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Static

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Everything posted by Static

  1. Static

    NGD

    Gampadoug.....that is an awesome guit! Enjoy, bud!
  2. You're quite welcome, Doug. They're pretty comfortable couch guitars! Just play one at a store and make sure you like the Memphis Tone System and the Burstbucker Pros. If you've played guitars with 50s wiring or a treble bleed, thats kind of what you're getting with the 235. And just make sure those Burstbucker Pros are able to be tamed down enough for the kind of Jazz you play, they lean towards the hotter side of the spectrum. They got sort of a chunky 50's neck on em that I love and they can certainly pull off the brighter jazz sounds. If you wanted warmer jazz sounds I would seek a semi hollow or hollow with Classic 57's and no Memphis Tone System.
  3. Gampadoug, the ES-235 doesnt really compare to the body size of the ES-335. The ES-235 is what I would describe as a ES-125 shrunk down to around slightly thicker than Les Paul thickness, with the upper and lower bout less wide than an ES-125 by a little bit but not quite Les Paul proportions. And as mentioned before, the guitar is balanced. I noticed no neck dive or dipping at the body.
  4. No, the neck is maple, actually.
  5. I play sitting with it 100% of the time. I found it very balanced. If you are a jazz guy, make sure you try one out in a store. It has a bit of a hollow body ring to it but I'm not sure how much of that 'ring' you require for the style of jazz you play. It's a minute amount of chime when compared to the 335 or the 355, but it has it. Like noted above..it does freakin' everything. But I wouldn't say it is the holy grail for one genre particularly. If that makes sense. The pickups on this sound hot but their output is similar to the 57 Classics.
  6. So I picked up an ES-235 Ebony in gloss finish and haven't been able to put it down in 4 days. The neck is extremely comfortable, the Burstbucker Pros work really well with the wiring (Memphis Tone Circuit Plus...kind of like 50's wiring with a treble bleed), you get a lot of response and control from the tone and volume knobs. Action is really great on this one and its really comfortable to hold and so light. Beautiful sparkling cleans, fat crunch sounds and the most cutting gain-driven tones imaginable. This guitar would be a surgical tool in a band. It would really cut through. Because of the maple neck, maple-poplar-maple back and sides and maple centreblock, and somewhat bright BBPros, this cannot quite get the low, dark growl of the Les Paul but with tone down, it has a growl of its own, more in the upper mids of the spectrum. It can do that slapback echo rockabilly thing and it can do reverb drenched twang as well. The bridge pickup can get you anywhere from Gretsch to Tele tones if you play around with your amp and guitar dials. The neck pickup could sound like a really fat Strat sound at times. I know some have their issues with Burstbucker Pros but I really feel like they go over well in this particular guitar and are well suited. I was getting Duane Eddy and Bill Kirchen tones with reverb, everything from Duane Allman, to Skynyrd to Clapton tones in crunch, and big fat Malcolm Young, George Thorogood, Billy Gibbons tones when adding more drive. You should really check one of these out if you see it in your travels. It is as if a bunch of iconic guitars got together and made a baby. So many tones hidden in this thing. Well worth the price because it is actually a fun little guitar and feels unique. It does every style well and has its own thing going on and lots of mojo in my opinion.
  7. Welcome to the fam! I'd love to see a picture! Love the bird in cherry burst. Glad you found a good one, man. Play the crap out of it.
  8. Split parelellagram inlays and more bindings. Originally the J-55. Remarketed as 'Southern Jumbo' to appeal more to the Southern States. Structurally almost identical to the J-45.
  9. Lmfao I somewhat felt that way too. But I am glad he's finding the tones he's chasing. Excellently worded post by the way. Hahaha Hey OP, if you ever get seller's remorse again about the J45, I highly recommend checking out Banner year J45's or any J45's made between 1944-1954. Will probably cost you as much as your 70's d-28 if you get lucky. Keep your eyes open for one, man. I'm tellin' ya...the old ones just have that 'sound'. They got the voice of an old friend. And are sometimes tremendously under-valued on the market. All the best!
  10. I just figured it'd be better to keep a hog b/s guitar around for some variety is all I was alluding to. And had no idea you were mostly a bluegrass guy. Was not butt-hurt and meant no offense. Martins are awesome for bluegrass. And you chose two of my favorite models, so no hatin' here. The D-28 will be great for bluegrass jams (and everything in between) and the D-35 will be a good kitchen bluegrass machine. I sort of get your line of thinking. Glad you are keeping the AJ! If you need a a small bodied mahogany to fiddle around with on the couch, I could suggest the Gibson 1937 L-00 Legend or the Martin CEO-7. People seem to love em.
  11. *face palm* Enjoy your two rosewood martins.
  12. Thanks! I have been unable to put it down. The notes bloom and resonate so much, it almost has a 12-string pop to it. And the friggin' GROWL and PURR when playing certain bluesey chords and slight bends is unreal. It's becoming addictive. Staccato bass notes sound deep, rich and full...makes playing old country a blast. My Songwriter has stayed in the case since I brought this home. Also I think it's just the angle of the picture. Just inspected the E and A at the saddle and they are fine.
  13. Naw, not yet, I'll pm my email again just incase i sent the wrong one
  14. Yessir, and I have one more day at home before I have to head out for another 3 weeks at sea. I'm gonna continue to play the hell out of this beast in the meantime cause there ain't no way it's ever goin' on a ship lol
  15. Well, I managed to find a Banner Gibson J-45 locally from a very good seller. It is a 1943, a player, and despite some cosmetic issues that will most likely impact collectibility in the future, it has an amazing, rich, woody and dry voice. It has that old Gibson sound in spades. Most old rock and folk tunes I play on it, I am struck with disbelief how the guitar almost sounds exactly like the original record. It has a two-piece Adirondack top, mahogany back and sides, single-piece mahogany neck and square poplar neck block, baseball bat neck (which I love. Shockingly comfortable, and my hands are far from large) with no truss rod (v-maple core) and the original brazilian rosewood bridge and maple bridge-plate are intact. All the bracing on the inside is clean. Barely any wear to the fretboard at all. And the back and sides are in stunning condition for its age. There are a few top cracks that have been fixed and the guitar is structurally sound. Very minimal bellying below the bridge, don't think it effects tone. Broken binding on four spots, only on the back binding. Some scarring of the finish on the head from three stickers that were on it a long time ago (the one that was above the banner logo appears to have been a clover). Banner and Gibson logo remain unmolested. Original tuners are completely gone and were replaced with Waverlys, and the original case is also gone. One of the original owners had sanded off a good portion of the original burst. It is suspected he was trying to convert it to more of a J-50 look. When he sanded down and realized black paint was in all the cracks he sort of just gave up and sold it. The owner I bought it from, who is a fine wood worker and makes replicas of ships, schooners, sailboats and yachts (some of his pieces are in museums) took great care in filling the cracks, bracing them, repainting the top where it was sanded (I think he did a wonderful job), and refinished it with a very thin finish. It was lovingly brought back to life and this gentleman sold it at a very good price to me. Couldn't be happier with it. What a survivor this guitar is, and I can't keep it off my lap. Rest assured it will be played quite a lot for the remainder of its life. I take such pleasure knowing such love and care was put into bringing this guitar back to life and the beautiful voice it has, well, never left to begin with. Lightest guitar I've ever played, responsive as all heck and the bottom end gives such an amazing thud that I am just addicted to. Sustain and resonance is also a huge surprise. The top and back wood appear to be REALLY thin. Also forgot to mention, I don't think it has ever had a neck reset or a re-fretting. Really hard to tell if the nut, saddle and bridge pins are original. They certainly look old, and yella.
  16. Thanks for your opinions on this, from what I understand, the guitar has avoided a neck reset thus far and the bracing has remained intact and fully clean. There is some aesthetic issues that mess with the collectibility factor of the guitar (some fixed top cracks and the burst was repainted near the lower bout by a professional and made to look faded a bit. One of the first two owners started sanding it to look like a J-50 and it was rescued from him by a person looking to buy it). The paint job actually turned out great and the cracks are barely noticable. The back and sides are actually in unbelievably good condition. There is a little bit of overspray on the parts that were touched up. It has been refretted and the fingerboard is in great condition. Mahogany neck as well with poplar neck block. Still has the original bridge but the original tuners were replaced with Waverlys. I don't mind. I'm hoping for this to be my main at-home playing guitar and will be more interested in the sound aspects, and will possibly be recording it as well. Hence why the revisions done to the guitar don't bother me. It is only lowering the price and this will be a played guitar, not a wall hanger. I'm hoping it is nice and responsive for fingerpicking some old blues and folk. I'm primarily a fingerstyle guy. Just haven't heard much about the adirondack topped ones, that's all. And I hope once I get the guitar in my hands that the neck isn't too cumbersome. This guitar definitely won't require "helicopter-money" lol. Just an old player's guitar with a story behind it. You must be loving that old J-50
  17. I might have a line on a 1943 banner J-45 with adirondack top (two piece) and mahogany back and sides lined up, going to go see how she sounds when I get off work (I work on a ship). Has the maple v truss rod. Anyone here play a similar example of an early banner, or own one? I have only found like...one video of an adirondack one on youtube. Anyone who has experience with one of these that could comment on the sound, it would be greatly appreciated. Since I am stuck on the ship for another week and a half dreaming about the guitar. Information, videos, anything would help. I've only really been able to find mostly sitka, hog and maple banner vids and just hoping an old adirondack isnt too much of a departure from that classic j-45 sound, or curious if it adds something to it. And maybe some opinions on the lack of truss rod in some of these old banners. (My apologies, didn't realize there was a Vintage Corner forum when I posted this)
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