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Leonard McCoy

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Posts posted by Leonard McCoy


  1. Shifts in temperature or humidity cause the top to move, hence there will be times when cracks are more prevalent and open. The crack doesn't appear to go very deep into the top wood, as if a solid object cut the top ripping it at an angle or something. It is difficult to tell what the appropriate fix is without hands-on review of the trauma. A competent luthier is recommended for way too many reasons to elaborate on here.


  2. Given the same scale length, tuning and string properties, the tension of the new Gibson strings would be comparable to, if not the same as, their D'Addario counterpart. You can use their calculator here for whatever scientific project you are tackling. Personally, I don't see the use.


  3. I started this guitar tab in 2006 but must have quickly given up (the intro and bridge parts are difficult to figure out) realizing it went way over my head. Fourteen years later and I managed somehow. Life doesn't seem so bad.

    Best played on a J-180/185, J-45 or L-00.

    Heaven / Where True Love Goes (2006)

    The intro and outro of “Heaven” are pure acoustic heaven and played by Steve on a classical guitar no less; the middle part is very upbeat. For this song, Steve took inspiration from the “Heaven” part of his “Foreigner Suite”, a set of songs more firmly coupled together than he might think and touring through a variety of musical genres. The intimate chords Steve used for this piece (transcribed here as played by Steve on guitar) are quite rare to see for this stringed instrument in standard tuning and definitely take some getting used to when playing (cf. fingering at bottom).


  4. I know of no luthiers in the Detroit area. In the end the dogged headstock ear would have to be filed down flat, a new piece of grain-matched mahogany be grafted onto the headstock ear and color/finish-matched to the rest, and ultimately aged. The blending of old and new material can be a very challenging task for it to look natural on old guitars. The luthier would have to be firm in his knowledge on Gibson finishes as well. Neither a cheap nor particularly easy fix even though one might think so.


  5. 20 hours ago, jedzep said:

    It will usually be slightly taller on the bass side, sloping lower toward the treble end.  Take a sharp pencil and mark the correct underside of the saddle with a 'T' if you think it could happen again.

    Jedzep summed it up quite nicely. So turn that saddle around if you will to have it in the correct orientation.


  6. 1 hour ago, jedzep said:

    Are you really in Katmandu or are you just a Cat Stevens fan?

    Not physically no, so the latter is the case. Admittedly, not even Cat Stevens has been to Katmandu despite singing about it (after having read a Rolling Stones article on the place).


  7. When browsing the web for replacement tuners for my J-180's Kluson-style Grovers, which didn't turn very well under tension (oiling didn't help), I stumbled upon these Kluson Supreme 3+3 tuning keys (single ring, double line), with their higher gear ratio of 18:1.  The exterior is made to vintage specs and drop right in if you have had Kluson-style tuners on your instrument before.

    The keystone buttons have more of a yellow hue to them (instead of the Grovers' greenish shine), and swirling pearl pattern on the buttons is more present which I like. The keys turn very smoothly and you can tune up very precisely due to the higher-than-normal gear ratio. Very high quality, very happy.

    yPd2K05.jpg

     


  8. 6 hours ago, Sgt. Pepper said:

    I'm not, but do I cry myself to sleep most nights knowing I own a D-41.

    I guess there are worse things to do for warming you through the night than cuddling up to ya old D-41 (as burdensome as it may be). I just can't for the life of me see a single shred of beauty in the Martin design that looks but old, antiquated, German-esque to me. Clearly, I'm in the majority and you will have to kowtow to my superior opinion and destroy all your Martin guitars at once.


  9. 5 hours ago, Sgt. Pepper said:

    They are total POS. What does CFM know about making a guitar anyway?

    Wait, they invented the Dreadnought. No manufacturer's use that design, except almost if not all of them. H'bird and Dove wouldn't happen to be Dreads would they?

    The one thing I will say is Martin has no business painting the tops on their guitars. I think they look awful. Gibson kills them in that department.

    I know you feel butthurt now, but it is what it is.

    What is, is.

    • Confused 1

  10. As opposted to a single-action truss rod (employed in all Gibson guitars), a dual-action truss rod allows you to correct a backbow as well (in addition to an underbow). If the rod is made out of titanium instead of steel, there might be a weight benefit to it, as dual rods are heavier by nature (two truss rods working in parallel). Most modern-day Fender electric guitars feature dual-action truss rods, and they work as intended. I have never seen a Gibson guitar suffer from a backbow so I figure they don't need one; I also do love me a lightweight neck and guitar.

    Fender dual-action truss rod

    xDvrhAl.jpg

    • Like 1

  11. 5 hours ago, Dave F said:

    Just my own experience, I opted to keep my J45 Legend and move my vintage 1942 J45. I opted to keep my vintage LG1 and move the RI version. Both cases, the RI's impressed me enough to seek out an original. Other newer guitars that impress me that would tempt me to gamble on a vintage are my L5 and L00.

    I think the modern guitars are more consistent with less issues (if you find one you like) were as the vintage market is a hit or miss. Being 80 years old cna be welled played, abused or an unplayed closet queen. I'm sure the results will vary. If you find a good one it's a real treasure but how many frogs are you willing to kiss?  I've got warts all over my lips. I currently have two frogs at the luthier ('40 Recording King and a '52 J45) and one shiny new torrified top on order.

    True and to the point. As with any vintage instrument, it always feels like a gamble for the one lucky drop of THE instrument that may, or may not, exist somewhere or only in one's imagination. The hunt may be fulfilling, for a time, in and of itself, but once the instrument materializes at your door step you will most certainly be in for a first disappointment. There are exceptions of course, but even if your luthier is skilled enough to straighten the instrument out, it involves considerable time and monetary effort, and you will be rolling the dice again on the final result, to fulfill the expectations you built up for so long during the hunt. Out of these reasons I will gladly stick to the modern Gibson Custom Shop and be more than content doing so with the results.

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