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tpbiii last won the day on September 10

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  1. I have never heard it called that. There is a definite evolution in sound from 1942 on -- for me my newest (of 4) is a 53, the last year to make the cut. It is sort of like the Sherman tank -- functional and not too special, but there were so many of them. And I guess that is the point perhaps.
  2. 1946 LG-2. The head stock decal is the determining factor, although a few would be 1947. Here is mine. Best, -Tom
  3. Moving on from 1936. c. 1938 c. 1940 Rosewood 1942 1943 1944 Post war later. Best, -Tom
  4. 1926 1932 1933 1935 Hawaiian 1935 1936 More to come. Best, -Tom
  5. F-250 with 7.3 L International. Also F-350 King Ranch,
  6. All of my 50+ vintage Gibson guitars are perfect -- just not for the same thing.
  7. I really don't like Gibsons -- or any other guitars really. Of the 50 or so old Gibsons I own, I guess I find the 36 AJ, 35 Jumbo, and 31 L-2 the least offensive. I you count banjos, the 1927 Granada is not as bad as some others. (What is the difference between a Gibson Granada and a macaw? Answer -- one is loud, obnoxious and in-your-face and the other is a bird.)
  8. I have a couple -- 1936 Stage Deluxe and 1935 Radio Grande. They have quite different histories. The Stage Deluxe I bought in the 1990s in the early days of ebay -- it once belonged to Garnet Rogers who I have gotten to know since. The neck has not been cut down -- 2 1/4". It is not as hard to play as you might think, and my late large handed wife loved it. I has a huge raw sound if you hammer it, but headroom to the moon. The other one has a new neck crafted by Randy Wood -- sonically it is in the same class as my 36 AJ, and that is saying a lot. Here it is before conversion. Good hunting. Tom
  9. "Best" is often subjective. Since I love power bluegrass, the only ones I have found that can do that in sort of the same way as the old D-28s are the three RW Js: AJ, RSRG, and SJ RW. But I also love others for other reasons. For example my go to ragtime/folk/gospel fingerpicker (with finger picks) is my 44 J-45. My favorite bare finger picker is the 1931 L-2. And (oddly I guess) my favorite folk revival strummer -- that is where my late wife and I started in the 60s -- is a 62 Hummingbird. It is not as powerful as earlier Js, but its full balanced tone seem to me just right for that. Let's pick, -Tom
  10. No. They can be great guitars, but IMO there best use historically is as strummers behind people with big voices, which I don't have. Modern ones are maple, and maple doesn't cut as well as mahogany or RW in acoustic string bands like bluegrass. The simple answer is I don't know nearly so much about them as the Js and others. Best, -Tom
  11. I would not disagree with that, but if you are leaving the acoustic guitar world, a lot of 30s one piece flange flathead original 5-string banjos are in the same class -- Granada, RB-6, RB-18, All American, etc. Martin D-28, Loar F5, Granada Mastertone -- The 1945 Bill Monroe and the Bluegrass Boys.😊
  12. IMO, the clear answer -- particularly as compared to the Martin D-28 -- is the Advanced Jumbo. The were introduced in 1936, and made until 1940 -- only two were made in the last year. They are rosewood guitars -- rare for Gibson -- and for many years people thought the were Brazilian because of verbiage in the Gibson catalog that talked about "rosewood from Brazil" -- but the wood had a characteristic look different from the BRW on the Martins. The other thought was it would was another species of RW from Brazil -- Amazon RW. Eventually it was tested and found to be Indian -- all the Gibson RW used for the back and sides from c. 1934-1943 was that species, although fingerboards and bridges were BRW. The other main candidate I think -- although it does that fit my music interests -- is the Super Jumbo 200. Introduced in 1938 with RW back and sides, later models were built using mahogany and maple. It is the RW SJ-200s that command a kings ransom. The popularity of the banners is a more recent thing, and historically they never had the interest of the 30s guitars. The main reason was they were never on average as powerful as the older models -- the RW SJ may have been and exception and mine is. The power requirement comes from the days before universal sound reinforcement (1940-50s). There are a lot of banners and they are quirky guitars with a cool history, but their primary impact is from foreign and modern markets -- they were never highly regarded by the non-urban acoustic genres. The L-2 is another interesting suggestion. Historically they were sort of grouped in with L-0, L-00, and L-1, but they were only made around 1931-32. The first ones were mahogany, but then a few BRW ones were built. Many of the latter had trapeze setups, but a few had pin bridges. Many of the trapeze models have been converted to pin bridges. These were transition instruments, and like the Martin of a similar period, their tone is unique and very (IME) beautiful. Here are my late wife and my golden era Gibsons Front row -- 1926 L-1, 1938 HG-00, 1937 L-Century, 1936 Roy Smeck Stage Deluxe, 1935 Roy Smeck Radio Grande, 1931 L-1, 1934 L-00 3/4 Back row -- 1935 Jumbo, 1936 Advanced Jumbo, 1936 Jumbo 35 (Trojan) Here are some banners Front row -- 1943 J-45, 1943 SJ, 1943 SJ (RW), 1944 J-45, 1953 J-45 Back row -- 1942 LG-1, 1946 LG-2 Let's pick, -Tom
  13. That particular batch is not documented, but it looks like 1944. Nice guitar.
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