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tpbiii

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tpbiii last won the day on September 10 2019

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  1. tpbiii

    Case Value

    Here is a 1949 case -- ES-150. I am not saying what this means for this discussion, but there is an excellent chance this is the real thing. -Tom
  2. I think I bought a good one for that purpose in 2013 -- BUT I can't find a label or a sales receipt. The guitar is a 1949 ES-150 -- a 17" archtop which I think is very like an L-48. Guitar Original Case Case Guitars in case. I can;t find the sales records and there is no label. I did not get it from Amazon, but maybe Musicians Friend or Elderly. I just matched the specs. Good luck, -Tom
  3. To my aging ears, they got the tone pretty much right -- at least in the general tonal contour. An interesting fact is the SJs in general -- and the RW SJ in particular -- were almost invisible in the 90s vintage market. The banner J-45s -- which were much more numerous -- were generally valued by dealers and in the VG Price Guide as more valuable. I first heard of one from Randy Wood, who had worked on one from Charleston. I became intrigued after 2000 when a well know bluegrass player said he liked his better than his prewar D-28! I am not into rare, but I am into RW Gibsons for bluegrass. But I did not expect to ever get one. One popped up with Gary Burnette and I went to his show, played it, made a cash offer, and it came home. Similar in many ways to my recent acquisition of my similar sounding -- and much rarer -- 1940 RW J-55. I wonder if they will reissue that? -Tom
  4. ๏ปฟHere is what it was copying. http://vintageacousticinsruments.blogspot.com/ Best Tom
  5. My first guitar was a "shop worn" new LG-1 I bought in the fall of 1962. Before that I had played borrowed guitars. That guitar was stolen in the mid 70s. my late wife's guitar was probably a Kay -- bought from the MWard catalog c. 1961. An odd animal with a huge neck that "could be strung with nylon or steel" -- think folk revival. It fell into disrepair, but a friend brought it back to light. She use to brag that it was better than the Gibson. http://vintageacousticinsruments.blogspot.com/ http://www.vimeo.com/tpbiii Best, -Tom
  6. I think I have 52 different shapes on my 48 Gibson guitars.๐Ÿ˜Ž
  7. I don't recall his name, but he is around in North Georgia. When he shows up, we generally lean toward stuff he can dance to. Best, -Tom
  8. I'll be glad to, but I should note a couple of things. First, this is a much-worked-on (not by me) player grade guitar that even has had some top restoration -- not original at all. I was really surprise at how good (and flexible) it is -- I have used it a lot on stage where I might normally use a D-18. I have an all original 1936 Trojan with basically the same specs -- both guitars are very strong, but the Trojan is much more raw, which actually makes it not-so-good for bluegrass. A conjecture is the work on the JUMBO may have just taken enough edge off to make seems deep rather than raw. None of these really shows the guitar being used on stage or in a jam session. The recording I have of that don't show too much IMO because (1) the situation is too complex and (2) the stage usually distorts the sound so you are not hearing the real thing. Also when I am playing mostly rhythm, I usually have others on stage with a better right hand than me. I did pick one to show -- this show was done with three open condenser mics and no monitors. That can give very faithful sound reproduction BUT syncing levels from the three mics is really impossible -- you just do your best and the sound man tries to help. Here is a video from a live jam show some years ago using the JUMBO http://vintageacousticinsruments.blogspot.com/ http://www.vimeo.com/tpbiii Best, -Tom
  9. Here is one of my usual curmudgeon comments. It is commonly believed that only 1935s had a bound fingerboard and AFAIK it did not have a 1 3/4" nut. Here is my 1935 player grade Jumbo -- I use it (a lot) in bluegrass wherever a good D-18 would also work. Let's pick, -Tom
  10. Because bluegrass imposes a structure on the roles of the guitar, it is easy to design demos that most BG players can relate to. In fact bluegrass was only invented after the 20s and 30s instruments (mandolin, banjos, guitars) came into existence. When you broaden the scope, I don't know how to design broadly popular and effective demos. Suggestions? Best, -Tom
  11. Yea, a lot of bands now have a rhythm and a lead guitar. It is not as dramatic as it would be if the guitar rhythm dropped out in other phases of the music because the level must back down when the guitar has the lead anyway. For 25 of the 30 years we did this energetically we had a lead guitar. In our case, that was the most skilled band member -- starting in the late 80s, the flat picked guitar became very popular in bluegrass. There are now quite a lot of "mostly guitars" jam sessions -- maybe three guitars with a bass and one or two other lead instruments. These sessions tend to crank up for the mandolin, banjo, and/or fiddle rather then modulate down for the guitars.๐Ÿ˜„ Best, -Tom
  12. Except when playing rhythm in a strong traditional BG band, they are mine too! Best, -Tom
  13. Although the RW guitars are usually preferred by rhythm players, mahogany is often preferred by lead players. So many agree with you. Modern D/A converters are excellent. Thus a good pair of headphones should give you some really good sound. Best, -Tom
  14. Well there are a lot of examples. In the 1990s, I wrote an article about bluegrass jamming that was published in BLUEGRASS UNLIMITED. The people who were playing it knew the rules that made it work - but hillbillies were not great communicators. My wife had spent about a decade earlier sorting it all out, so I wrote it up. Turned out it was an unrecognized need -- it has been republished over 400 times (that I know of) on every continent but Antarctica and translated into ten different languages -- mostly by bluegrass clubs. Here is the whole article http://barnwell.ece.gatech.edu/rolesx.htm for anyone who wants to read the whole thing. Here is the part about rhythm. The backup goes all the time -- although it modulates depending on what else is going on so not to overpower the vocals, harmony, or instrument breaks. The participants basically take turns. Here are three examples -- two with vocals and one instrumental -- from the local bluegrass "music barn" in Atlanta. The guitar demos would make sense to a bluegrass player -- they are two of the required pieces needed: guitar rhythm and guitar lead. The other pieces are bass, lead and rhythm on the other instruments, and lead and harmony on the vocals. Arguably you need bass and rhythm always -- and some of the other pieces. The cool thing is if you can play and you understand the rules and stick to them, you don't even have to know the other players.๐Ÿ˜Ž I guess you and I share a love of (and a history in) folk revival stuff. It would be lovely to have a compact way to demo the guitars to non bluegrass players. My current (flawed) approach is to have good acoustic players and singers use -- and react to -- the instruments, but how useful that might be to the community at large is hit or miss. Best, -Tom
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