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About sbpark

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  1. Any of these guitars are more than perfectly suitable for "country". I'd say take the one that feels and sounds best to you. J45's are iconic for the classic country singer/songwriter. They just get the job done and pair amazingly well when sung with. D28's (and D18's) are kind of the de-facto, go-to standard for Bluegrass flat picking. HD28's would work well too for all of the above, but I personally am not a fan and think they sound very unbalanced with an overly scooped midrange, a little muddy in the low end, and can get lost in the mix when played with a bunch of other people. HD28's do fingerpick really well though. As far as the modern Deluxes go, I haven't played on where I preferred it over a Standard Series. I would sell the J45, but if you're looking for a guitar to compliment it, A D28 would be a wonderful addition to a J45. You'd have the long scale vs. short scale thing covered, You'd have the rosewood and mahogany thing covered, singer/songwriter and flat picking thing covered, etc.
  2. I know every guitar should be based on it's individual merits, and don't like to lump guitars tougher and define them all good or bad based on the era it was made, but I'm wondering what a near-mint Gibson Dove from 1985 is worth these days? Looks like Ren Ferguson joined Gibson in 1986, a year after this one was made. What should one expect as far as overall construction, type of bracing, how tru to the originals, etc. of a Dove from this year? Would this just be a shell of it's former incarnations from the past, or are these the real deal? Thanks in advance!
  3. Regardless of when the guitar was made, what materials the guitar is made out of or what the company was going through at any particular period in time, what's most important, as you pointed out already, is how the guitar feels and sounds in YOUR hands. I'd much prefer a guitar that was from one of Gibsons worst periods historically as long as it sounded and felt amazing, over a guitar that came from a supposed high point in the company's history that sounds like garbage.
  4. That's what you get for polishing your guitar.
  5. I've had a slew of J45's, a couple J200's and an AJ. Currently all I own is a D-18, and it's my favorite acoustic. Funny thing about D-18's, they're kind of "generic" sounding, but at the same time have no shortcomings or negatives that all the other guitars I mentioned have had in one way or another. The D-18 does everything those others guitar do all rolled up into one guitar. I play everything from old school country, singer/songwriter stuff, to picking fiddle tunes and going to the occasional Bluegrass jam, and the D-18 does it all. With all that said, I don't really thing you could go wrong with keeping either the AJ or HB. AJ's are monsters, they roar and are LOUD, and they also do really well when fingerpicked, but when using a pick you have to be really aware of your attack and how you play because these are loud guitars. The AJ was a bit much for me when singing and playing at the same time because the AJ ca be a bit overpowering. Not a super complex sound, and ended up not being my first choice when I was also singing.. Id say if you go to a lot of jams or play Bluegrass I'd lean more toward the AJ, but OP doesn't seem to play that type of music, so in this case I'd probably be more inclined to keep the HB. He already has a D-18, so you have the regular-scale, dreadnought thing covered. The HB is a bit mellower, sweeter and shorter scale, so it seems like it would offer a little more variety. The AJ and D18 means you'd have two regular-scale, powerful dreads. The HB and D-18 would mean you had one regular scale and one short scale guitar and one has more power while the other is a little sweeter. More variety. Then, to make it even more complicated, someone suggested a J45. I'd still take the HB in this situation if my other guitar was a D18. Like I said in the beginning of this reply, I've had a slew of J45's and currently have a D18. Speaks for itself right there.
  6. Guy still ended up buying the D35. Apparently he put the Hummingbird up for sale and sold it in four hours and he just left my place with the D35.
  7. I ended up respectfully declining the guys offer. I'd rather just hold out and sell the guitar or wait until someone makes a trade offer on something I'd really like. A newer Hummingbird would be great. I also wouldn't mind just selling the guitar. It really is an incredible D35 with a huge sound, I just love my D18 and always reach for it before reaching for the D35.
  8. Have an '18 D35. He offered the Hummingbird and $600 cash on his end. The D35 is an incredible guitar, I just prefer mahogany back and sides.
  9. I was recently offered a trade for a 1970 Hummingbird. Pics are below. Guitar looks to be in really nice shape. Owner says it's never had any repairs, no cracks, damage, etc. Original case as well. May go check it out, but was wondering if anyone could shed any light on the Hummingbirds from '70-'72. (The SN# is 734639 and comes back as a '70-'72) I know that there are duds and great examples from all eras, but without ever really playing any Gibson acoustics from the 70's, I know many aren't really into these because some had the double-X bracing and suffered in the QC department. Any info on specs or things to look out for would be greatly appreciated. Thanks!
  10. I've never been a fan of Grovers in J-45's. Consequently, I don't mind them on the Martin D-35. I swapped out the Grovers on my J-45 Standard with some Kluson 3-on-a-plate tuners and never looked back. Just needed some conversion bushings from StewMac and some polish to buff out the "raccoon eyes" left by the Rotomatics. Took me easily under an hour start to finish. Before: After:
  11. For me at least I don't think it has anything to do with the fretboard radius. The reason I do not like flat picking on a J45 is because of the shorter scale length. I prefer the longer scale length of the Advanced Jumbo and Martin dreads. Even with heavier strings the J-45 feels floppy. I like a bit more resistance. a Martin scale length dread of longer scale AJ and some 13's and that's the way to go for flat picking, and for that type of playing my D-18 crushes a J-45.
  12. I bought a 2017 J45 in 2016. There is a 2017 stamp on the back of the headstock and the serial number (that's also on the back of the headstock) dates it a 2016, with matching serial number on the label visible through the sound hole. Gibson is/was releasing the following year's models early, similar to what automobile makers do. I also have a Fender that has a 2017 serial number on the back of the headstock, but the stamp at the heel (on the same neck) says 2018. Go figure.
  13. Every guitar is going to sound different from one to another. Torrification isn't necessarily the deciding factor that determines the sound. It's the complete sum of it's parts and how they all sound when combines together.
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