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Everything posted by sbpark

  1. I don't know why the guy in the video is complaining. If there really are that many horrible new Gibsons out there should be backlogged with Gibsons that need tons of work and he should be a rich man by now. If that really was the case though he'd probably be way to busy to take the time to film and edit a video complaining about Gibsons. Obviously I am a Gibson fan. I also like Martins and I've had "issues" with both new models from each company, usually minor. With the Gibsons it's been the "flubber" pickguards they put in the J45 Standards. I've had two that have peeled off, but both times Gibson has come through and covered sending me new ones under warranty. Also bought an SG that had a cracked tenon cover and cracked pickup surround. Again, Gibson came through and send me replacement parts free of charge. I had a Martin that was less than three years old that Martin even admitted needed a neck reset, but they wouldn't cover it and instead only authorized that the bridge be shaved down by an authorized Martin repair shop. But with all that said, I do tend to agree that I've come across more new Gibsons in stores that have HORRIBLE factory set-ups compared to Martins, that seem more consistent. Of course the setups will be a tad on the high side because everyone has different specs that they prefer, and it's MUCH easier to lower action and nut slots than it is to raise them, but man, Gibson for the life of them just cannot seem to cut nut slots properly. They really do have horrible factory setups.
  2. I usually only make saddles for and work on my own guitars, with the once-in-a-while exception when I work on a friend's guitar. Saying I'm more "fussy" is an opinion/one way to look at it, but I'd call it doing the job right. If I did this for a living and was working on other people's guitars regularly you might call it being "fussy", but I'd say it's doing it the right way and going the extra mile to get it the way it should be and what the customer deserves. I know there are people that use radius gauges, etc. to match the fretboard radius, but if you actually adjust the action of each string correctly it will naturally follow the curve of the fretboard regardless of the radius and yield the most natural progression and consistent feel from string to string.
  3. I just can't imagine how you can get the action for each string correct by only sanding from the bottom. You can get close if it's a pre-made saddle, but would still need fine-tuning. If you're making it from a blank you absolutely will have to sand and shape the saddle from the top. These are all slotted saddles I've made and what I am referring to. Much different than a drop-in style saddle.
  4. Whatever works for you, but sanding and finish the sides has nothing to do with whether you prefer to adjust your slotted saddle from the top of bottom. I think you're in the minority here though by adjusting your slotted saddle from the bottom. If you just sand the bottom then finish the ends you sacrifice a consistent action across all strings and you're just stuck with whatever radius that saddle has.. I'll sand the bottom to ensure it's totally flat, then sand the top to PERFECTLY adjust each string to get the action exactly where I want it, then finish by sanding the sides to match the bridge profile, and finish with polishing the saddle. This yields a more playable guitar and you're not stuck with whatever radius the saddle is at, and dare I say this is how most would fit a slotted saddle. I've made several from blanks, but when I got lazy and went with a pre-made saddle, I still sanded from the top to dial in each individual string. It really does make a difference.
  5. With a slotted saddle you actually sand it from the top, not the bottom. Also, I wouldn't worry much about the radius. Most likely the saddle is going to be bigger then you need, including the height, and if it's a slotted saddle that means you'll be sanding it from the top. People get too hung up on the fretboard radius. Instead, actually adjust the string height/action on each individual string, and if you do this it will naturally fall into place and follow whatever the fretboard radius is. When I made a slotted saddle for my Advanced jumbo I set the action something like this going from the low E to high E measured at the 12th fret: 6/64", 5.5/64", 5/64" 5/64" 4.5/64" & 4/64".
  6. I'd just go with saddles from Bob Colosi. He's super fast to respond to emails and inquiries and has great customer service.
  7. That technique can work for a dent/indent, but for a ding where the finish is also damaged, that really won't help much.
  8. Gorgeous guitar, but wasn't too impressed with how it sounded, but that could be a combination of his playing style (seems to have a very heavy hand and isn't a very articulate player) and how it was recorded.
  9. We cant see the ding and how bad it is, but in all honesty the least expensive route would be to just let it go and live with it and just wear the scar as a badge of honor. You'll get over it eventually and then start worrying less about the dents and dings and put more energy into playing and enjoying the sound of the guitar. I know some just love a pristine guitar, and others like to keep their guitars in immaculate condition because they want to maximize resale value, are always flipping guitars for the next best thing or just like having a constant rotation, etc., but if you're the type to keep them and hold onto them, don't worry about the dents dings and bruises. I've broken a bunch of bones, busted my nose twice, have scars from burns, stitches, etc., and wouldn't change it for anything. Same goes for the guitars. But if you're still set on repairing it and don't really know what you're doing I'd highly recommend taking it to someone who knows what they're doing so the repair doesn't end up looking worse than the actual ding (kind of like what happens when someone tries to cover up a bad tattoo, and just ends up with a larger, uglier tattoo!). I'd go with the shop that does the best work, and not necessarily base who you take it to on who is the least expensive. Remember, in many cases you get what you pay for. You obviously like the guitar enough to be concerned about the ding. If you had a car you really enjoyed owning that needed a paint job, would you got the cheap route and take it to Maaco, or would you spend more and take it to a reputable body shop that does excellent work?
  10. I've tried Retros on my J45 and AJ and they sounded horrible. Sounded great on a 000-15M and decent on a D28 and D35. I prefer 80/20's on both my Gibosn acoustics.
  11. The stock Grover open back Sta-Tites backs on my 2012 AJ absolutely SUCKED! I replaced them with a set of the 18:1 Sta-Tites and can attest they are a direct fit. No need to swap the original bushings and it's a super simple swap. My g-string tuner was getting harder and harder to turn, and the others were starting to crappy. Dare I say though, the originals are also 18:1 as well (I never counted the gears on the old tuners), but I've had the 18:1 Sta-Tites on a few Martin 15 series I used to own and they never felt as bas as the OEM Sta-Tites that came on my 2012 AJ. The originals that came on my AJ just don't seem to last. I have a buddy who is a pretty well-known singer/songwriter who has a couple custom Stonebridge custom guitars and he also had the Standard-tites on his guitars and mid tour he had one of the tuners totally crap out on him. I still replaced mine with a new set of 18:1's. So far so good.
  12. Probably be able to get a great deal on one, given how many they have in stock!
  13. A K&K Mini is such a great pickup, sounds great, doesn't affect the acoustic sound of the guitar, weighs practically nothing, is unobtrusive and very little to go wrong with it. I agree 100% with having a professional install it for you. It's really a nominal fee to do so. I've done my fair share of work on my own guitars including making new pickguards, making new nuts and saddles from blanks, doing my own set-ups, etc., but was hesitant to install a K&K myself given it's super glue, and if you mess up, it's a huge hassle to correct, plus the shop I have doing mine is installing it for free because I bought the pickup directly from them. For $99 installed you really cannot complain. If you like the sound of the K&K going directly into the Loudbox, you may be pleasantly surprised if you first run it through a nice preamp. I used to have a J$%TV I had a K&K installed in, and would use a Radial PZ Pre and go into a Loudbox mini and it's sounded great. Eagerly awaiting to get the J45 Standard back from the shop, where I'm having a K&K installed into it as we speak.
  14. I agree 100%. Couple months ago I picked up a 43 year old D-28 and it’s currently getting a neck reset and refret. I’m not against vintage instruments either. But for $1,550 this little custom shop 00 seemed like a no brainer.
  15. For me, replacing the tuners was to get rid of those big washers on the front of the headstock along with the huge buttons and added, unnecessary weight. If you're going to have to add 6 new screw holes you might as well just go with the more traditional look with some 3-on-a-plate tuners and use some Scratch-X 2.0 which will take care of the scratches caused by wet sanding out the marks left by the Rotomatic washers. Seriously, it only adds like 30 minutes to the overall install. OP's install does look good though and they look like nice tuners.
  16. Blah, blah, blah. Nobody said I wanted one exactly like his, or one that sounds just like his.I've been wanting a small-body Martin for a while given my other acoustics are all dreads. Jeff Tweedy also plays with absolutely dead strings, which is a big thing that contributes to his signature sound. Never said I was going to do that either. I also dont want to fork out the asking price for a 30's 00-18, and possibly fork over even more for the repair work involved in getting it in optimal playing condition (neck reset, new frets, possible crack repairs, etc.) I'm influenced and inspired by the artist, but I didn't say I wanted a guitar EXACTLY like his. Nor do I have his playing style or fingers, either, but great job attempting to buzzkill the forthcoming NGD!
  17. Several years ago I had a Recording King ROS-06 (came out a couple years before they came out with the RP-06_ and can attest that that sub $300 guitar after a proper set-up sounded incredible, but it had a MASSIVE neck that was chunky and just a bit too wide for me at 1 7/8". I've played RP-06's and the neck is so much easier to play at 1 3/4" and the slimmer profile as well. Great guitars for sure.
  18. I think it's a combo of the rosewood and scale length. If I'm correct, the AJ has the same bracing as the J35, but the J35 is short scale and mahogany back and sides, and every one of them I've played have sounded too bright and thin to my ears, while my AJ is big and punchy, and although the AJ has rosewood back and sides it has a tighter low end than other rosewood dreads I've played/currently own. I think that combo of rosewood, scale length and the bracing just makes for a very loud, tight and punchy guitar that really projects.
  19. I've been a big Jeff Tweedy fan for a very long time. I've been wanting a smaller body 00 12-fretter for a long time, and I guess BluesKing777's post about the Sunrise pickup fueled the GAS since we starting discussing Jeff Tweedy, and then I saw him at the Fillmore this past Friday in SF and he was playing his 1930's 00. Came home last night from the Hardly Strictly Bluegrass festival and took a quick peek on Reverb, and found a custom shop 00-18 slot head 12-fretter for a really great price. Apparently the owner bought it new, wanted to experiment with finger style playing, never really got into it and is selling it to help fund a Les Paul purchase. It's originally from a shop in Indiana that apparently spec's a small number of these a couple years ago. Here's the Reverb listing with the specs: https://reverb.com/item/15328664-martin-00-18-12-fret Not too stoked that it has a strap button installed, but it's obviously not a deal breaker, and if I bond with the guitar and the strap button still bugs me I can have it removed and filled in. I think I did pretty good with this one, even though I said I'd never buy another acoustic guitar that I haven't seen in person and played first. Seller has already shipped it, so I'm hoping it will be here by the end of the week!
  20. BluesKing777- Saw Gregory Alan Isakov at the Great American Music Hall in San Francisco last night. He, as before when I saw him went back and forth between his J50 and some sort of Gibson archtop. Still has the Sunrise in his J50, and to my ear his sound sounded like all Sunrise pickup. I dont think he was running a dual source, just straight pickup. It sounded good, but didnt really sound very "acoustic", but still sounded good, compared to tweedy the night before who Had a little better acoustic sound with a Sunrise and some other type of pickup in his guitars, combined with an external mic. I should add that the band that opened for Isakov was an acoustic duo called "Oh Pep!" Not really my thing, but they sounded good (we could their last few songs), and the singers acoustic guitar sounded AMAZING. I mean, it sounded like an actual acoustic guitar coming through the mains. I asked her after their set what pickup is in what looks like some sort of 00-18 style guitar. She said it was an LR Baggs anthem! I was pretty surprised. Her sound was ridiculously natural and I haven't heard an acoustic guitar sound that good in a long time, and it was all pickup, no external mic. They're also sponsored by LR Baggs. I think it may even be an anthem SL, because I didnt notice the big, of-white control block in the sound hole that's usually a dead giveaway for the Anthem.
  21. Interesting you ask, and this may sound strange, but given it was just him and a guitar, I think it was actually a combination of the plugged in signal, the mic and just the unamplified acoustic guitar sound itself. It wasn't a very loud show. I[ve seen Jeff Tweedy in the past and sometimes it's sounded more magnetic sound hole pickup, other times more natural. This time around it sounded a bit more on the natural side to me.
  22. Saw Tweedy tonight at the Fillmore in San Francisco. Great show. Although I previously called it a 0-18, the guitar he played for every song but one looks like a 00-18, not a 0-18. He played a J45 for one song during the encore (Acuff-Rose) and it was in an open tuning, possibly DADGAD. Both guitars had sunrise mag pickups in them, no idea if there was something else in each guitar/running a dual source system. He does have what looks like a small preamp thats mounted right by the endpin, and the guitar was also mic'd with some sort of Shure KSM mic, either a KSM32 or KSM44A. I couldn't get very clear pics because I was pretty far away, up in the balcony on the side.
  23. Which model Sunrise do you have? I've heard they are ridiculously heavy compared to other MSP's. How does it affect the acoustic sound of the pickup if at all?
  24. I've seen both artists several times. This will be my third time seeing Isakov (the two previous times were incredible), and have seen Jeff Tweedy solo twice (this will be number 3), seen him with his band with his son called "Tweedy"(was really impressed, and his son is a really, really good drummer), and lost count how many times I've seen Wilco! When I've seen him solo, Jeff Tweedy seemed to mostly play a 0-18, but that was before he got all those Waterloos. Last time I saw Wilco they did 5 shows at the Fillmore in SF, and I was at three of those shows. For those shows he mostly went back and forth between two ladder braced Waterloo WL-14's, one black, one sunburst and neither were plugged in. For that last tour they were playing through small amps, mic'ing acoustics, and John Stirratt was playing through a B15. He also opened the show playing an old Hummingbird. Before the Waterloos he was playing a couple of 1930's Kel Kroydons with the birds painted on them. Long ago he mostly played a J45. I think he also used to play Breedlove acoustics. Even though he has that Martin signature model, I've never seen him play that guitar live. Seems like he's really liking his 0-18 these days. Apparently that guitar has been on every Wilco record. He has a book coming out the second week in November where I think he talks about that 1930's 0-18.. Both times I say Gregory Alan Isakov he played his J50 95% of the time. He also played some sort of arch top for a song or two if I remember correctly.
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