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tpbiii

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tpbiii last won the day on June 24

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  1. Oh my -- so half my guitars are trash. How stupid of me not to be disappointed with their high quality construction standards, ethereal tone, and incredible historic impact. I guess I'll have to play these. Or worse these. Let's pick, -Tom
  2. Wow -- that is a lot. I think a flying fig would be worth a lot!
  3. diesel That is/was my approach. I had a couple of Subarus. Now I have two 2010 Cubes -- only subcompact that can carry eight guitars, a bass, and two passengers. Also two Ford Super Duty Diesels -- 1999 F250 and 2005 F350. They last forever, and with toppers they can transport lots of guitars to festivals and pull RVs. Also a 1971 Blazer I bought new. I had a 1967 Stingray original 427 with my brother, but when he passed away, I gave my half to his family. I guess I am all set on guitars, but never say never. I also have hundreds of old cameras -- bound for a museum if anyone wants them. My late wife and I were into photography from the very first -- 35 mm SLRs We use to shoot mostly B&W until kids drove us out of our dark rooms. I now use digital SLRs -- I know my phone takes better pictures, but I am too old to change. My house is decorated with vintage instruments and vintage cameras -- the decorations are lowish end stuff, but for the most part usable. I am drawn to stuff my Scots Irish blue collar family might have treasured. The old cameras mostly came from flea markets 40+ years ago when they cost a quarter. Old guitars are still sonic treasures and 100 year old cardboard box cameras -- with their large film plane, tiny lens, incredible depth of field, and simple mechanisms -- can still take incredible pictures. I scanned in the 35mm stuff awhile back -- I have an organized digital archive of 75000+ pictures that I sometimes use to assault y'all. For the most part I don't need any more stuff. Let's pick,. I can always use more of that. -Tom
  4. tpbiii

    Looking for

    No, I have never even played one. I know a couple of people who have them, so maybe I'll get a chance to play one one day. The RW is really rare and if memory serves, they predated the mahogany ones slightly. In news of the weird, many of them (most? all?) were trapeze bridges -- those must have lacked power or tone when built, because they are often (usually?) converted to pin bridges. Tell me the story if you find one. Best, -Tom
  5. tpbiii

    Looking for

    I have one -- restored by Randy Wood. It is not for sale or anything, but I'll tell what I can. It is a spectacular model -- 1931 was sort of the first big bang year for Gibson. Good luck, Tom
  6. I have a story. It says good things I guess about Martin warranty. We NEVER bought new guitars -- except once. By then we had sold our souls to you-know-who and were playing bluegrass, but for the whole 50+ years we were together my late would would occasionally do her long hair (she never cut her hair when I knew her) folksinger stuff. Her "best" instruments for that were 1960s Martin S models -- 12 fret dreads. Well in 1995 Martin offered 45 Sing Out 45 year anniversary guitars -- the HD-28SO. It also had the property that its bracing and design was sort of a clone to the 32 D-2 -- 12 fret forerunner of the D-28. That was unique at that time. So we made a deal with our favorite local Martin dealer for a discount and we waited. Well in addition to making Aina Jo sneeze, it's neck was tacky. We held it for six months, but no improvement so back it went to PA. (They had had a supplier problem at the time). It came back with the neck refinished, but still tacky -- the second time was the charm. The guitar never got too much playing time -- sneezing doesn't help performance, but the RW smell eventually subsided. The guitar had some later adventures -- it was stolen from a storage unit while my house was being worked on, but then returned untouched. Finally it needed a neck adjustment -- I normally might do that myself, but the nut was jammed. Fearful, I took it to a well know luthier who agreed it was stuck and should not be forced. So we took it to a local quality Martin repair guy -- he also agreed it was stuck. Martin told him not to force it. Upshot, the neck came out to fix the problem. Now -- 25 years later -- it seems to be perfect. I might complain some about the guitar, but I can't complain about the warranty. They did try to imagine some playing ware, but since the guitar was pretty much unplayed and exactly like it came from the factory that went nowhere. And indeed except for the obvious, it is a beautifully built and sounding new guitar. I have no recordings -- new guitars don't get much respect around here I guess. Let's pick, -Tom
  7. That finish has a common name, but I can't remember right now. Does anyone remember? Randy Wood had exactly that model for awhile several years ago. While he had it, he cloned the body shape in a series of 3 Adi-over-Cuban-mahogany 12-fret "studio guitars." This one was built for the Nashville song writer Ron Peterson. This one sort of looks like a 12-fret version of that model -- but with the incredibly balance sound desired by studio musicians. Let's pick, -Tom
  8. That is me too! Maybe we may get to pick someday someway. Let's pick, -Tom Yea that guitar -- our very first Martin (pawn shop) -- changed (ruined?) our lives. Best, -Tom
  9. I have Gibsons, Harmonys, Schmidts, Kay Krafts, Kays, a Japanese Texan, -- nothing new though. Mine were a managed 40-year retirement investment -- so I hope I don't come across as just a rich guy showing off. But all those sounds were just an included and motivating benefit. 60 years ago in my folk revival days, Martin did not exist. It is/was a great adventure. I don't have a clear image in my mind of what kind of stuff you do. You seem like a really interesting guy -- maybe I have not been observant enough? Odds are you are a better musician than me. Best, -Tom
  10. Well historically you could have some really D-18 from that period for not too much money. I think maybe not anymore. Regardless of tonal nuance, I don't bond well with Martin dreads for my most common finger style -- alternating thumb with finger picks. I generally need to get more noise from the guitar because I generally play in loud-ish acoustic environments -- not that I never play quieter and naked (fingers that is) in public, but seldom and I don't seek it out. A lot of the folk and gospel that I do that way is fast and loud, and I really pop the back beat. Martin's signature large midrange tends to overpower the other nuance when I do it. I prefer Gibsons -- Banners and small 30s stuff. The more sparse midranges on even the classic Js work well for me -- making them more flexible. Different strokes. I do hand with some old folkies (guilty) and they love the 00s. Best, -Tom
  11. As I am sure you know, the tapered braced Martins of the late 40s never got the enthusiasm in the rural traditional acoustic music world that the earlier stuff did and actually the 50s stuff either. I am a great lover of the wonderful clear tone of most all vintage instruments, but I have examples of both D-28s and D-18s of both types and I can certainly hear the difference. I guess truth in advertising requires me to say that I actually prefer pre 1945 and post 1950s for playing in string bands -- which is mostly what did before the pandemic. Here are a couple of RW examples -- 39 D-28 (scalloped), 48 D-28 (tapered), and 36 AJ (for reference). All of these in my judgement are excellent sonic examples. I can do the same demo mahogany (D-18s) but my RSSD is not here and I don't have carefully created demo available for comparison. If anyone would like to hear it, I can put up the D-18s. 1939 D-28 1948 D-28 1936 Advanced Jumbo Best, -Tom
  12. I hope you guys like me doing this. Here is an original one that meets those specs -- 910-74. This batch was always dated to 1942, but more recently Willi Henkes has evidence it is actually early Feb 1943. Best, -Tom
  13. Here are several demos of my 1935 Jumbo, with a pairwise comparison to a 1935 D-28 and a 1936 Advances Jumbo. LET'S PICK, -Tom
  14. Mine was stolen out my office at Georgia Tech. Otherwise I am pretty sure I would still have it. I did rescue a 59 LG-1. Best, -Tom
  15. It is to protect the guitars. For much of the year I live in Georgia and at least before the pandemic I attended lots of outdoor events in heat and high humidity. It is not unusual to come off a summer bluegrass stage so wet from sweat it is like coming out of a shower! That is no exaggeration. More playing is done off stage with hours and hours of jamming. Since during most of my life, the guitars were also an investment, I also needed to protect their condition -- whatever it was. The arm covering helps to keep the guitar dry and clean. Guitar playing often generates sweat. I also have several of these. They slip on and off, and they keep the backs dry. Also the excellent cosmetic condition instruments only went to more benign places -- so the equally good sounding player grade instruments got a lot more action. The Birds are not really great bluegrass instruments, but I have several 30s slopes that are! I love the impact they have in bluegrass! Also many genres are played in bluegrass parking lots -- particularly as you get farther from the southern highlands. 1935 Jumbo player Best, -Tom
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