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About grOOved

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  1. I have on vintage and non-vintage. It's really easy to do but I wouldn't recommend it unless you're comfortable with a drill. The end pin is going to have a block which is what I believe you are referring to. I normally go in with a small drill bit (as a pilot), gradually increasing, and then finishing the job by hand with one of these tools. http://rvrb.io/tapered-reamer-1-8-el2
  2. Don't know if anyone remembers, but I posted about this a while back. Sharpie has some oil-based touch up pens that do the trick. The problem is that the plastic materials used today don't stick the way they used to like back in the 60s and it ends up just sitting in the engraved channels, susceptible to flaking. Back in the 60s they used cellulose based pickguards where paint would actually melt into the pickguard at the surface level. Those had a way worse problem of curling and warping so the materials today are superior however do come with some maintenance. Link below: http://forum.gibson.com/index.php?/topic/107009-hummingbird-pickguard-paint-touch-ups/
  3. Best Gibson I've every played was the Jackson Browne model. It's sort of an odd looking instrument but it sounds incredible. If I ever had to record an acoustic guitar in the studio, I would want that guitar.
  4. They stopped engraving them after the Norlin-era. They only started the engraved Hummingbird pickguards again on special runs more recently so I guess they feel like it's now an "upgrade". The story was that they actually didn't have the pickguard moldings in Bozeman until 2003. What baffles me is how they started doing this on the SJ-200 too which always came with a stock engraved pickguard. Is the Dove next? I hope not.
  5. There definitely is a Japanese market and it could just be arranged as a bulk order going overseas.
  6. There was a time when you could request things like this directly from a dealer. I remember 10 years ago I ordered a Gibson J180 in natural with a J185 pickguard and plastic Kluson tuners. The dealer called Gibson and there just so happened to be a few J180s prepped to be sprayed and they obliged. The guitar was shipped directly to my house from Gibson and there was no upcharge. The good old days...
  7. Yeah pretty sure they didn't go back to a shorter scale until the early 80s. Might be a reason why in the 90s when "reissue" was the buzz word for marketing, the Hummingbird was called the "early 60s Hummingbird". Here are a couple of examples: https://reverb.com/item/454588-vintage-1968-gibson-hummingbird-acoustic-guitar-natural http://www.gbase.com/gear/gibson-hummingbird-1966-sunburst-top-natural
  8. I just stumbled on this thread and when I saw that bird, I knew it was a long scale later 60 model. There's very little information on the web, but I believe they went long scale in 64 or 65. The longer length gives it a tighter sound and feel. When most think of a Hummingbird from a tonal perspective they think of a short scale loose warm tone so the late 60s models are bit unique.
  9. Philadelphia Luthier has bone adjustable saddles back after being out of stock for some time. This is a nice upgrade from TUSQ and an alternative to modifying the 60s ADJ saddles in efforts to improve the overall tone. I just ordered one for my '65 Everly to see if I like it over the rosewood bridge. I am not a fan of TUSQ so we'll see how bone works out. http://www.philadelphialuthiertools.com/guitar-bass-nuts-saddles/replacement-adjustable-bone-saddle-for-gibson-acoustic-guitars/
  10. The True Vintage model came out in 2007 so as others have mentioned, it is not a TV. Aside from that, prior to the TV models there was a run of 60s Authentic Hummingbirds. The story goes that Gibson found the original moldings of the old Hummingbird pickguard casts from the 60s. They did a limited run of models featuring the "authentic" Hummingbird engraved pickguards which later became what we know today as the True Vintage model.
  11. If you're within the US, Section 403 of the FAA Modernization and Reform Act states that airlines cannot force you to check in a musical instruments (specifies a guitar) provided that there is room in the overhead or as people have mentioned at the gate. When I traveled with a strat, I had it in a gig bag and it fit easily in the overhead. There was no question about taking it with me as a carry on, but I did print a copy of the amendment to reference just in case I did. http://www.gpo.gov/fdsys/pkg/BILLS-112hr658enr/pdf/BILLS-112hr658enr.pdf
  12. I have the Anthem SL and run it though a basic run-of-the-mill passive direct box (Live Wires) into either a Mackie Onyx or an Allen Heath board and through a full range PA. I've already dialed back some of the microphone but I think I need to dial out more. I wish I had the same experience as you... All I really wanted was to add a bit more natural sound vs a saddle piezo and sadly there are days I wish I threw in a Baggs Element and called it a day.
  13. I installed one in my Bird TV and I'm probably in the minority, but I don't like it. I tried the Lyric before it and that was worse for me. The sound of that mic (both have the same quality) is very trebly. I have to dial out a ton on the upper mids to get a usable sound. I wish it had more "body" on the lower mid-range, but I think they shelve it because it causes feedback.
  14. He might be referring to "intonation" where a lot of guitars go sharp at the 12th fret on the E and A. Especially comparing each note - you lose the accuracy of each note due to stretching the string as you press down higher up the neck. Each sting also has a different rate of going sharp based on string gauge. The guitar design of frets ultimately is a flawed design. Some builders go as far as "fanning" frets, but most of us "regular" players just learn to live with it.
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