s probably a matter of the instrument itself (including its wood, it’s strings, tension, maybe which pitch is being produced responding to the climate as well as how the sound itself travels in terms of different locations’ acoustics depending on the climate. With the climate involving variables such as different temperatures, humidity, barometric pressure (and, of course, wind if it’s outdoors). All of this impacts the reverberation of the sound…thus, why a versatile amplifier or mixer will often have a reverb adjustment setting to compensate for the acoustics of a setting depending on its structure and stability. It’s a whole science or art of sound that climate undoubtedly has some role in. Not that any of us really want to deeply delve into that aspect (rather if you’re like me you’d just like to play the damn thing. But, there are sound engineers who understand all that stuff and know how to equalize the variables to maximize the sound being heard.) Just my perspective. QM aka “Jazzman” Jeff

I play a number of outdoor gigs and am aware that various weather factors contribute to how sound travels. Now, whether that improves or takes away from the sound, like all tonal matters is likely subjective. But, there does seem to be some sweet spot at certain temps or maybe it’s humidity or maybe barometric pressure (disclaimer: barometric pressure is something I still do not claim to comprehend). It does seem like sound sometimes travels better through in certain weather conditions. It also may explain why sometimes an instrument seems to be in a better mood and sound (and play) better during those moods or visa versa.). Maybe someone else can expand on this. QM aka “ Jazzman” Jeff

Really great stuff! Thanks for sharing! QM aka “Jazzman” Jeff

I used to have two large Peavey speakers in my gigging rig. Each could handle 600w and weighed about 95 lbs and were about 3 ft high. With cloth of some kind covering their wood cabinets. They were clear as could be. Someone sold them to me circa 2000 after using them for years and years. They were great speakers, but because of their height and weight, their time had passed for me use them. I traded them in to Sam Ash who would rent them out, I’d visit them when I was in Sam Ash. Initially I purchased some speakers that were half the weight and size, were also wooden cabinets, and were 300w a piece. Realizing they too were too big and heavy, I traded them back to Sam Ash for a 600w Yamaha system with speakers that could handle the 600w, but were light weight and 2/3rds the size of the most recent ones. That’s what I use today for larger gigs. To be honest, it doesn’t sound as crystal clear as the old Peaveys, but are pretty darn good and easier to transport and set up. But, as I mentioned in my earlier post, most of the time I just use my Street Cube which works just fine for the majority of my outdoor gigs and small room gigs. I usually use the instrument setting for my guitar as well as the bass/mods/treble settings, plus the volume and reverb settings. Plus,for the mic settings I use its reverb, volume, and bass/miss/tenor settings. The Street Cube becomes my monitor with the Yamaha configuration. Been using this setup for about five years now. QM aka “ Jazzman” Jeff

Beautiful guitar. I have a 1965 Gibson TG0 in my collection. Nice to see the original version in the photos! QM aka “ Jazzman” Jeff

For indoor or outdoor smaller gigs or outdoor gigs that do not need super high powered volume, I use my Roland Street Cube with a plug/in for my guitar and a plug-in for a mic…runs on 6 AA batteries for 15 hours (or I can plug it in with its adapter.). I have it sit on a light weight plastic stand as I find it projects better sitting off of the ground. Works great! For larger high powered gigs, I use a my Yamaha full set up with multiple jacks, mixer and two speakers, but, the vast majority of the time my Street Cube can fill the bill just fine. With the larger Yamaha full sound system, the StreetCube becomes my monitor in the system. QM aka “Jazzman” Jeff

Gibsons from the 70s typically sell for much less than from other years. Typically, they are overbraced with what is referred to as double X bracing….a move the Gibson’s corporate owner at the time (the Norlin Company) did to try and cut down on warranty work. Norlin era Gibsons also have the unpopular volute on the back of their necks where the headstock meets the neck. Why it was/is unpopular isn’t really known, and in the 80s circa when Henry bought Gibson, or maybe just before, the volute was gone and never reappeared since. I believe the 70s Gibsons also had a different neck to body angle that other years, which makes the action over the sound hole and upper frets look higher than other years, although in the lower frets the action looks good. BTW, because of the overbuild and neck angle, some Norlin era Gibsons have cracks similar looking cracks front of the sound hole that are cosmetic and do not affect the guitar’s integrity structure, but are there none the less. Also, as a cost cutting move, Norlin utilized the same square shouldered body shape on many models, including ones that historically were round shouldered…so the differences between many 70s models are sometimes distinguished primarily by the model name, not much else. BTW…back to the volute. The volute was added by Norlin to supposedly cut down on headstock breakage. But, the story I’ve always heard was they put the volute or it’s thick part in the wrong location, actually making the volute potentially non-effective. Don’t get me wrong. There are many good Norlin era instruments, but many are quite bizarre…especially the ones from the later 70s. Prices remain lower from the Norlin era because of the Norlin era reputation even if it’s one of the good ones. Disclaimer: I own a Gibson 1972 SJD that I bought new in 1974. It is probably the best sounding guitar I own. However, it’s headstock broke due to my dropping it, but was fixed by an authorized Gibson repairman and has not given me any problems since. Gibson also at one point had to heat press the neck to get it back into the correct shape because it began to twist causing the action to go haywire. That heat press action reshaping is still holding after +20 years. I barely play my SJD any longer as I now have many more highly refined Gibsons, Epiphones, a Martin, etc that are much better playing guitars. Hopefully this provides some insight into why the instrument you are looking at is lower priced than the same model from other years. QM aka “Jazzman” Jeff