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Playing your BEST gibson out as opposed to babying it......


kebob

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All my Gibsons get used at gigs. My five Gibsons and sometimes my Garrison are for gigs. If the gig environment is questionable, or the gig is outdoors and the weather is very cold, or wet, or very warm and in direct sunlight, I take the Garrison. However, most of my gigs are indoors or in at least semi-sheltered outdoor venues, so I take a Gibson. Nicks and smudges, etc. are all part of owning and playing a guitar, but I won't take my guitars anywhere I think they could actually be damaged.

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  • 2 weeks later...

Just purchased my second J200 in over 12 years. My first one, a 1990 model is currently in it's case after I stood on it smashing the entire top. Insurance paid out though and I have my brand new Standard now.

I must admit, I much preferred my old one as the quality of finish was much better than this new one. I will be having it repaired by Jimmy Moon of world famous "Moon Guitars" in Glasgow, but at a cost of £1200+ Worth it though I think.

Here's a question: The new J200 Standard is advertised with a "Fishman Ellipse Aura" pickup whereas mine only has the "LR Baggs Element" system. Does anyone out there have any opinion on which is best? I know the Fishman is more expensive, but I've been hearing a lot of folk say they prefer the Element. Any Ideas?

 

Thanks guys, Marty from Scotland

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Just purchased my second J200 in over 12 years. My first one, a 1990 model is currently in it's case after I stood on it smashing the entire top. Insurance paid out though and I have my brand new Standard now.

I must admit, I much preferred my old one as the quality of finish was much better than this new one. I will be having it repaired by Jimmy Moon of world famous "Moon Guitars" in Glasgow, but at a cost of £1200+ Worth it though I think.

Here's a question: The new J200 Standard is advertised with a "Fishman Ellipse Aura" pickup whereas mine only has the "LR Baggs Element" system. Does anyone out there have any opinion on which is best? I know the Fishman is more expensive, but I've been hearing a lot of folk say they prefer the Element. Any Ideas?

 

Thanks guys, Marty from Scotland

 

There will probably be plenty of disagreement on this, Marty, but I really don't think it makes a lot of difference. Every under saddle piezo I've ever played faced the same challenge; quack. Some quack more than others but they all have to have their tone seriously altered, so the preamp is much more critical than the pickup itself. MHO. YMMV. The thing no preamp I've ever heard can do is restore the dynamic range lost to piezos. Pick hard, piezos compress (if they don't distort). I've never heard one that would communicate the variations in volume that come from dynamic picking. If you're an even strummer or a gently fingerpicker, they can work great. If you are an aggressive player and you play out a lot, personally, I'd pull those things out of there and look at hybrid systems. Or microphones.

 

P

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I'm a gentle fingerpicker ... I get some relatively minor quack from my two early '70s Ovation AEs, both steel and nylon, but still IMHO with less of an overall sound problem than messing with a mike, especially in either an indoor ensemble or any outdoor setting.

 

Then again, perhaps that's just me. I got those guitars because they worked better for me in performance whether in a saloon country band or on stage in various sized venues with "old time" ensembles.

 

Run through a board, preamp settings done half decently... my newer stuff as well as those two old beaters allow more variation in playing. I do know that regardless what I tried to do with "the guy on the board," with a guitar mike I hadda flatpick or use thumb/fingerpicks with a lot heavier percussion with the "old time" stuff. Saloon picking kinda ditto. although I felt I had a little better control. Still... it ended up flatpicking into a mike.

 

Getting the two AEs, steel and nylon, was a gold-plated blessing and I was pickin' a lot for money at the time. Again, that's my opinion and where I put my money - and would again. And also I felt more "safe" in local weather and travel equipment going to a gig with a fiberglass guitar than what would have been at the time a similarly priced all-wood guitar regardless.

 

IMHO any of my more current AEs (all wood guitars nowadays) sound better through a board than live stage miking. Again, that's perhaps just me, but I no longer own an acoustic of any sort that's not AE - although the 12 has a mag soundhole pup.

 

Recording in a half decent studio is a different thing. Even so a performer has to watch what he/she is doing to get a degree of consistency. Were I to be recording for a major piece, I'm sure the studio folks would handle things their way and I'd shut up. Ain't been there.

 

m

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I gave my SJ a good look over last night and realised its actually got quite a few small dings everywhere, scratches beyond the pickgutard and I was chuffed to see that some paint is starting to come off from the inside of the soundhole.

 

Its on its way to looking like a real vintage guitar, and much more 51' real than 51' reissue.

 

I will continue to play it hard and fast as I like the way its developing, and the gig climate has been quite responsible for its 'development'

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I've always gigged my favorite guitar "at the time".

 

Never had a problem, always had friends at gigs who had my back and vice versa.

 

I did hold a 72 "Recording" Les Paul in front of my vitals one night in Louisiana when a guy came in waving a 357 around.

 

It was a Colt Python as I recall........

 

[scared]

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I've always gigged my favorite guitar "at the time".

 

Never had a problem, always had friends at gigs who had my back and vice versa.

 

I did hold a 72 "Recording" Les Paul in front of my vitals one night in Louisiana when a guy came in waving a 357 around.

 

It was a Colt Python as I recall........

 

[scared]

 

Did uric acid affect the finish on the back of the guitar?

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