Jump to content
Gibson Brands Forums

sbpark

All Access
  • Content Count

    1,063
  • Joined

  • Last visited

Everything posted by sbpark

  1. Still think it's a little weird and somewhat unreasonable to make these demands, given that you already said the guitar isn't going anywhere. I've bought a LOT of guitars in my time, both new and used, and whenever I've bought them I've never demanded the seller to give me a timeline of the guitars history. I've said it a couple times, and I guess I'll say it again, if this really is bothering you that much you should return it, demand to not be charged a restocking fee and find a brand new guitar that meets your personal, and very specific criteria. Neither Martin or L&M owe you any kind of explanation of the history of the guitar. If this bothers you, move on and keep searching, but simply because you want to know, or want closure or whatever doesn't mean that the seller has to accommodate you on this. It's not like there is Carfax for guitars. Suck it up.
  2. I think at this point op, you need to move on. You stated you're keeping it regardless, and you're not interested in any kind of compensation or discount, so at this point Id' say it's a moot point and both Martin and L&M owe you nothing form this point on.
  3. If you've already decided to keep the guitar regardless of outcome, then I don't think the shop really has any obligation to, or there's no need from here on out to know the history of the guitar. You already made your decision to keep it. So regardless of what they tell you, if anything, what does it matter at this point? If you actually were thinking of sending the guitar back though, and given that the year of manufacture was not originally disclosed, I'd say L&M are obligated to take the guitar back, and NOT charge you the 10% restocking fee.
  4. Lots of good points made here for both sides of the argument, and it's hard for me to take one side or the other. It's also tough to decide because we all have different reasons, rationales and criteria when we buy a guitar, be it new or used. Some people will only buy brand new, and they want it pristine untouched and messed with by others, fresh from the factory, and as mint as they come, and the most recent, latest and greatest. Others are bargain hunters and will overlook a couple bumps, bruises, nicks, dings, etc. for a few bucks off if the guitar sounds great to their ear, because to them that's the most important thing. Some want a recent serial number. All those reasons are legitimate and substantial if it's something that's important to you because you're the one who will be playing the guitar. I do think though in this situation given the guitar is several years old, it should have been disclosed to the buyer by the shop. Just making that simple statement could have avoided any potential future confusion or regret, dealing with returns, exchanges, etc. Be upfront from the get go, maintain your integrity and if the buyer declines, then so be it and move on. With this situation nobody knows yet what the shop's intent was. Did they try and pawn off a 2013 as "brand new", or was it a simple, innocent mistake? I'd say if this is bugging the buyer that much even a refund isn't going to sit well with him, because he will go through every single possible scenario along with all the others that members have suggested regarding what this guitar may have gone through in it's life so far. was is a warranty return and repair? Was it something the shop forgot about? If the history of the guitar is bothering the buyer that much just simply return it and move on. If you absolutely love the sound of the guitar and there's nothing structurally wrong with the guitar and the Martin warranty applies to it, then maybe kindly state your concern to the shop you bought it from, and ask for a partial refund. If they say no you have two choices 1.) Keep the guitar and enjoy it. 2.) Return it.
  5. I don't play and sing well (or either one done by themselves) but I still do it. About a year or so ago I was determined to get better at singing, and singing while playing. Honest answer is just keep doing it. Let's say you say to yourself today that you suck and there's no way you'll get better, and as a result do nothing about it. Well, a year from you you'll be in the same place, and you'll still suck. But if you just suck it up and practice a ton in a year you'll be way better than you are now. It's just one of those things you just have to keep plugging away at to get get better. Like everything else, some things come more naturally and more easily to some people, while others have to work harder at it. If you want to get better at it, just keep doing it. I also found that singing lessons helped me a lot. It's like when you start learning to hybrid pick. At first you're like, there's no way Ill ever be able to do this. Next thing you know you're learning the rhythm for Susiq Q, and then after that you're able to actually play the rhythm AND sing it! Keep at it!
  6. How did you "dent" your windshield?! I'll never own a black car. Way too much work to care for a black finish and if you don't keep up on it, it will start looking like crap pretty darn fast after you drive off the lot. Scratch X is awesome for polishing guitars to get rid of light swirls, small surface scratches, etc. I've used it on Gibson Nitro finishes and it's great.
  7. Sounds pretty darn good! Next time slow it down just a little. It's a bit rushed. Not meant as a criticism at all because it's great, just offering some (hopefully) constructive criticism.
  8. Thats nothing. Honestly I'd just live with it. Over time it will get dirty and just become part of the character of the guitar. Like I mentioned above, if that scratch annoys you, a bad repair will annoy you even more. Take it to a pro. You paid a lot of money for that guitar, don't cheap out and do it yourself to save money unless you know what your doing. I do a lot of work on my own guitars (set ups, cut my own nuts when I'm not lazy, have made saddles form blanks including slotted saddles for my AJ), but know when the work at hand requires a real pro.
  9. Depending on where it is on the guitar, I'll agree. If you're that worried about a scratch I'd take it to someone who knows what they doing, otherwise it could end up looking worse than the scratch itself, like a poor cover-up job of a bad tattoo!
  10. Everyone is for sure going to have an opinion about it, and the fact that the 2013 model is the most likely the same as a 2017, but you could look at it this way...a 2013 vehicle may very well be the same as a 2017 model if they haven't redesigned or refreshed the model in a few years, but you'll be darn sure that if you were buying a NOS 2013 today it would be heavily discounted. Just saying.
  11. I've used that little tuner in your picture. I'd think it's more prone to leaving a mark compared to a TC Polytune, and even a Snark. With the tuner you have you have to squeeze/clamp that thing on, and you could clamp it on rather snug if you're so inclined, making it more prone to mark up your headstock. I've left Snarks and TC Polytunes on new Gibsons and relatively new Martins for days if not longer, and still have never had either one of them leave a mark. I have a black TC Polytene clamped onto my J45TV as I type this and it's been on there since yesterday, and I'm too lazy to get up and take it off.
  12. I've had Lyrics in three guitars so far; J45 Standard, D28 Standard and a 000-15M. I experimented with different placements of the mic in each guitar for the best sound, and could get all three guitars to sound great with the Lyric, but only after quite a bit of EQ with every single one, and like I'm experiencing with the K&K, it sounds just ok with no EQ, but can be made to sound incredible with just a little tweaking of the EQ< especially pulling out some mids and just a touch of lows. The Lyrics in every guitar required a lot of more EQ though, and they all were pretty quick to feedback.
  13. I f you do order this stuff be very careful cutting it. StewMac recommends warming it up then cutting it with scissors, but very low heat really doesn't make it any more pliable, but with a touch more heat it will EASILY warp. I found that just cutting it large around your tracing keeps it from accidentally cracking far enough in to where your pickguard is, then sanding away the excess. It takes sanding really well. I just used a cordless dremel make to trim dog claws on the high setting, then evened everything out with sandpaper and then sanded in a bevel.
  14. I'd totally make one for you just to get th practice. Send me the materials!
  15. This was my first attempt at making my own pickguard. Was disappointed with a replacement guard I got from Terrapin (color was way off, fit was just ok but overall the pickguard was a bit smaller than the original), and couldn't find anything else that looked original form any other after market maker, and gave up on Gibson after contacting them a few times asking if/how I could obtain a replacement guard. I think it came out pretty good. It's not perfect, but it's acceptable. I learned a lot making this one, and I'm even half-tempted to make another to improve on this one just for fun. Here's a few shots of the material The first pic is a stock pic from StewMac, the second is my picture of the actual sheet used: Before: Here's the final product:
  16. I don't have to "EQ the hell" out of my J45TV with a K&K in it, but it does need some of the mids cut to make it sound its best, as did the other acoustic I tried that had a K&K in it before taking the plunge and having on installed in the J45. Basically both required the same mid-range cut. I've also experienced this with other pickups in other guitars like the LR Baggs Lyric, but that needs even more EQ. Guess that answers my question though. I'm not looking to spend that much on a box that reproduces EXACTLY what the K&K produces without any EQ. I'll save some cash as well and go with the $99 K&K Pure Preamp. I can just show up to an open mic with a bit of mids cut with the K&K Ppure, and still just take their 1/4" cable and plug in and go. It's just for open mics. For any other situation I have a Radial PZ Pre that works amazingly well with the K&K and sounds incredible.
  17. Everyone absolutely raves about these Red Eye preamps and say they really are a match made in heaven with a K&K. I've also been looking for a quick, super simple and easy solution for open mics, which is what brought me to considering the Red Eye, but there's no EQ with the Red Eye. I have a Radial PZ Pre, but know that I probably wont be able to tote that to every open mic, and/or wont have the ability to spend the time to dial in/EQ a nice sound because you're basically given your spot to play, you go up there, you plug in, and you start playing. So how do the Red Eye work in this type of situation? I was thinking about just getting the small, belt clip K&K Pure preamp because it has EQ. I can just set it up beforehand and just pull out some of the mids, which seem to be what most K&K's need, then go up there, plug in and get to playing.
  18. Given it's worked out so well with the J45TV, I'm seriously considering putting on in my AJ and Waterloo WL-14.
  19. I just take my Gibsons when I go car camping. My philosophy is they are there to be played, so I might as well play them anywhere within reason, but I also don't baby my guitars. With that said, if I was looking for a "beater" to take with me camping, etc. and wanted to leave the Gibsons at home, I'd pickup on of the Yamaha FG800. Incredible value and they sound REALLY, REALLY good. Can't beat the for under $200.
  20. I think what I was trying to say is an un-EQ'd K&K, that also has an impedance mismatch between the pickup and the preamp/DI or amp, board, etc. still had that sort of muted, slightly quacky frequency range accentuated and sounds so lifeless and uninspiring, like a UST. All I really needed to do with the K&K, as you mentioned, was cut some of the high mids and the pickup comes to life and sounds so much more natural. And yes, it picks up a surprisingly large amount of percussive body sounds (not that I play that kind of stuff, more like old country standards and more modern Americana type stuff) but the K&K does it in a smoother, more pleasing to the ear way compared the way the LR Baggs M80 picks up body sounds.
  21. That little amp is surprisingly loud and sounds REALLY good for what it is. I previously had a pre-Fender SWR California Blonde, the same amp used by Lindsey Buckingham and Jackson Browne, and although it was a great sounding amp, it was WAY overkill for my uses. I don't play any gigs, and since it's just open mics I don't even need an amp, but scored a pair of Loudbox Minis for $240 ($120 each!) from a guy, and sold one to my buddy. Great little grab and go amp if you're playing with friends, or an impromptu little open mic/showcase at someone's house (which friends of mine will organize once in a while) where there isn't a PA. Also MUCH lighter and easier to carry around compared to the California Blonde!
  22. I've been experimenting and agonizing over which pickup to put into my guitars. I've had a few J45 Standards that had the stock LR Baggs Element and really never liked the UST type pickups. Experimented with a Fishman Aura Spectrum DI and TC Bodyrez pedal with minimal improvement. Popped a few LR Baggs Lyrics in a few guitars (D28, 000-15M, J45 Standard) and although this mic sounded good, it just seemed to require a lot of time tweaking to get the EQ right, pretty darn prone to feedback, making it less than ideal for open mics. The added bonus of the Lyric is it's awesome for recording when you don't want to mess around with a mic, but still want a great sound for quick demos, etc. Also tried an LR Baggs M1 and M80 on an old Yamaha FG441 and J45 Standard and was too metallic sounding, and kind of dulls some of the dynamics and touch sensitivity the Lyric would capture. I've always been on the fence about the K&K's because I was hesitant to permanently glue something to the bridge plate, combined with mixed impressions after listening to clips where some examples sounded ok to good, while others sounded no better than a lot of UST's. I brought this up to the new luthier I started using to work on a few of my guitars. He did some warranty work on a Martin, and because he did such a great job on that guitar, I brought in a few more to have him work on them, including a PLEK and set up on my AJ and a set up on my J45TV. I asked him what pickup he recommended for the type of stuff I play and looking to do some open mics since I don't really play in a band anymore. He recommended the K&K. We discussed the Trance Amulet, but although he agreed they sound good, he also said they needlessly have "way too much going on, are very expensive and add quite a bit of weight to the guitar". He lent me his old 1970's Sigma that has a K&K installed. I took it home and plugged it in through my preamp/DI (Radial PZ Pre) and a little Loudbox Mini. Was surprised how good it sounded. It did require q bit of EQ to fine tune it, but was super easy to dial in with the PZ Pre. Called him and told him to put the K&K into the J45TV. Got the same result once I got the guitar back, great sound, and pretty much required the same type of EQ I used n his Sigma to get a very natural sound. If the K&K isn't EQ'd properly it can almost replicate a UST. It was much easier to EQ than the LR Baggs Lyric, and although not as natural sounding, it's darn good, super dynamic and touch sensitive, and seems to be the best compromise I could find for my uses.
  23. I already threw it out. Did want to deal with the hassle of removing all the adhesive off the back of it, fiddling with it, and you can see once it's off the guitar that it's a pretty pixilated image.
  24. That material looks great on yours. Where did you get it?
×
×
  • Create New...