Buc McMaster

Bit of reverb added to the track........just seems to sweeten everything nicely. Still have the blue Hummingbird and do intend to rescue it from its' case in the corner soon.......promise. Thanks for the love!

Thanks, fellas. Nick: stole this from a Winwood solo acoustic version I found on the web. I drop an extra note in a couple of the chords that make it sound a bit different but it's quite similar. And I agree, his vocal register for that one is clean outta sight.

Happy 2020 all! Hope all is well in your worlds! Been off with other things of late......haven't even been playing lately. But yesterday I managed to find at the guitar in the closet and thought I'd give dropped D a try.......... Down a half step in drop D, capo at 2 for vocal accommodation.........

Sunbeam 12s are good.....yep. But the lightest "feel" of all (in my experience) are Martin Titaniums. Expensive, yes, but they feel unlike anything else out there.......out of the package they're like cooked spaghetti noodles. Nice, dry thumpy tone as well.

Well I won't say my 45 is perfect but there is absolutely nothing I would change on it nor about it.............it's right as it is just now. Pleases my ear and suits my style of play quite well. Nothing more I could ask for from a guitar.

One more try............

You go, boy! Jumping out live is a whole different ballgame, ain't it?! Dealing with unexpected circumstances (no monitor, poor stage sound) adds to the anxiety of the situation.......it can be quite intimidating. But good on you for forging ahead and making it happen regardless! Huzzah!

Yeah, Grovers are quite functional, however they are butt-ugly.......on any guitar. And they are stupid heavy compared to almost any other machine head out there, Grover Imperials excepted.

Thanks for listening, folks. It's certainly a work in progress and I'm really not sure I'll be able to add it to the list in the end.........that refrain is so freakin' high it's really hard to get there comfortably with any power and control. It is a great tune from the golden era of rock and I will endeavor to persevere. Rebel Yell? 🤣 No way.......not this boy!

Here's a tip for all you old hippies.........don't try to record a new-ish tune behind a pull on the pipe. 🙄

No offense intended, but that looks like abuse to my eye. There are narrow, tangled-looking lines apparently drawn in the finish, like you were wearing a ring or something that scarred it. Any kids in the house that might have mishandled the guitar? I've seen older instruments with chunks out of the neck finish like this one shows, generally from being leaned on a table/desk, an amplifier or some such as that. This does not look like a bad finish bubbling up or peeling......looks like abuse.

This one.........if it matters. And no, Nick, no wah in an acoustic treatment........no raging Bruce bass line.......no driving Baker percussion........just a man and his Gibson.

Cream White Room. What a chord changing son of a gun this one is!

Bummer, dude. Round and round you go. I have a Schertler David Deluxe (no longer in production) that sounds terrific and has a -10dB switch on the input to knock down a high level input.......is this missing on the Roy? Nice feature to have......seems you could use one on that amp. If you play stages with in-house sound systems you can feed a DI out of a stage amp and reduce it to a monitoring system. Not the case in all rooms though, I know. And, not to rain on your parade, but we as players/performers are our own worse critics and I don't think an audience is nearly as particular about perfect fidelity as we are. You might consider this and reduce some of your stressing over this amp search.

If my remembering is correct, Gibson only used fullerplast for a short period in the early 90s.........1990 and '91 I think. If the guitar doesn't fall in this date range it's nitro.......if so, i might be. I'd contact Bozeman with your serial number and they should have the correct answer.

......if I posted this one previously or not. If so, please disregard. If not............a tune I wrote sometime back that I recently re-discovered.........forgot about somewhere. Civil War stuff. J45V; 3-month old DR Sunbeams, half step down, Kat Eye capo 3; BC TPR50; iMovie with Blue Yeti mic.

In the past I owned a Standard and a Vintage model Hummingbird, the vintage perhaps being the best pure player I've ever laid hands on. So many variations of the same model.........my current Big Sky Texas being a prime example......

Congrats on the new guitar! The finish looks like what I know as "honey burst", same finish that was on the Standard I had some years back (might have been a 2014-15). Don't see any cherry in the photo. And the white label indicates a Standard model..............other versions (Vintage, True Vintage, etc.) sport an orange label. You would do yourself a favor by changing those heavy Grover machine heads out for a set of keystones, also from Grover (screw holes match up nicely). It will lighten the headstock and make the thing feel much better.......but hey, you might be a Rotomatic fan.......what do I know.......... Enjoy the thang!

So many fine players out there, but I do keep coming back to this guy..............Monty Montgomery. So smooth, techincally nearly perfect.......just wow. And, as a side note, for those that wonder what the sound of compression is, the single note passages in this video are heavily compressed, much more than I personally care for but he makes it work for what he does. Hear them 'pop'? Compression. Yes, some may say he's a bit over the top, but his mastery of the instrument cannot be denied.

Wouldn't do much dimensional comparisons between 21st century Gibsons and their ancestors from the 1970s. Climb back out of the rabbit hole while you still can........

Settling into the new digs on the island these days.........a nice cottage-style house built in 1925, four blocks off the seawall............nice. I expect this will get better with another 100 passes, but this is what I got for a couple days effort. J-45; DR Sunbeams half step down, capo at first; BC TPR60; iMovie to Garageband.

Point of reference for Billroy...........................

Not sure what you mean there, Joe. But I do know that necksets vary much more than they should, particularly in instruments built with a lot of hand work. To my thinking, the neckset is the single most important factor in how adjustable a guitars' setup can be. I can think of no reason why a builder wouldn't take extra effort and care in make this joining of the body and neck perfect.......everytime. And yes, Doug, I had ramps cut into the ribbons on my WC long ago. I suppose some would wince at the thought, cutting the pearl, but it's a tool and priority one is playability.

A neck set in the block at a relatively shallow angle is underset..........not too much difference between the plane of the fretboard and the guitar top. This can make a low action setup difficult, if not impossible, depending on the degree of underset. An overset neck has a steeper angle between these two planes. Such geometry allows lots of room at the saddle for action adjustments, up or down. The old straight-edge-on-the-board check demonstrates both quite visually.........easier to understand seeing it than stating it.

A four ribbon bridge requires that the pins be set farther from the saddle, making room for the extra ribbons. This is very obvious in Daves' photo of his 200s. Moving the pins away from the saddle reduces the string break angles. With an overset neck a four ribbon is fine as it allows for a tall saddle, maintaining good angles over the saddle.. An average neck set can be troublesome with a four ribbon bridge. For my eye, a two ribbon looks better anyway, but everyone sees with different eyes.