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tpbiii last won the day on June 24

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  1. I wonder if I can get a COA for this. I am thinking NO -- it is too old😉. Let's pick, -Tom
  2. Based on the headstock logo -- 1946 LG-2. I have one of those -- here it is. They did not make LGs in the 30s -- it was introduced in the early 1940s. The wartime LGs had the banner logo -- this logo only happened in or near 1946. Best, -Tom
  3. All right -- I'll bite. Most of you know I actually have a 1936 all original J-35 -- although it was not called that until later. Mine was called a Trojan first and then a JUMBO35. Mine is a bit iconic because it is the only Trojan actually identified by name and FON in the shipping ledgers. I read all I could about the reissue -- it looks like a nice guitar, but they missed by a mile in MHO. First, they said they used AJ bracing -- HUH? That is quite different -- the angle on the AJ X is larger. And that is a big deal! Here are a couple of Henkograms of my 36 AJ and 36 Trojan. Remember my AJ is a rare 3 tone bar example. Also, the 1936 Trojan/J-35 is a very different guitar from 1938 J-35. The 36 models had basically a deeper JUMBO body while the 38 has an AJ body. I don't know why they do this -- there is nothing wrong with the way a 36 Trojan/Jumbo35 sounds.👍 http://vintageacousticinsruments.blogspot.com/ http://www.vimeo.com/tpbiii Best, -Tom
  4. The pickguard looks identical to my 45 J-45 -- but that does not really tell you much. The factory order number (FON) if it has one will be stamped inside on the neck block. Sometimes missing and often hard to read. The headstock pictute will tell the tale. Best, -Tom
  5. Lots of demos here. Ordered by year -- the AJ is 1936. https://vimeo.com/showcase/6716201
  6. Hmm.. Point number one: 1942 Banners (ie that had a banner on the headstock) are quite rare. Many that year had just the gold Gibson. Point number two: For many years -- before Willi Henkes did his registry -- almost all guitars with early wartime and transitions features (big necks, no truss rod, etc.) were called 1942. It was ignorance (I did it too -- we did not know) -- almost all those guitars were actually (some early) 1943. Point number 3: Essentially all 1943 SJs had some RW -- either RW B&Ss or mixed. That continued into early 1943 -- then mahogany began to creep in. Point number 4: I have more than 50 vintage Gibsons, and I have seen many strange things. However I am not ready to believe they built SJs with J-45 necks -- that was the feature that defined the model, as well as some RW components in 1942. Point number 5: Who cares? Gibson and their customers I guess. I come down on those guitars being called SJs is just a modern mistake based on a long history of ignorance in this area -- in the tradition of almost universal dating bias on early 40s Gibson guitars. Let's pick, -Tom
  7. I have used mine a number of times in old time sessions -- works well to my ear, but you don't see them much. When my father played in a string band in the 30s in North Carolina, he used a (Harmony?) archtop. Best, -Tom
  8. Soon after that date, the L-4 went to f holes. Then in an odd Gibsonish move, for about one year later -- c. 1937 -- they built a few more round hole models. Some of these (all of these?) had Nick Lucas fingerboards -- I got this one long ago at a flea market. Let's pick, -Tom
  9. At this point, I am mostly totally acoustic -- but I am pretty old. In the late 50s, I started playing folk revival and "rock and roll." In my years of making a retirement investment out of old guitars, I did end up with an occasional electric and at least two newish ones- 84 Strat and 84 ES-335S. They were not new, but probably only a few years old when I got them. In about 1990, my Son borrowed the Strat and never came back -- he became a fairly successful musician using that guitar. I got them both from pawn shops. Here is a picture of my "new and electric" stuff. Most of the acoustic guitars and all the basses shown have pickups -- I have used those in situations where not doing it was not reasonable. The basses all belonged to my late wife. The "coolest" for me was the 50/60 Kay bass on the bottom left. There are a bunch funky stuff there, some of which I own with my daughter from her ALT ROCK period. The BC Rich Warlock had a big impact on my son' early heavy metal period -- scary. The three Danelectros -- two Silvertones and a Coral -- sound like coming home if you played in the late 50s/early 60s. The 72 Tele Deluxe was a graduation present for my daughter (she had many graduations) and that got a lot of use in Texas honky tonk bands for awhile. I don't see the ES-335S -- that is an oversight. The other two "cool" guitars are the 68 Fender Coronado II Wildwood and the 67 Lake Placid Blue Fender Coronado I. These are true hollow body guitars -- not like the ES-335 which they resemble. Feedback is a problem on a loud stage -- they mostly now get use yearly to play Christmas carols. Here are the Gibsons. 62 Melody Maker, 67 SG JR, 84 ES-335S, 49 ES-150, 67 EM-150. I am still hoping to play that ES-150 in a Honky Tonk gig - I have never done that except with a harmonica. I probably would not be very good -- but that has never stopped me.😎 Best, -Tom
  10. It was a fine event -- the most exciting thing that has happened to me since my front porch light burned out three weeks ago. Here is a picture Debbie Farley took -- probably we look better because of the masks. To me it was a missed opportunity of great proportions -- particularly now when everything has shut down. In this room were some great musicians (not me) -- great pickers and great singers. Spontaneously playing in such a situation is to me the top of the musical food chain, particularly if I am allowed to sit in -- for me that is all currently lost to the pandemic It is the only art form where the product is gone as soon as it is created -- you have to be there and it only survives in our memories and our souls. Maybe later. Of course it does not always work out -- in the words of the late great Dale Earnhardt, "sometimes you win, sometimes you lose, sometimes you wreak." Debbie did sing one song with Mark -- she use to sing it with my wife and she sang it at my wife's memorial. Mark and John have been like brothers since at least the late 70s. They had a band in the early 80s that swept all the prizes at Bascomb Lamar Lunsford's ASHEVILLE FOLK FESTIVAL -- band, fiddle, guitar. and banjo -- twice. In those days, that was pretty much the National Championship. John cares nothing for cosmetics, but he consistently creates -- often from pieces -- some of the best sounding instruments I have ever heard. And if I can brag a little, I have heard great instruments in my life. Mark on the other hand is one of the best luthiers out there -- for him every aspect must be perfect. He is one of the handful of luthiers that I believe is qualified to work on my serious old vintage instruments. If you look, the world is full of wonders, and these two guys qualify. I have one spontaneous video of Mark playing banjo -- the opening song in a memorial celebration of my late wife. This one in Nova Scotia. That is the end of the color commentary. Now we need to hear Patrick make music with those guitars! Let's pick, -Tom
  11. Here are the demos I sent Patrick. The first one is quite short -- a rhythm comparison with some serious competition. Guitar 1 -- 1935 Martin D-18 -- Guitar 2 -- 1940 Gibson J-55 RW These next two are quite long -- but you can skip around. Rhythm -- flatpick - fingerpicks -- bare fingers Let's pick, -Tom L
  12. Almost all were, but someone on the UMGF once said he had seem a two tone bar example.
  13. I just looked at this collection -- it is spooky. I have no interest in the 200 family of guitars, but other than that I pretty much have them all. Also they often seem to date many of the models at one year earlier that the actual model -- that was very common before Willi Henkes research suggested that was hyperbole. If you allow that correction, I have them all. Can the RW J-55 be far behind -- you can probably count the original instruments on one hand. A 31 L-2 is a truly fine instruments -- IME possible the finest tone ever in a small bodied Gibson.😎 Example of all my originals except my 1940 J-55 RW -- which I have not uploaded yet but I will later this week -- can be found in this vimeo album. LARGE BODY GUITARS Lets pick, -Tom
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