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Ren Discusses the Hummingbird


Fullmental Alpinist

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Ren talks about the Hummingbird New Vintage, whatever that is, but also explains the Hummingbird as a guitar.

 

"new vintage" is a Wildwood Guitars variation of "true vintage", essentially gloss finish rather than faded/scuffed/aged.

They also offer the hide glue option. My much beloved Southern Jumbo is a new vintage model with the all hide glue option.

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No, but thanks for asking. Eeehhh, yes - was in the studio w. the band the other night, but that's a whole other story. .

 

How the association ?

 

You wrote that Ren had three favorite guitars, which included a "very special J-45." This set my mind to wondering: which of the hundreds of differing J-45s Gibson has produced was special to him?

 

My question about whether you had been working on any new songs was entirely selfish: I enjoy the music you have posted.

 

FMA

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"new vintage" is a Wildwood Guitars variation of "true vintage", essentially gloss finish rather than faded/scuffed/aged.

They also offer the hide glue option. My much beloved Southern Jumbo is a new vintage model with the all hide glue option.

 

Thanks, Lefty. I found Gibson's website where they explained the difference. And all it did was give me more GAS. Your Southern Jumbo must be awesome if you love it more than your Bird.

 

FMA

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A very good clip. Ren chooses his words carefully. Beginning at the 1:00 minute mark: ..."interior is hide glue braced, which we believe enhances the POTENTIAL (my emphasis) energy transfer...I find the whole hide glue thing to be much a to do about not much. I think it was John Arnold that pointed out that there is only about three tablespoons full of glue used in an entire guitar. When I see the glue overruns in a lot of older Gibsons it strikes me that those craftsmen at the time weren't thinking that glue was a very big deal.

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A very good clip. Ren chooses his words carefully. Beginning at the 1:00 minute mark: ..."interior is hide glue braced, which we believe enhances the POTENTIAL (my emphasis) energy transfer...I find the whole hide glue thing to be much a to do about not much. I think it was John Arnold that pointed out that there is only about three tablespoons full of glue used in an entire guitar. When I see the glue overruns in a lot of older Gibsons it strikes me that those craftsmen at the time weren't thinking that glue was a very big deal.

 

How much glue is used in one guitar seems totally irrelevant to me. More significant might be: what are the characteristics of the glue joint when the glue is dry? My sense is that dry hide glue forms a harder material, less spongy and elastic and more likely to reflect and transmit sound, than titebond and similar modern glues. Ren believes that there are sonic benefits worth going after in the dovetail (all Gibson acoustics) and top bracing (some instruments) to be derived from hide glue. Martin also implicitly appears to agree in their use of hide glue on some models like Authentic series.

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