Buc McMaster
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Posts posted by Buc McMaster
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I recently acquired a 185..........a 2003 build that's in good condition. I've owned a couple different 200s in the past and found them to be rather quiet instruments, not the big boomer it's size might infer...........I find the 185 similar in that regard. The commonality between them is the maple and the pinched waist body shape, but the 185 has a width of 16" making it, for myself at least, feel more like a Gibson jumbo........J-45, Hummingbird, etc.........quite comfortable to sit with. (I don't think maple is the source of reduced volume as the Dove is maple and it is a loud instrument.) Been through several different string sets and seem to have settled on RotoSound Jumbo King........I liked the 0.012 gauge but a recent change to their 0.013 medium set made a very big difference. Tuned down a half step, the mediums generate a lot more volume, have made the tone noticeably warmer and the tension feels very good. The 0.013 high E corrected a small intonation issue on this particular guitar that was present with an 0.012. To my ear the balance improved as well........single notes and chords have consistent volume and tone up and down the fretboard.
Some claim the first-run 185s to be the finest instruments Gibson ever built. That's certainly debatable and quite subjective but I will say it's as well-made and playable as any other Gibson I have owned, and there have been many. I like the fact that this one is over 20 years old now and has pretty much settled into what it's gonna be. It's a very good player and I am happy to have landed it.
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On 4/13/2024 at 1:46 PM, Dave F said:
If you were a righty, I'd loan you one.
Well I appreciate that, Dave..............very generous of you, sir.
15 hours ago, BluesKing777 said:I doubt you would like the V neck on the Collings Traditional (T) model OR the chunky neck Santa Cruz!
Oh I like a big chunky neck profile. The Telecaster I just sold had a 0.997" girth at the first fret.............big ol' handful. I've owned a few Stratocasters in the past that had serious V profiles and were quite comfortable. It's not difficult to adjust to varying neck profiles.
That said, I think the fever has passed. I certainly have no need for another guitar........it's a matter of suppressing the want. The 185 is a fine instrument, suits my style of play and has taken a big turn for the better with a set of Jumbo King mediums.......0.013-0.056" down a half step. I really like these RotoSound strings and the heavier gauge feels really good here. I'd say they feel a shade softer than 0.012" gauge tuned to pitch but have more volume, a solid feel under the fingers and better balance across the fingerboard. As an unexpected benefit, the intonation is much improved..........the 0.012" high E in particular was a bit wonky across the first three frets.......all good now.
Thanks for your input, gentlemen............my apologies for the false alarm.
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From what I've been able to dig up the tops on these were solid wood but pressed instead of carved. This makes sense............it was a budget guitar line.....carved tops are not a budget instrument feature.
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Looks very nice...........the pick guard alone is worth the price of admission! Enjoy!
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The more I consider this guitar, the more I am reminded that it's not a tone I am attracted to.............very dry (this I like), minimal bass response, mostly mid-range honk. No doubt it sounds very good but my instinct tells me it's the wrong voice for me. I am battling the urge to think I could connect with a small body. And so the eye wanders.............
For a few dollars more, there is this: what appears to be a most excellent take on a J-45 by Collings.......a CJ45T. To my knowledge, Collings builds are immaculate and never disappointing. In the past I have owned a couple different Collings electrics that were indeed stellar. This one is very tempting. J-35-style pickguard......the very dark, small sunburst is just gorgeous...............
Somebody stop me!
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I too have removed the transducer from several guitars: not much love for the piezo quack and I absolutely detest the over-sized output jack/strap button. I honestly do not recall any dramatic improvement in tone nor any significant change in the action............if anything the action was improved. If you are pleased with your work on the Epi there's no need to fear the same job on your J-45.
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11 hours ago, Johnson Blake said:
The 185 sounds nice, but I felt the hummingbird vintage you had was tops.
That was a nice one indeed.........like the 12-fret J-45 and the J-35......and the J-200 WC....... I've turned loose several very nice examples......without regret, I must add. I was happy to have played them for awhile. If there's one thing I like in guitars it's change. Got a pretty good J-185 now that'd I'd easily sell for a shot at a small body that appealed. They're just things.........ships passing in the night and soon on their way.............
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..........many of us have guitars other than Gibson. I have interest in acquiring a small body of some stripe and this Santa Cruz caught my attention.......an 1929 OO. Don't think I've ever owned a mahogany topped instrument..........those that have, what's your take on mahogany as a top wood? The one is certainly beautiful. I've listened to a few video/audio clips of the model and it sounds very quick and cutting.......a very immediate, in-your-face presence to the tone. It's been my general assumption that small bodies like this are best suited to finger style technique, a style I am not well versed in, but I'm an old dog willing to learn new tricks.
Any mahogany top insights?
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I'm still messing with the string choice and setup of the J185.........seems I have a need to tinker with things ad nauseam. The guitar is pickguard-less still, waiting on the fire stripe guard from Holter......maybe next week. This morning I changed the strings from RotoSound Jumbo King (12-16-24-32-44-54) to D'Addario EJ16 (12-16-24-32-42-53). The ever- so smaller E and A strings take enough tension off the neck to allow the low E to rattle just a bit. That's how 'close to the edge' my setup is...............the Jumbo King set does not rattle at all. The D'Addario set does sound pretty good but I'm not inclined to tweak the t-rod to accommodate this set.............but it could happen. Recently polished, the body squeaks against my jeans......a bit annoying. And needless to say my singing days are behind me. It's one of those 'use-it-or-lose-it' things in life........I've lost it.......but that's okay.........time takes a toll on everything. Used to do this tune with the band.......the dancers really liked it......
The beginning of the recording is a short little chord progression I've been wrestling with for two or three weeks now........nothing special.......a little bit jazzy sounding........ Temporarily titled Where To since that's what I'm wondering about........where's the next chord?
Like it or hate it, it's the best I can do any longer..............
Chain (circa 2005.......can't really remember when this one rolled out.......)
You say it all the time, the same old line.......I've heard it all before
You'd think I'd know by now, I'd learn somehow and you wouldn't say it anymore
But I will tell you this, baby.....for as long as I exist.........it's gotta be you, pullin' my chain, callin' my name.
You know me way too well, but you don't tell, and I'm not gonna confess
Your little secret smile, goin' off the dial, always did say it best
You're the only one, baby, the one I can't outrun.........it's gotta be you, pullin' my chain, callin' my name
I think I've made it clear, I've been sincere and you know just where I stand
I got to go it alone with my heart of stone out here in no man's land
But as the years go by, baby.......stil I can't deny.......it's gotta be you, pullin' my chain, callin' my name
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Larsongs post above reminded me of this recording I did with some friends, perhaps 15 years ago.........the memory is incomplete.....
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Dave is kind enough to indulge my curiosity and has done this mockup of a black guard with a small maltese cross cutout. The silhouette is not quite right for a 185 but it's close enough to see what it would look like.............. I think I like it.
What does the herd think?
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2 hours ago, Sgt. Pepper said:
What did it look like before it had a tan line?
Show off the Rosette. The CNC Machine worked hard to rout that.
It looked like this. The original guard covered the inner rings of the rosette. I've considered enlarging the radius but decided against it.
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15 hours ago, 62burst said:
.........JoiL shows how the LG-2 can be a helluva fingerpicking guitar:
Whoa. That is some seriously controlled playing.........lots of space, smooth dynamics, room to listen in this one. Bravo.
The guitar sounds very nice.......pretty good balance. Never was much of a fingerpicker but this is inspiring.
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11 hours ago, Dave F said:
How about a black with a white Maltese cross?
Well that certainly looks interesting................
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.........the LG-2. Found this good looking example on Reverb and am thinking it would be nice to have a pair of instruments that have little in common..........as in my current 185 v. an LG-sized guitar. The only small body I ever owned was a Martin 00-18 several years back and, being attuned to dreadnoughts at the time, it didn't do much for me and it was soon moved on. Certainly there are a few here that own LG series guitars and have some informative input for a potential buyer...........yes?
This is the current 50s version of the model and is brand-spanking new from last month.........
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1 hour ago, Lars68 said:
I like the look, but would prefer if the inner rosette rings were fully visible, like on the J-45 pictured. But hey, it's your guitar!
Lars
Agreed. I am considering buying two guards, one with the original radius and one that increases that radius to expose the inner rings of the rosette. Quality guards are not cheap so consideration of cost is a thing...........
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1 hour ago, E-minor7 said:
Are the upper edge-curves clean - seems to be signs of flimmer-frays.
The guard in the photo is not attached. The 'flimmer-frays' you see is the edge of the clear wrap I put on the adhesive face so it could be placed on the guitar without sticking........just a visual check.
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Very nice, Sal..........good score! I have been eyeballing a left handed model of this very guitar for some months now..........it's still available..... If my Marshall 1974X amp sells before it disappears I might own one of these myself.
(I do like the original white guard better than the teardrop though.)
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Not a popular mod, it seems.........ah well. I have a propensity to not leave well enough alone.......try this, tweak that.......change for the sake of change to satisfy curiosity. And so it is with this. And it's not an irreversible change..........if the fire stripe becomes tiresome it can always be changed......again......
I do like look of the mockup with the bad guard............the fire stripes visually connect to the lines of the strings and the split parallelogram inlays in my twisted mind.......the more I consider it the more I like it. A single color guard might work as well......black though, not creme. Life is full of options........doesn't hurt to sample some of them now and then........
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This fire stripe guard I landed a few weeks ago was not the right profile..............a false start or two is often in order. You can see some of the tan line under the high E and B strings. The back is covered with clear kitchen wrap to allow the transparency show without sticking it to the top...........just a look at what fire stripe might look like on this one. Sending the original guard as a template will make for an exact copy.
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While I really like this 185, the original pickguard does nothing for me at all and have been debating with myself about removing it and replacing with my favorite guard material, fire stripe. I have been reluctant to remove the guard............cleaning up the adhesive residue would require the use of some products that the finish has reacted to badly in the past (naphtha, polishing compound, Virtuoso cleaner. This morning, on a whim, lifted the edge of the guard with a fingernail and just kept going...............peeled right up intact, leaving behind some serious residue. Managed to clean it up quite well with naphtha, exposing the tan line I expected. I will send the original guard to a couple different makers (one after the other) to be copied in fire stripe........results later.
Even with the tan line it looks pretty good without a guard............
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1 hour ago, Murph said:
Man, you're getting younger, Buc...
i am?! That's certainly news to me, Murph..........sure doesn't feel that way.
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5 hours ago, Larsongs said:
When & why did they opt for Maple Back & Sides?? Is there a non Studio model modern Spec SJ-200 with Rosewood Back & Sides with L.R. Baggs?
Rosewood J200s (all J200s) ceased in 1942 or so, likely due to availability of rosewood at the time. Maple was the wood when production of the model resumed in '46........don't know the why of that. Currently there are a few rosewood J200s: Pre-War SJ200 Rosewood - Western Classic J200 and one or two others as well. One of the 200s I had was a WC........nice guitar but suffered from a marginal neck set..............
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34 minutes ago, Dave F said:
From my experience, the maple guitars are not that loud but have a very balanced sweet tone.
I agree. The three J200s I have owned in the past were not loud instruments. It must be the maple. The J185 I now have is short-scaled maple and not loud at all.........quite warm with a lot of low mids. I do think I J200 is better balanced in comparison.
I think my M2M Gibson acoustic would be a 12-fret Hummingbird..............
Gibson j-45 60s reissue (ebony and wine red models). Experience?
in Gibson Acoustic
Posted
Well alright then. It takes some time to get a guitar dialed in to one's preferences.............some instruments respond and suit the need, others just turn out to have been a poor choice. Glad to hear this one worked out for you!