Jump to content
Gibson Brands Forums

V-man

Members
  • Content Count

    83
  • Joined

  • Last visited

Community Reputation

0 Neutral

About V-man

  • Rank
    Member
  1. ... by making a guitar that had nothing to do with a ‘70s gibson whatsoever. The ‘67 RI is by no means a faithful ‘60s repro... they made a few off/spec decisions (body thickness, pups) but at least kept the actual geometry, look, “feel” of a non-VOS reissue. the 70’s V did none of that at all with next-to nothing that put a 70’s feel to it and did everything to unearth a lazily-disguised ‘67RI.
  2. The thing that drives me nuts is they literally made the right guitar at the right price... then shipped it exclusively out of the country (with rosewood during CITES, so SOL on re-importing them) it’s like re-inventing the wheel... with a cube. ironically, it’s exactly what I’d have expected from the Henry J days... only he actually got it right with the Vs!
  3. For those of you in the dark, they decided to release this critter alongside a white Explorer for their new ‘70s series guitars. One little problem... with one exception they literally got everything wrong! Body - thick ‘67 RI over thin Norlin-era Headstock - ‘67 RI sharp arrow over rounded Norlin-era Pickups - Exposed with black Rings - Norlins were covered and never had rings. Knobs - Silver-topped bell/tophats - Norlins had witch hats w thumb bleeders. Aside from the Nashville TOM, the only thing they did right was color-match the face of the (wrong) headstock. This guitar is literally nothing more than a ‘67 RI with pickup rings and a color-matched headstock. What really pi$$e$ me off is how dreadfully lazy they are about it. It would be one thing if it was 1994 and they hadn’t churned a V out of the shop remotely ‘70s, but here’s the deal: Kirk Hammet Sig Series, ‘13 70s VOS, ‘13 Schenker tribute, ‘15 Anniversary and Japan Flying Vs (along w more recent VOS custom shops) ALL were recently-made “proper-70s” Vs!! How freaking much is it to ask to make a real 70s V (that likely costs less to make than a ‘67 RI) for a simple price, instead of having to blow 2-3 times the actual vintage 70s market value on a VOS or deal with a mis-matched ‘67 Reissue?! My disappointment really is bitter with this one.
  4. Well, If you can live with the lightning bolt pickguard, the fanned headstock with banjo tuners, reverse knobs & input jack, and reorient the strap buttons, then a Reverse Explorer should be easy enough to find. As of this posting there are 2 on ebay right now, one with a $1500 "Buy it Now" option. As for "Why Gibson doesn't release them", my best guess is that the Explorer is not a very popular seller as it is and the cost of tooling up to do a run of these guitars isn't justified by the lack of popularity.
  5. Not exactly where I was going. A Lonnie Mack Flying V is awesome in its own right in that it is: 1. a '58 style V; 2. a solid color; and 3 has the Bigsby B7 mounted. These things make the guitar rare and cool, but there is another edge to that sword: It is a mahogany sig series that has a Bigsby on it. In a world where guitars will ALWAYS become rare and collectable it is a sure bet. In a world where electronic music/hip hop displaces future "would-be guitar buyers" and economic conditions prove how soft the guitar market can be, the investment may not be all it is cracked up to be. In 1971, Gibson reissued the Flying v in a 300 unit batch known as the "medallion" flying V. It was a guitar and it was bought and used and certainly a fair amount were lost to the gigs and "upgrades" of the 80s. As such, very few of those 300 have survived, much less fully intact. The LM is rare, which has a built-in market, BUT it lacks the universal appeal the Medallion has. The LM started out an expensive collectable, which means more were bought as a collectable and more (as a percentage) will survive intact than the small batch "factory guitars". I think LM is great and have no problem rocking a "sig-series" but many people don't share that stance. The Bigsby also has its share of fans and detractors alike. So, in the end in order to buy into a LM, you have to be a fan of LM, or of that specific guitar, and that is going to make it a more obscure market than say the similarly-priced '83 Korina or a 1958 in Pelham blue. Thus, for that level of $ invested I would rather have a '70s era Flying V in pristine cond., which is more common but has broader appeal, but that's me. Like I said, I love flying Vs and would be proud to own a LM. It is a very cool guitar and certainly has a market, but it's a bit lower on my "to-do" list being more of a niche guitar,
  6. I would love one for the collection, but they are expensive for what you are getting (if you aren't a Mack fan). Unlike the original Korina '58 LM refinished, these are painted hog.
  7. stock (albeit uncommon color) also on Vs. The "glow in the dark business" is common to all guitars. This is one way to determine if a neck was repaired... the "old" finish glows in the UV and the neck joint area doesn't or glows at a far dimmer intensity.
  8. Looks like a garden variety '84 style flying V (the standard V of the day between '84 and '88 had a backroute and no pickguard). Kahlers were on some models and aftermarket Kahlers were thrown on many more over the years. Have fun playing the hell out of it!
  9. I have to disagree with this assessment. For starters, Gibson made Medallions in '71 and though it is possible one "could" remove the medallion, plug it, and repaint it, it seems remote at best considering the hassle. This point is moot however because the guitar in question is obviously NOT a Gibson to anybody knowledgeable of Gibsons of that era. Look at the neck joint and the thickness of the guitar body. The guitar meets the neck solidly with only the fretboard raised above the surface of the joint, just like the way the '67 Reissues are constructed and with a body thickness that is similar as well. This is NOT how Norlin-Era Gibson Vs were made. The guitar body is considerably thinner than modern day '67 reissues and it shows most clearly at the neck joint where you see not only the fretboard raised above the body, but a good 3/8" or so of neck as well. Thus you should see at least a good 1/2" or of neck/fretboard sticking out of the joint and raised above the (thin) body instead of a neat 1/4" or so of fretboard raised above a thick body. Thus, you have only two possibilities: the pictures in question are of a Gibson V made after 1988 or the V in question cannot be a Gibson. In fact it should in all likelihood be an Ibanez Rocket Roll Second reissues were built late '74 and sold from '75-'82. Between the 350 Medallions and the '75 "second Reissues" there are records of 3 Flying Vs ever being produced... 2 in '73 and 1 in '74.
  10. I for one am glad the V has been pulled (and I LOVE Vs) Many take the V's recent history for granted, but it has historically been a limited guitar. From 1958 to late 1966 there were only 98 in existence In late '66, there were only 175 "reissues" made for the next 4 years, making 273 Vs in existence through 1970... that's all! The first "successful run" of Vs was the '71 Medallion, which added 350 Vs into the world for a total of 523 up until late '74 Second Reissues came out late '74-'75 and ended in '82, but from '58-'79 only 4,019 Vs existed in the universe. The 80s brought in the oddballs (from "meh" to "wonderful") but the '67 Reissue released in '89 was the game changer. Despite the '67 aesthetic, it had a modern build that resembled nothing in the 60s and 70s, and for all the reasons why it was great, it is also the model that utterly devalued the latter day flying Vs. Between the overpopulation of Vs from the late 80s forward to Gibson discontinuing ebony boards on its alpine white Vs, and it simply makes sense to give the guitar a rest while demand catches up with all the other ones floating around right now.
  11. This was the axe I had to say "No" to. It is absolutely stunning and one of the FEW recent Gibsons that I find top to bottom desirable. However I have 2 Gibson Explorers and about 10 Gibson Vs (along with my Jacksons). Even with the "sell one or two and get this one" notion, the economy is too rough for it to be worthwhile. Enjoy it, it's a fine looking axe worthy of its name.
  12. There are two ways a guitar generally falls into a real collector market... 1. the guitar is used by someone famously influential that generates widespread demand for the guitar 2. the guitar offers something intrinsically desirable in limited numbers (which then usually puts it into category #1) Jason Hook is obviously a good enough guitarist to get a sig, but the question comes down to whether his influence is substantial enough to generate the following, or some guy like you who has one and gets famous playing one ends up generating interest. This is certainly possible, though it is a longshot and there is no telling when the ship will come in for this guitar in terms of great collector value (IF that ever happens). As for the guitar itself, you have a '76 style explorer with a Sergeant FC's or Gunny's chevron graphic with a hideous cavity cover instead of a proper pickguard. Some may think the graphic and/or cover cool. some may not. IMO, I think the graphic is cool enough, but the guitar is utterly ruined by the cavity cover. This guitar Should NOT have been a '76 explorer, but instead an '84 explorer (one with a back route cavity instead of a front route cavity the '76 has). Making this a '76 spoils the looks of the graphic completely. What's more, the damage could have been controlled with a proper '76 pickguard that was painted to match the stripes, but that was either omitted by the player or not provided as an option by Gibson. This makes the whole thing look cheap and haphazardly made, as if to say, "look, you are good enough for a 'base' Gibson sig, but that's it... you want frills and it will have to be an Epiphone". This is all just my opinion, but the fact is that '76 Explorers are a dime a dozen as it were and the cool factor (if any) of the unique graphic is just as likely to be nullified with the terrible treatment of the cavity cover. So my guess is that you bought a '76 and that's what it will be worth, so enjoy the hell out of it.
  13. I noticed this myself and am curious about this as well. Explorer USAs are back up with a harrowing "weight relieved" note in the passage on body construction. As for the Vs, it is only the '68s being yanked (the standard USA offering). Frankly I have no idea what nonsense Gibson was up to when they discontinued '67RIs in 2011 for '68s, which seem to be identical in everything but their name. That said, I think Gibson can use some creative thinking in the V department. The 67'RI (which is more of a bastardized mashup of a 67 and a 75 with different neck/body construction) has been produced from 1989 through 2011 with another year and a half of the '68. They have flooded a buyer's market and though a handsome mix of some of the V's best attributes, they are uninspiring after such a long run. Many people are sick to death of the non-matching black headstocks, for example. There was a limited '70s V recently released (no doubt from the spare parts bin of the KH sig)but with the '67 RI construction, nothing differentiated it from the '67 other than headstock shape, which made the insanely disproportionate MSRP untenable. Now if they did a '70s tribute series like they did the SGs and LPs, with the headstocks, colors (natural, tobacco sunburst, silverburst, maui blue, etc.) and a comparable price tag to the 67RIs, I would be tempted to move. If they reissued the V90 (which will NEVER happen -at least not a proper one) I would jump on one and completely ignore the fact they are using that awful richlite. And frankly, if they discontinued the V for another decade, I couldn't care less (except for the surge in demand for used Vs that would cramp my style). I have 4 '67 RIs, including 2 worn cherry, one alpine, and the V-Bass RI, and with these Vs in hand I can't imagine why I would pay Gibson a penny for another '67/'68 RI. The last new V that I have found to be worth a damn is the Tremolo V (an '84 pickguard-free layout with that stupid '67 contrasting black headstock), and maybe the Silverburst RI (another '84). The ONLY '67 that captured any interest was the Historic Reissue with the correct maestro vibrolla, and that was both prohibitively expensive for the mere addition of a vibrolla and COA, and that was made a full 13 years ago. I LOVE Vs. I have 8 Gibsons and 2 Epis, but absent some special edition/sig/etc. I have no compelling reason to buy another new "standard Gibson V". They have neglected one of their finest models and have failed to capture the attention and amazement of its fans -ignore the cool special editions a moment... I mean the old, gnarly unchanged '67RI standard (for 24 years) offering.
×
×
  • Create New...