cunningham26

Wildwood guitars, a very esteemed Gibson dealer (they are in Bozeman near the Gibson factory, they get all the good stuff!) has one right at your price point As others have said, the guitar he has now is a particular shape, so he will probably like the feel of the Gibson version. the sound will blow him away, don't worry about that. If he complained about not being able to play it while sitting down, or that it was too big or something like that, i'd recommend taking him shopping to a good local shop, but otherwise i think you're on the right track to being the best part of someone's 2020 🙂

You also want it to sound better :) so the comparison might not be objective. I have a '68 round shoulder, braced like the earlier 60s ones. The ones like yours are known to be more miss than hit, but as everyone has said, it all comes down to subjectivity of your particular one. Lotta good info in this thread, I hope you've learned a lot about what you have. I'm not going to be as nice as some others giving you true-value price estimates- unless demand for 70s Gibson acoustics changes dramatically, you're looking at a $1000 guitar on a good day, with a low end of prob $500 for a clunker. It's a cheap way for someone to get a gibson acoustic, even if they're acknowledging they're not getting something truly "vintage". Everyone knows about the drop off in quality that started in 69, and people can buy a modern used j45 for $1500 that is going to blow it out of the water. 70s fenders are starting to gain popularity as 60s models keep getting rare and expensive, so you never know, but if you're concerned about its value, unfortunately there's good reason for that concern.

I've wanted to do it for awhile, and finally got around to it. In all my scouring for info on bone vs. adj saddles, i couldn't find a demo of the Philadelphia luthier supply bone vs gibson rosewood saddles. Here's my '68 with rosewood adj saddle and medium martin strings broken in over the past week or so. Anyways, here's my hopefully halfway decent contribution. I started with rosewood and then bone- it switches around the two minute mark. Unfortunately it wasn't a completely controlled experiment- there was a huge thunderstorm during the recording and some cops flew by (you can hear the sirens right at the end of the rosewood playing. There's also some fret buzz and a clam or two for good measure, but hopefully someone finds this helpful. If the feedback is positive, I'll try it again on a quieter day when I have more time to be really really calculated, and am open to feedback and ideas! https://soundcloud.com/thesouthseasmusic/bone-v-wood

Been awhile since i've posted here- been trying to carve out time to get stuff recorded, basically just hitting record and trying to run through stuff and pretend I'm not recording. This is one of the first songs i ever wrote, many years ago now. The guitar is my super buzzy 2014 Epiphone Caballero. I wanted the ease of plugging the guitar in to record and not have two mics bleeding into each other. anyway, here 'tis https://soundcloud.com/thesouthseasmusic/made-it

[deleted, carry on!]

But wouldn't you also admit that you'd choose one that sounded better to you over one that technically should sound better?

Pulling up a bit in the scope of the conversation, my idea for argument is that the guitar buyer generally speaking wants to find a diamond in the rough, and that's why some MIK will always be desirable. I've played the MIC sorrento, 62 sherrie, and casinos, and some have been good and some have been ok and some have been bad, but I dont think any of them match my Peerless Sheraton because it's mine and it's unlike any other I've seen in terms of playability and finish. The chinese ones are solid, solid guitars, but as a result are just kind of blah. Hearing the mythology of MIJ and MIK guitars (not just with Epi but certainly fender as well) causes people to want to play older guitars they perceive as either sounding better or simply being different than the new one on the rack. Maybe a result of the vintage guitar market? Also since when do you buy a guitar and not want another?

This is something of an aside, because I always confuse Breedlove and seagulls in the non-gibson section of the guitar lobe of my brain. But, the seagull maritime sws are killer guitars, and though the headstock looks a little wonky, sounds the closest to a j45 than any other non-gibson I've tried. Never played a Breedlove I liked, but I was biased out of the gate by hating the look

Haha that was one of the first things i thought of when they first announced the line. I think it's beautiful in cherry, sort of a perfect meld of the union jack sherrie and his 355. I was in GC today and played with a frequensator 62. I had played with the tremotone one and found it a bit lacking, but this one today really sang. definitely a step up in all-around quality from the sheraton II, and as I said before if i didn't have a semi-hollow (and if i had the cash) i would absolutely buy it without thinking twice. I'm wondering now whether we'll see them pop up much on the used market or whether they'll stay in 1962 sets of hands for awhile.

I feel like I can't compete with you guys, really amazing stuff in this thread. Here's a quiet little 350 year old folk tune i thought appropriate for the day. Sorry if it's a st valentines day massacre- recorded on my crappy laptop and i think im coming down with something! Hope y'all enjoy, its in the style of dylan's gaslight tape enjoy, feedback welcomed, i haven't recorded much and still have that "thats what i sound like?" feeling every time http://www.youtube.com/watch?v=iHwFQimlhKA

Just took a test drive with one at guitar center- cherry with the frequensator into a Bugera v5, just clean. i hate when people plug into a jacked marshall half stack and play for the whole store... Anyways, first thing that happened, before i even plugged in, was the wooden part of the frequensator fell out. the pots were a little scratchy, which i thought was odd on a new guitar they probably havent had for very long. Other than that, it sounded great, almost too much for me. Huge range on the pickups, though i thought they leaned more towards the bassy/mid side, and I couldnt replicate the tinny, 60s bridge sound as I can on my sheraton II. I didn't really like the frequensator, and would probably swap out for a proper bigsby, especially when the wood bit is already falling out. The neck is thinner than my sherrie as well, which surprised me as i though mine was pretty thin. Apart from that, I'd put it at an elitist level of construction and sound. Im not rushing out to get one, but if you're in the market for a 335 style, and you can find one of these on sale, I'd pick it up in a heartbeat.

TOTP was feb '96, Maine Road was April '96, plenty of time to get some additional inlays done before the big show. and Leno was '98, surprised he still had it by then. you can see the main sheraton in the background. the more I see the more I'm convinced it's a straight "epiphone" on the headstock and not the script logo. Perhaps the whole story about it being a gift from Meg Matthews is bunk. It makes a lot of sense that epiphone did the sunburst, mini-hum, frequenseator-tailpiece sheraton for noel as a one off, and part of that was the gift of that exact same guitar with a union jack finish. They just lucked out that he played it on TOTP and then later made history with it at Maine road.

if you look a bit closer it doesnt follow the pattern of the original inlays, and looks more like just MOP strips. I dont think it would be out of question for noel to want to add them for solo work

I dont know that I've seen a Matusmoku Sheraton with minihums? I haven't been able to find a good shot of the supernova that shows the headstock, but it would have the old script logo.anyone been to the BME lately and can verify?

Seems like you've done a bit of searching around, so this is going to have to be a bit of a masterclass amongst ourselves, the noel/oasis gear heads. everyone has seen the original supernova, played at maine road in 96. as for where it is, I read that geri halliwell's dress is at the hard rock in vegas, but the supernova is a permanent piece at the british music experience. That one seemed to be more of an expression than an actual player, hence he never really played it and was fine with giving it away. John Harris has a great piece on the use of the union jack in his britpop book. After maine road/the supernova, noel's go-to was a sunburst sheraton: Here's a good history, though there's no way to gauge accuracy, and i think the dates of some things are a bit off, of the sheraton: http://www.gibson-talk.com/forum/es-sential-hollowbodies/1261-epiphone-sheraton-ii-2.html The thing that's a little strange is that every 60s model and the JLH signature model is a bit brighter than noel's sherrie, with more yellow, case in point this '65: However, I think many people can attest that Epiphone, or Gibson for that matter, have never been ones to release uniform products at all times. there are loads of strange versions of riviera, sheratons, and casinos just based on the factory, the staff, and the whims of management at the time of production, from the 60s (and earlier) straight on through to today. The JLH was introduced in 2000 iirc, so noel wasn't playing one of them. It's entirely possible it was a custom-shop job by Gibson, or just a strange atypical 60s. It's definitely got minihums, and an original frequensator, and if you look closely it has inlays on the upper frets, which I've never seen standard on any Sheraton of any period, but which are present on rivs. So my best guess is that it's an atypical 60s sheraton, or it was a custom piece around the time they were doing r&d for a new version of the sherrie when Samick was bankrupt and their options were open with other factories. r&d would of course be done by Gibson's team, and so they probably did a US made one-off somewhere in the process, and offered it to noel. I once actually got to talk to noel himself, I should have asked! im echoing a lot of stuff found here, if you havent come across it by now: http://www.dolphinmusic.co.uk/article/2472-the-complete-noel-gallagher-oasis-gear-guide.html I've never played an elitist, but some others here can definitely give you the info on that. I actually just got my first sheraton, a 97, and am loving it!

I recently did a test on all three at my local (less than 2-3 hours!) GC. The casino is great, really lightweight, has a lot of shine to the sound, and the neck was really comfortable. everything seemed put together really well, but like others said with your background it'd be a snap to replace electronics. The Sheraton was my personal bread and butter because i liked the heft and prefer a bound neck (there's plastic or some other binding around the rosewood rather than on the dot where the RW is just glued right on top of the neck. The pickups sounded great, it was really well constructed, played a huge range of sounds, and will be the next guitar I buy. The dot was a budget guitar. I would only buy it if I absolutely needed that 335 look on a bare bones, shoestring budget. It felt really cheap, the components didn't feel flush or tight, and the fingerboard seemed like a huge step down in quality. Keep in mind this was in a GC room, where i'm probably person #4000 to play it, so YMMV. Riverea's aren't sold at GC but from what I understand they're essentially sheratons with a frequensator tailpiece. it allows for longer string lengths on bass strings, shorter on treble strings, and some say better tone from that? the Mini-HBs as far as I can tell are 99% aesthetic. It really comes down to Casino or Sheraton. Riviera if you like the look. If you want a bright sounding electric, you cannot be a casino. if you want a HB, you can't beat the sheraton. For a compromise, check out the riviera p93. The reason used ones sell at such a high price is that the ones that have been made since about 1986 are still really great quality guitars, and meet or exceed the quality being turned out today. Good luck in your search! post pictures when you get one!